Physical Heart in a Virtual Body

My friend Amit Zoran, from the Ambient Intelligence group at MIT Media Lab, continued his work on structural innovation, re-designing acoustic musical instrument according to the abilities and characteristics of rapid prototype materials. Together with Pattie Maes and Marco Coppiardi, they created a new generation of physical instruments by tailoring wooden hearts. The wooden pieces are inserted in body of the guitar to give the instrument the desired sound identity.

Watch the video of the resonator ->here<-



Amit changing the physical heart of his guitar

can traditional values be embedded into a digital object? in this project we implement a special guitar that combines physical acoustic properties with virtual capabilities. The acoustical values will be embodied by a wooden heart - a unique, replaceable piece of wood that will give the guitar a unique acoustic sound. The acoustic signal created by this wooden heart will be digitally processed in a virtual sound box in order to create flexible sound design.

His research will be presented at Nime 2008 this summer.
His paper is ->here<-
His presentation is ->here<-



Posted by Cati Vaucelle @ Architectradure

Structural innovation

Re-designing acoustic musical instrument according to the abilities and characteristics of rapid prototype materials

After laser printing on bread, one can print instruments! My friend Amit Zoran designed this really neat concept of an acoustic guitar sound box that has been given a unique sound and behavior through a CAD/CAM process. His research goal at the MIT Media Laboratory in the Ambient Intelligence research group, is to find and analyze a space for structural innovation, especially for acoustic instruments.

His works enables players to customize their own sound by assembling different sound cells, e.g physical parts of the instruments designed in CAD/CAM, instead of considering the instrument as one big sound box. Each string can have its own bridge and each bridge can be linked to different cells. By changing a cell' size, material or structure, one can create customizable sounds.

His innovative take mainly consists of printing, using a 3D printer, cells drawn into a vectorial software. These cells, made of 30cm radius, have a variety of materials strong enough to carry the pressure of the strings and handle resonance.
People can download recommended sound cells from the internet in order to change or manipulate their guitar sounds.
In the near future, Amit is planning on testing the physical behavior of different combinations and to find optimal structures.

Don't forget to check the video!

Posted by Cati Vaucelle
♥ Architectradure

Is this a land made for you and me?

Is this a land for you and me 1 by artist Paul Ramirez Jonas.

Upon entering the exhibition space the public encounters short bases each supporting a hand bell. All the hand bells together form a song. Meaning, for each note in the melody, there is a hand bell. In fact, the bases are a blow up of the song's score, cup up so that each note is isolated. The only notes that remain grouped are the chorus. Members of the public are invited to take one bell/note, take it along, and ring it as they see the show. On their way out, they would place the bell back on its pedestal. The song is thus fractured and dispersed in the space. There is a slim chance that the public, either by chance or through cooperation, could perform the melody.


Posted by Cati Vaucelle
♥ Architectradure

A stretchy fabric controller

Created by Angela Chang, Zstretch is a fabric device that can capture the richness of active touch interactions for controlling music interactions. Much of the prior work on integrating electronics with textiles focused on rigid, exact places for touching the fabric, rather than supporting the many actions our hands and bodies can create. The project explores how to support the large range of forces that people apply when interacting with fabric.

Paper for Nime 2007

Stone age trepanation Kit

Trepanation Kit, late stone age.

I love this web site of ancient inventions! This one is especially intriguing:

Trepanation is a method of brain surgery whose origins can be traced to the Late Stone Age. Some remote societies still practice it today, and in some tribal cultures of East Africa it has survived as an integral part of traditional medicine. Doctors employed this invasive procedure to relieve distress caused by a variety of disturbances, including skull fractures, parasites, pressure, hydrocephaly, incurable headaches, and even evil spirits. Intricate and refined instruments aided prehistoric surgeons in the different methods of penetrating the skull, and sometimes in actually removing tissue from the brain. --Trepanation Kit, Worldwide, 2000 BCE by Dierdre Crane

Mary Farbood, harpsichordist

Morwaread Farbood. Photography by Susan Wilson.

Presenting a harpsichord/piano sculpture in my previous post, I thought it would be nice to attend an authentic harpsichord concert. My friend Mary Farbood is performing in Cambridge and in New York this April.

Morwaread Farbood, American harpsichordist of Iranian and Japanese descent, is quickly becoming recognized as one of the rising young stars in the harpsichord world. She was selected for the Pro Musicis International Award in 2006 and won First Prize at the Prague International Harpsichord Competition the previous year.

An excerpt of her playing J. S. Bach, French Suite No. 5 in G Major, BWV 816 - Allemande


An excerpt of her playing J. S. Bach, French Suite No. 5 in G Major, BWV 816 - Courante


An excerpt of her playing Louis Marchand, Suite in D minor, Pièces de clavecin


An excerpt of her playing Domenico Scarlatti, Sonata in D Major, K. 119



The audio exerpts are unedited and from a live performance at the MIT Chapel in Cambridge, Massachusetts. Recorded April 12, 2006. Engineer: Mike Fabio.

