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Enter the wondrous world of Walter Giers’ electronic sound art

Few people could make circuits into art quite like Walter Giers. He made them into visual objects, into aesthetic and design statements, into loud and even “annoying” performative constructions, into instruments. They aren’t simply utilitarian means to an end, but imaginative medium. Electronic Beats takes a look into Walter Giers’ mind this week in a new film, featuring interviews with family members that reveal some of his way of seeing the world. Off to Schwäbisch Gmünd, we go: The featured works here: 00:20 – Weisser Vulkan (1979) 1:08 – Erotischer Zyklus (1975) 1:14 – Hänge-Kugellautsprecher (1968) 2:14 – PE II …

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John Cage.

Two hours of video covers over a century of history of sound art

And hello, spring semester. Here’s an exhaustive (and fascinating) lecture on the history of sound art – by a philosopher. Philosopher Christoph Cox traces the history of sound art from the invention of audio recording in the late 19th century to the genre-bending compositions of John Cage to the explosion of sound installation in the 1960s. Cox surveys a range of sonic practices, revealing how they resemble and resist approaches in the visual arts. The film comes to us from the Barnes Foundation, the superb arts institution in Philadelphia.

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Volnovod is a robot sculpture that uses wire to make sound visually

Muscovite sound artist slash mad scientist vtol (aka Dmitry Morozov) has been at it yet again. This time, inspiration struck when his iPod earbuds tangled. (Good thing he hadn’t upgraded to wireless!) And the result was a new visual interface for music, embodied as kinetic sculpture. Volnovod, sounding for all the world like a long lost Soviet lunar probe (or, um, sounding like “waveguide” if you happen to speak Russian), is an installation / controller / instrument built on the idea. And it comes from the artist just as he’s fresh off a rich Berlin exhibition full of ingenious inventions. …

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Photo: Aoki Takamasa. Courtesy the artist.

raster-noton’s elusive Grischa Lichtenberger on creative sound

Grischa Lichtenberger is working with felt and stencils as well as sound. He’s speaking in hyperlinks, and misusing gear and feeding computers into other computers to form feedback loops. In short, he’s finding a unique and creative materialism in everything he does – and that means we really have to talk to him. So we sent Zuzana Friday to join in a delightfully esoteric conversation with the raster-noton artist. -Ed. Grischa Lichtenberger is a German musician and sound and installation artist, known for his releases on raster-noton. His immersive live performances oscillate between abrasive, aggressive compositions and intricate structures of …

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FEEDBOXES are autonomous sound toys that play along with you

We live in an age when we can jam along with machines as well as with humans. And maybe it’s about time that they fed us some clever grooves instead of, you know, fake news and stuff. Our friend Krzysztof Cybulski of Warsaw, PL’s panGenerator shares his FEEDBOXES. They’re “autonomous” sound objects, capable of responding to audio inputs with perpetually-transforming responses. It’s all thanks to elegant use of feedback loops – meaning you can toy with these techniques yourself. Now that’s a better kind of echo chamber. It also makes use of the awesome, free PdDroidParty by Chris Mccormick, which …

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A piano, played by clouds and sky

We can reinvent the instruments we already have; we can try to steer a pathway to something new. Or we can sometimes imagine a known instrument in a new context. This new short film covers a robotic piano that’s got an unusual angle. Using image analysis, those mechanical fingers transpose patterns of cloud and sky onto the keys. This poetic take on cloud gazing comes from media artist David Bowen. It’s a nice take, I think, on sonification, in that it isn’t just about a stream of data that’s abstracted from its source. It’s really as though the drifting clouds …

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Micro-ritmos turns bacteria and machine learning into spatialized sound

In the patterns generated by bacterial cells, Micro-ritmos discovers a new music and light. From the Mexican team of Paloma López, Leslie García, and Emmanuel Anguiano (aka Interspecifics), we get yet another marvel of open source musical interface with biological matter. Micro-ritmos from LessNullVoid on Vimeo. The raw cellular matter itself is Geobacter, an anaerobic bacteria found in sediment. And in a spectacular and unintentional irony, this particular family of bacteria was first discovered in the riverbed of the Potomac in Washington, D.C. You heard that right: if you decided to literally drain the swamp in the nation’s capital, this …

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The mash-up of an 808 and the US elections no one asked for

I’d wager at this point 100% of you would rather think about drum machines than the American elections. But somewhere, vintage voting machines – they of the hole punch and hanging chads – await retirement. Here, they get a second lease on life. Instead of gloomily voting for Trump or accidentally for Pat Buchanan, they can produce sliced-up audiovisual jams. (Hey, if you’re going to have to watch debate clips ad infinitum, why not turn it into something you can dance to?) Maybe beat box voting machines would be the answer to get Millennials to the polls. So, basically what …

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Your new stage, your new studio. Photo: Hai Art Hailuoto.

Watch crazy sounds meet remote Finnish countryside

“Electronic music needs to be wilder” was the challenge issues by Matt Black (NinjaTune, Coldcut) last year at Ableton Loop at a talk I moderated. But maybe this could be interpreted as “into the wild” in a difference sense. At the moment, I’m part of an ongoing series of residencies that takes that in a different direction – taking music performance (electronic, electro-acoustic, and acoustic) into unexpected natural environments.

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A composition you can only hear by moving your head

“It’s almost like there’s an echo of the original music in the space.” After years of music being centered on stereo space and fixed timelines, sound seems ripe for reimagination as open and relative. Tim Murray-Browne sends us a fascinating idea for how to do that, in a composition in sound that transforms as you change your point of view.

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