Amy Bower (WHOI) and Jon Bellona (UO) invite you to participate in a survey for “Accessible Oceans“, a project focused on designing effective auditory displays to enhance the perception and understanding of ocean data for visitors to museums, aquariums and science centers, including those who are blind or have low vision. Your feedback is crucial in evaluating the effectiveness of their auditory display prototypes.
In this survey, you will listen to a series of auditory displays featuring data sonification, narration, and music. The survey will take approximately 15 minutes to complete. Please note that this is not a test of your abilities; rather, it is an opportunity for you to contribute to the advancement of inclusive learning experiences for everyone.
You can participate in this study if you are 12 years old or older, understand English, and are physically located in the US. To participate, simply click on this survey link. Headphones are recommended for the best listening experience. The survey will be closed on June 1 2024.
Circle 6 of Dante’s Inferno contains the fiery tombs of heretical souls, and in the venue for NeverEngineLabs (Cristian Vogel) 6 April octaphonic concert — a car park six floors beneath the Earth’s surface in the Providencia area of Santiago Chile — the lighting appears eerily appropriate.
NeverEngineLabs’ live setup in Santiago Chile 2024
Vogel, whose work focuses on experimental electronic music, electroacoustic music, and pushing compositional boundaries beyond style and convention writes “The sound check was a veritable wall of noise, never heard Ambisonics sound so intense… the subs were so full, car alarms were setting off on the floors above!
Cristian’s goals for 2024 and beyond are to explore socially relevant musical narratives that challenge the listener and expand the boundaries of what is possible in experimental electronic music.
For composer Bruno Liberda, the train is his mobile studio (thanks to the battery-powered Pacamara).
For composer Bruno Liberda, the train is his mobile studio
This week’s journey, a mere one and half hours by train from Vienna, Austria to Brno, Czech Republic, finds him collaborating with students and faculty at the Janáček Academy of Performing Arts (JAMU), where students focus on developing their own artistic practice within the broader context of studies in history, theory, culture and society.
Entry to the Leoš Janáček Academy of MusicBruno Liberda presenting the Kyma seminar
During the seminar, students had an opportunity to delve into Kyma with the benefit of Bruno’s experience and guidance. Topics included sound design using the signal flow editor, composing for live performance in the Kyma Timeline, and reactive programming with Capytalk.
Pacarana installed in the electronic music studioModular synths and waveform sketches
Liberda dedicated a full day to the question top-most in the student’s minds: “How can we feed the sounds from a modular into Kyma?” Together they delayed, granulated and realtime spectralized / froze / singled-out individual overtones… in Bruno’s words, “we spectralized the hell out of it!”
Curious to hear some of Liberda’s music? L’après-midi im Stiegenhaus von Mozart, for various analog synthesizers, piano, Kyma, and organ pipes that Liberda claims to have found in Mozarts’ basement, was just released (4 April 2024).
Liberda requests that listeners please
listen with headphones (or on a good stereo system), otherwise you will not only miss the mysterious murmuring in the stairwell, but also all the shadows and fine cracks of light in the spatial structure, the top, bottom, front, back further left or right – everything quiet and surprising exploding in multifold time.
In a word: the soul of the piece!
misfold is a piece for pipe organ and Kyma electronics, commissioned by Franz Danksagmüller for org_art_lab in Hamburg 6-12 November 2023, a workshop dedicated to collaborations involving art, science, and the pipe organ. But not just any pipe organ…
The HyperOrgan that Franz helped design for St Nikolai church has been augmented with new timbres, percussion sounds, enhanced touch sensitivity and air-flow control, microphones placed among the pipes for electronic signal processing, speakers in the loft so you can blend the organ sound with electronic sound synthesis, and bidirectional MIDI control. The console in the loft has five manuals and a pedal board, each one controllable by a separate MIDI input channel, with the ranges and timbres controlled by the stops.
In keeping with the theme of the workshop (hyper-organ-art & science collaborations), the composer employed data from protein-folding simulations computed at Martin Gruebele’s lab at the University of Illinois to generate the sound and structure of the piece.
Why is it named misfold?
It feels like we’re at a tipping point, and it’s unclear which direction things will take. There’s a pervasive sense of instability across multiple spheres — political, cultural, technological, economic, climatic:
Will these instabilities continue to increase, resulting in a catastrophic breakdown?
Will we “mis-fold” into a familiar & somewhat comfortable, but sub-optimal state?
Or could we use this time of instability to explore possibilities that we haven’t thought of trying before and maybe discover a better way forward?
Coypu, photo by Basile Morin CC BY-SAPaca, photo by Hans Hillewaert CC SA
A coypu (aka nutria) is a semi-aquatic rodent and is the name given to a Pharo package for live coding developed by Domenico Cipriani (aka Lucretio). At the end of May, Lucretio will be performing with two rodents — his Paca and the Coypu package — at the 2024 International Conference of Live Coding (ICLC) in Shanghai, generating sounds and parsing OSC to control graphics in Kyma and using Coypu to program music on-the-fly.
