Data

Our way is out in the sand flowing between the shingles and the dunes.

RMIT University, Australia
Thierry J.D. Bernard (Aggregated by)
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ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Adc&rfr_id=info%3Asid%2FANDS&rft_id=info:doi10.25439/rmt.27350280.v1&rft.title=Our way is out in the sand flowing between the shingles and the dunes.&rft.identifier=10.25439/rmt.27350280.v1&rft.publisher=RMIT University, Australia&rft.description=BACKGROUND Procedural interactive installation work, such as Alex Geddie (Metar, 2003) or Ryoji Ikeda (micro|macro, 2015) leads, by circumstantial technologic fact-based, to visualization or sonification (the scientific process of data turned into sound, including music) of data. Working as new perceptions, new ways of seeing (John Berger, 1972) whereas Marcel Duchamp Bachelor Machine (1913), John Cage Indeterminacy (1959) and Roland Barthes The Death of the Author (1967) may be seen as the historically conceptual framework of New Media Technology. What if the sonification process is becoming a sound spatialisation? CONTRIBUTION Our way is out in the sand flowing between the shingles & the dunes is an interactive sound installation that examines the relationship between Technologic and Organic controlled by Pure Data software patches. Generative random processes combined with online weather data control the audio outputs as spatialised sounds. The room acoustics generated by the visitors trigger audio samples (dialogue) questioning about flow, transformation and metamorphosis while a computer algorithm produces an ambient music. SIGNIFICANCE This work offers to the visitors to interpret the content of an arrangement of meanings, shifting in time by sound's spatial movement. These sequences reflect on repetition and differences, clarity and confusion, figuration and abstraction. The visitor becomes the interpreter of the work as well as his author. Both, visitors and wind data represent the Organic side of the work combined within generative processes of the Technologic, becoming a cross-platform to function. The production of this sound installation has been commissioned by RMIT Vietnam as part of the Design Student Showcase 2015 and was held at The Factory Contemporary Art Center (FCAC), at the invitation of curator Trong Gia Nguyen as part of TechNoPhobe exhibition from March to May 2016 in Ho Chi Minh City, Vietnam which attracted about 1500 visitor&rft.creator=Thierry J.D. Bernard&rft.date=2016&rft_rights= https://rightsstatements.org/page/InC/1.0/&rft_subject=Digital and electronic media art&rft_subject=Not Assigned&rft.type=dataset&rft.language=English Access the data

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BACKGROUND Procedural interactive installation work, such as Alex Geddie (Metar, 2003) or Ryoji Ikeda (micro|macro, 2015) leads, by circumstantial technologic fact-based, to visualization or sonification (the scientific process of data turned into sound, including music) of data. Working as new perceptions, new ways of seeing (John Berger, 1972) whereas Marcel Duchamp "Bachelor Machine" (1913), John Cage "Indeterminacy" (1959) and Roland Barthes "The Death of the Author" (1967) may be seen as the historically conceptual framework of New Media Technology. What if the sonification process is becoming a sound spatialisation? CONTRIBUTION "Our way is out in the sand flowing between the shingles & the dunes" is an interactive sound installation that examines the relationship between Technologic and Organic controlled by Pure Data software patches. Generative random processes combined with online weather data control the audio outputs as spatialised sounds. The room acoustics generated by the visitors trigger audio samples (dialogue) questioning about flow, transformation and metamorphosis while a computer algorithm produces an ambient music. SIGNIFICANCE This work offers to the visitors to interpret the content of an arrangement of meanings, shifting in time by sound's spatial movement. These sequences reflect on repetition and differences, clarity and confusion, figuration and abstraction. The visitor becomes the interpreter of the work as well as his author. Both, visitors and wind data represent the Organic side of the work combined within generative processes of the Technologic, becoming a cross-platform to function. The production of this sound installation has been commissioned by RMIT Vietnam as part of the Design Student Showcase 2015 and was held at The Factory Contemporary Art Center (FCAC), at the invitation of curator Trong Gia Nguyen as part of "TechNoPhobe" exhibition from March to May 2016 in Ho Chi Minh City, Vietnam which attracted about 1500 visitor

Issued: 2016

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