BlackBoxEcho & Squarpusher || Damogen Furies World Tour

Show Design, Art Direction & System Programming: Zak Norman

Technical Supervisor:  Martin Harvey

Visual Programmers: George Toledo, Peter Sistrom of [namethemachine] vade

Projectionists : Rupert Dean, Abigail Portner

Black Box Echo have designed Squarepusher’s innovative and fully generative new visual system.

The algorithms use geographical and meteorological data on each location we visit to define the starting points for an entirely generative visual environment. The patches are then controlled in their evolution by the audio and midi data they receive live from Squarepusher during the performance. Only he can control their development throughout the set by his chosen interactions with his own machines.

It is truly a visual instrument – defined by data; driven by audio.

I wanted to create something that confronted the concept of fear. For myself, it was the fear of losing control of my environment. After giving the system some basic rules and parameters to work inside during pre-production, I surrendered my ability to control the output, rendering it fully dependent on the feeds it receives and how it processes them. Each performance can be interpreted differently, with a continuously developing level of sophistication.

I have relinquished control of the machine, for better or worse.

 

RAFAEL LOZANO-HEMMER || Sphere Packing


“Sphere Packing” is a series of 3D-printed pieces designed to concentrate the entire musical production of a composer in a single dense multi-channel device. The size of each sphere is directly proportional to how prolific the composer was, for example the sphere for Johann Sebastian Bach has 48 cm diameter and holds 1100 loudspeakers playing simultaneously Bach’s 1100 different compositions, while the sphere for Hildegaard Von Bingen only has 11 cm diameter and 69 loudspeakers. The project presents at a glance the comparative production volume of many composers. As people are a couple metres away from a sphere they hear a quiet murmur of sounds, but as they approach and put their ear up close to individual speakers they can hone in on specific compositions. The series is inspired by American composer Charles Ives’ practice of simultaneity as a compositional tool.

Technically, a set of custom-made circuit boards allow the simultaneous playback of thousands of separate sound channels. The spheres are modeled algorithmically and then 3D printed in different materials depending on the composer. Each piece is suspended from a small playback box which is hung from the ceiling of the exhibition space. The piece begins playback immediately upon powering the box with 110 or 220V power. A small remote control allows the curator or collector to set an appropriate volume for the piece, although the piece is very quiet by its very design, even at its maximum volume a sphere produces a din that can be heard from about a 3 m radius. To discern individual compositions the public must be right beside a sphere, 5 cm away.

The first five composers for the series are as follows:

Karlheinz Stockhausen – Aluminium composite 3D print, 203 channels of sound, 18 cm diameter, 3 Kg weight.
Richard Wagner – Glazed porcelain 3D print, 110 channels of sound, 13 cm diameter, est 3 Kg weight.
Hildegaard Von Bingen – Bronzed steel 3D print, 69 channels of sound, 11 cm diameter, est 3 Kg weight.
Wolfgang A. Mozart – White polymer 3D print, 565 channels of sound, 35 cm diameter, est 5 Kg weight.
Henryk Mikołaj Górecki – Dyed transparent polymer 3D print, 105 channels of sound, 13 cm diameter, est 3 Kg weight.

 

Bruyant || Octopop

 

Pour Capitaine Futur, le musicien bidouilleur (nit) et le collectif Bruyant s’associent pour un concert interactif audio-visuel pop plein de bips pour se tortiller.

Grace à un tapis interactif les enfants vont pouvoir jouer en musique avec de drôles de bestioles aquatiques, relier des étoiles comme un jeu de points ou dégommer des palmiers dansants… Équipés de synthés à molettes, de vieux claviers Casio et de jeux musicaux conçus pour l’occasion, (nit) et Bruyant invitent les spectateurs à participer à un spectacle collaboratif et ludique.

