frequencies (a) by Nicolas Bernier is a sound performance combining the sound of mechanically triggered tuning forks with pure digital soundwaves. Nicolas is triggering sequences from the computer, activating solenoids that hit the tuning forks with high precision. Streams of light burst in synchronicity with the forks, creating a not-quite-minimal sound and light composition.
“I created the work for many reasons, but perhaps the most pervasive reason was a simple impulse towards contrariness. The computer as a medium is strongly biased. And so my impulse while using the computer was to work solidly against these biases.
Because the computer is purely logical, the language of interaction should strive to be intuitive.
Because the computer removes you from your body, the body should be strongly engaged.
Because the computer’s activity takes place on the tiny playing fields of integrated circuits, the encounter with the computer should take place in human-scaled physical space.
Because the computer is objective and disinterested, the experience should be intimate.”
“Coldplay has been turning their audience into interactive participants at recent concerts by handing them Xylobands, LED-illuminated wristbands that can be activated all at once using a radio signal.”
“We made a variety of toys with various actions, which reflects the diversity of the world. As they dance and light up in synch with the music, they start to seem as if they are brought to life with the magical powers of dance & music.”
Ghostcatching is a digital art installation that fuses dance, drawing, and computer composition. Paul Kaiser and Shelley Eshkar created the visual and sound composition; Bill T. Jones created and performed the dance and vocal phrases. Seven minutes long, the piece is a meditation on the act of being captured and of breaking free.
Kiti le Step went onstage with livecoder MCLD, and this is what resulted: noisy deconstructions of dubstep’s core components, inflicted live on audiences in Strasbourg and Paris. Beats get broken, basslines get turned into feedback howls, humans and algorithms conspire against sound engineers.