Lucretio describes his 30 minute live coding performance for Pharo, Kyma and Processing as “a social experiment with euclidean geometries, hexadecimal beats and post-jungle patterns drifting from sparse broken drums and essential scaled-down soulful chords to bass-driven percussive timelines and recursive frequency modulated quirks… heavily influenced by the sound from South London and Detroit.”
Matteo Milani’s (Unidentified Sound Object) “COSMIC CHARGES” is a library of tonal blasts and impacts for video games, films, TV series, and more.
Each impact is split into layers, allowing a sound designer to decompose and reconstitute sub-timbres to create unique sounds.
Milani was inspired by innovative sound designers Ben Burtt, Randy Thom, and Gary Rydstrom to continue to push the boundaries of his own work. It was through Ben Burtt’s book, Galactic Phrase Book & Travel Guide, that Milani first discovered Kyma, which he used in this project to add musical layers to each impact — thus imparting a unique sonic identity and intensifying the emotional resonance and dynamics.
In addition to their SFX libraries, Milani’s Unidentified Sound Object offers a range of services including complex sound design, composition, multilingual localization, games and VR development, location recording, and more.
The inaugural event of the ligeti center “Artists and Scientists in Residence” program and christening of their brand new spatial audio system was the 4 April 2024 world premiere of Fredrik Mathias Josefson’s spatial audio composition “Above a Sea of Fog,” an immersive electroacoustic environment that employs recording, Kyma synthesis, and “negative space” to weave a spatial soundscape. Josefson also provided insights into his creative processes and spatial audio methodologies and discussed his two-month residency at the ligeti center.
Bringing together expertise from the realms of art, science, and technology, the “Production Lab” at the heart of the ligeti center serves as a presentation venue and an open production space for creative exploration. From immersive spatial audio to haptics, from cyber instruments to music therapy, and beyond, it is designed as a hub for interaction, collaboration, and critical discourse. As a fully equipped studio space, “Production Lab” provides creators with a range of options for immersive sound production and performance, including motion capture technologies, VR/XR solutions, and a free space for creative thinking and experimentation.
Listen to composer/performer Anne La Berge sustained by the Kyma infinite reverb during a joint performance of Orphax & MAZE Ensemble at the the Rewire Festival in Den Haag 7 April 2024.
Orphax’s recent work, En de Stilstaande Tijd, explores the concept of “frozen time”, and MAZE is all about “real time” — interacting with acoustic instruments and electronics in the moment. Check out this interview with Anne La Berge, Dario Caldrone and Garth Davis to find out how these time-bending artists managed to find a common language for their live collaboration.
As the solar eclipse passed over Symbolic Sound’s offices in Illinois on 8 April, it was discovered that a Capybara 320 printed circuit board can serve as an effective pinhole camera for projecting the occluded solar face onto a piece of white paper.
Name that PCB!
It’s good to know there’s still a use for through-hole technology.
“I used to have 30 guys helping me do this,” quips Jones as he adjusts a mic stand. “…but here I am.”
And indeed, there he was, all alone on the stage, performing a dizzying variety of instruments, from lap steel, to mandolin, to triple-neck guitar, grand piano, pipe organ, Kyma electronics, and of course his signature bass. Winning the prize for the festival’s most audacious entrance, Jones rose from the orchestra pit playing “Your Time Is Gonna Come” on a bright red-painted theater organ, to delighted squeals of recognition, masterfully tweaking his audience’s collective memories and, alternately coaxing them along with him into the future with live electro-acoustic performances like this one:
Bassist, keyboardist, mandolinist, composer (and much more), John Paul Jones – once in a little band called Led Zeppelin — has more recently toured as Them Crooked Vultures with Dave Grohl and Joshua Homme, appeared in Mark-Anthony Turnage’s opera ‘Anna Nicole,’ toured the US with Dave Rawlings and Gillian Welch, released Cloud to Ground (debut album of Minibus Pimps), and made several guest appearances with acclaimed Norwegian avant-garde group Supersilent.
John was also one of the first adopters of Kyma (on the original Capybara), and he continues to expand the frontiers of live interactive electronics performance today using the newest incarnation of the APU hardware — the Pacamara Ristretto — in conjunction with his bass, piano, and a menagerie of tiny controllers and other instruments (expect the unexpected).
“One of the world’s biggest music bashes” (NYT), the Big Ears Festival features visionary composers and musicians on concerts that transcend genre — bringing together trailblazers and iconoclasts, blending classical and contemporary composition, jazz, rock, world music, pop, avant-garde, ambient, experimental, and beyond.
Big Ears offers 200 performances during the festival situated in historic downtown Knoxville — at restored historic theaters, churches, refurbished warehouse spaces, museums, galleries, and clubs — with pop-up events and performances, exhibitions, films, literary readings, workshops, markets and talks taking place in cafes, bars, hotels, restaurants, all within walking distance or dedicated trolley service to nearby hotels.