When and where?
Saturday, April 21st, 2007 at 8:00 PM - Pickman Concert Hall, Longy School of Music, Cambridge
Tickets

Wednesday, April 25th, 2007 at 8:00 PM - Weill Recital Hall at Carnegie Hall, New York
Tickets

Program
Jean-Philippe Rameau (1683-1764)
Pièces de Clavecin from Suite in D minor
Les Tendres Plaintes
Les Niais de Sologne
Les Soupirs
Les Cyclopes

Franz Joseph Haydn (1732-1809)
Sonata in E minor, Hob.XVI/34
Presto
Adagio
Vivace molto

Johann Sebastian Bach (1685-1750)
Chromatic Fantasy and Fugue, BWV 903

Hubert Ho (1976 - )
Manual Labor (World and New York premieres)

Ellen Taaffe Zwilich (1939 - )
Fantasy for Harpsichord

Domenico Scarlatti (1685-1757)
Sonata K. 502 in C Major
Sonata K. 1 in D Minor
Sonata K. 119 in D Major
Sonata K. 455 in G Major

Harpsichord by Basserode

Partitions 2000, Harpsichords in oak, ebony, bone realized with the organ-maker Pascal Gourrat, 109,5 x 150 x 18,2 cm 9 photographs 13x18 cm each

When Marcel Proust writes about having tea and cookies, he is inspired by having the experience himself, which brings back memories to his mind. With my past work Textable Movie, I wanted to recreate this same phenomenon, by presenting instantly to the users, videos from their own footage. By immersion into their own memories, they could become engaged into telling rich, and passionate stories, based on past experience.

Russian poet Joseph Brodsky - "any new aesthetic reality helps man to specify his own ethical reality .../... an aesthetic choice is invariably individual, aesthetic suffering is invariably personal suffering. Any new aesthetic reality turns the person it has affected into an even more private person, and this private character, which at times takes on the form of literary or other taste, may per se, be, if not a guarantee, then at least a form of protection against enslavement"

I recently discovered partitions by Jérome Basserode. This object is very disconcerting by being a piano with only 5 white and 4 black keys, piano that is not large but thin and long. Made structurally out of oak, ebony for the keys and bone for the white keys, built based on the harpsichord technique, it creates very unusual sounds. The partition is a picture of a forest that the player can choose to play. The spectator becomes musician by following memories driven by the image.

The installation Partitions, shown in the 6th chapter of the exhibition comprises two objects that formally resemble a fragment of a grand piano but use the musical technique of a harpsichord. Each harpsichord has a keyboard that counts 9 keys ( 5 white, 4 black, in alternation). The unusual sound of these keys determines the initial playing situation. Two series of 9 photographs act as partitions, representing various motifs from the natural and urban environment. The spectator can use the motif of his choice from the photographs as a partition, sit it on the intended stand and begin playing. The visually activated memory can thus express itself musically through the spectator’s playing the harpsichord. Basserode chose to use the sculptural and architectural elements at his disposal to present the photographs. He installed them so that their placement in relation to the harpsichords would produce a certain tension. The dynamism conferred upon the exhibition space by the position of the objects presented and the harpsichords finds an extension and resonance in Kretzschmar’s music and Basserode’s nomadism. Juliane Wellerdiek

The talking machine

This is what I call sound art. An very simple design that can have such an impact.
I believe we forget what an object can naturally do without computing technology. By simply reproducing the vocal tract and pushing air through it, artists can make a acoustic speech synthesizer such as what Martin Riches achieved with his Talking Machine.

While I was voicing the pipes for a mechanical organ I noticed that when they were playing incorrectly they would sometimes make sounds quite similar to human speech. I wondered if it would be possible to make special speaking pipes and whether it would be possible to make them talk.

The result was the Talking Machine — an acoustic speech synthesizer.The speech sounds are produced using a flow of air and resonators just as in natural speech.The machine has 32 pipes, each one a simplified version of the human vocal tract. They reproduce the spaces which are formed in the mouth, nose and throat when we speak.The pipes are built according to measurements of X-Ray photographs taken of a person speaking. In other words, the E-pipe reproduces the narrow shape of the human mouth saying E, the OO- pipe has something like the small round OO-shaped lips and so on. S, F, Sh and similar sounds are produced by special whistles which reproduce the shapes made by the lips, tongue and teeth. The valves which control the flow of air are operated by a computer.

More info
Audio from the talking machine

The theremin by Three as Four

a cool video of an alien on a roof with one of the first electronic instrument, the theremin! (Invented in the 1920's) Worth watching ...

Also they make cool outfit for dogs

Web site: Three as Four.