Musique: (nit)
Création vidéo / Game design/ interactif: Bruyant

octopop

Numbercult || Cycles 720

Cycles 720 est un séquenceur audiovisuel hybride construit avec VVVV,  Ableton Live et un patch M4L personnalisé.
Les interactions de cercles et de lignes sont déclenchées par des percussions : le rythme et le swing sont dictées par la taille, le nombre de cercles, leur degré de séparation, l’orientation et l’élasticité de chaque collision.

A propos : Numbercult est une bannière pour le travail de Craig Allan. Il explore actuellement la communication entre le son abstrait et le monde visuel en utilisant des installations audiovisuelles immersives en temps réel, des sculptures numériques interactives proche du  spectacle vivant. Il se spécialise dans la production de musique, le design sonore et  l’art génératif en temps réel pour les environnements médiatiques de grande envergure. Il a fondé le label eponymousnumbercult et a participé à l’émergence de la musique électronique sous le nom Rei Loci.

 

 

 

cyc

Cycles 720 is an hybrid visual/audio sequencer built using VVVV and Ableton Live with a custom M4L patch.

Circle/Line interactions trigger percussion: rhythm and swing are dictated by the size, number of circles, their degree of separation, orientation and elasticity of each collision.

About : Numbercult is a banner for the work of Craig Allan. He currently explore comunication between abstract sound and visual worlds. Using realtime immersive audiovisual installations, interactive digital scultptures and live performances. He specialises in music production, sound design and real-time generative graphics for large scale media environments. He founded the eponymousnumbercult record label and have released acclaimed electronic dance music on esteemed record labels around the globe under the moniker Rei Loci.

Matthew Shlian || sculpture de papier

[vimeo id=47502276 w=512&h=288]

Matthew Shlian travaille sur l’espace  et le lien de plus en plus floue entre l’art et l’ingénierie. En tant qu’ingénieur papier,  Shlian travaille principalement dans les médias imprimés, livres d’art et de design commercial, autrement il se trouve souvent a collaborer avec une équipe de scientifiques et de chercheurs.

Ghostly fait équipe avec le photographe Ann Arbor et le vidéaste Jakob Skogheim pour produire ce court métrage qui combine entrevue et time-lapse lors de la création de plusieurs nouvelles pièces magnifiques.

Matthew Shlian works within the increasingly nebulous space between art and engineering. As a paper engineer, Shlian’s work is rooted in print media, book arts, and commercial design, though he frequently finds himself collaborating with a cadre of scientists and researchers who are just now recognizing the practical connections between paper folding and folding at microscopic and nanoscopic scales.
An MFA graduate of Cranbrook Academy, Shlian divides his time between teaching at the University of Michigan, mocking up new-fangled packaging options for billion dollar blue-chips, and creating some of the most inspiring paper art around.
Ghostly teamed up with the Ann Arbor-based photographer and videographer Jakob Skogheim, to produce this feature short, which combines interview and time-lapse footage of Shlian creating several stunning new pieces.

Mathieu Rivier @ ECAL || Light Form

Créé par Mathieur Rivier à l’ECAL – Ecole d’art et de design de Lausanne

Ce projet met en œuvre une structure à facettes placé sur un socle pour créer une interaction avec le contenu en le touchant. L’installation permet différentes formes de représentations et d’interactions à explorer avec un écran solide. Pour que la forme devienne une surface de visualisation multi-touch, il était nécessaire de concevoir une forme plastique thermo-formé semi-transparent qui permet la projection et la détection des doigts à l’intérieur de la structure. J’ai ensuite fait une structure en acier soudé qui soutient le système de projection et la détection de la forme. Le logiciel utilisé permet une détection avec un dispositif d’affichage qui est spécifique aux faces et leurs orientations. 

This project implements a faceted structure placed on a plinth to support the content, which permits interaction with the content by touching it. The installation allows different forms of representations and interactions to be explored with a solid display. In order for the shape to become a surface of multi-touch visualisation, it was necessary to design a shape in heat-welded semi-transparent plastic which allows the projection and detection of fingers from inside the structure. I then made a structure in welded steel which supports the system of projection and detection on the shape.