Lara Favaretto had another amazing piece there, '5 parts, 2019: Blocking. Buffering. Dragging. Overburning. Sniffing' ; a group of concrete objects.
I'm usually rather bored by sculpture (and the biennale was filled with boring sculptures), but this settings was more of an installation, a trace of actions, a conceptual linking between the words and the traces in the concrete.
- the two related installations by Kemang Wa Lehulere, using dog figurines, sound, light, and strange objects
- 'Walled Unwalled' by Lawrence Abu Hamdan (three channel video piece "staged" in foley radio studios)
- spider web installation by Tomás Saraceno.
- 'Thinking Head' by Lara Favaretto, intriguing assemblage of objects and words
You can find some pictures and videos on https://universes.art/en/venice-biennale/2019
Coolest new tech I saw was a holographic LED projector, used by two artists (one very polished and captivating - Cyprien Gaillard - the other very underwhelming).
Apart from that, mostly traditional media and traditional forms. Almost no digital and media art (apart from some crappy game engine VR bollocks). Very questionable (IMHO) the "neural network video" pieces by Hito Steyerl. Truly not good.
talking country pavillions. So Germany included a sound installation, commendable as such, unfortunately the artist didn't have a clue how to do a sound installation.
On the positive end: Turkey was very cool with a surrealist "environment" with video, metal objects, and sound composition. Denmark had two strong pieces from one artist. Spain also interesting. Off the grid, New Zealand was good with a sound / media art installation. Malaysia had a great "video" installation.
Just came back from visit to Venice Biennale. Need some time to copy memory snaps I made, so will comment on some pieces in the next days.
My favourites were sound installation 'The Spin' by Tarek Atoui (with rotating and activated objects of ceramic and other materials; very good overall composition, too), and installation 'Biologizing the 123 Machine' by Anicka Yi (concrete floor, water basins, fabulous yellowish hanging objects with "moths").
I transcribed some notes on memory (allegedly) and added a soundfile-in-progress
#Almat news - many materials have now been published on the continuous exposition: https://www.researchcatalogue.net/view/381565/381566
Notably, you will find talk videos for 'Simulation and Computer Experimentation in Music and Sound Art' at Orpheus Ghent, and 'Algorithmic Spaces' at ZKM Karlsruhe.
#Mellite v2.38.1 is out - https://archive.org/details/Mellite - including the Negatum genetic programming object. I also published a new tutorial for that object: https://peertube.social/videos/watch/0ae57dac-5f7d-4f0b-87e8-7d49250bb1da
My colleague confirmed this impression; seems to require closed headphones. My theory is that we "hear" a spectrally complementary function, for example notches when there where strong partials, similar to how we see negative afterimages when we look at a static image for a while and then move the eyes to something else.
There is a reference from German psycho-acoustician Zwicker about an "acoustical aftertone", describes as sine components after prolonged hearing of a notched noise.
Another interesting genetically programmed sound: https://open.audio/library/tracks/42839/
scalacollider-code for that sound:
val freq0 = Seq(1.0, 1.02).map(_ * 8.824352)
val freq2 = Seq(1.0, 0.994).map(_ * 7860.8604)
val xi = LFSaw.ar(freq = freq0, iphase = 0.0)
val freq_0 = xi clip2 0.011223611
val lFDNoise3 = LFDNoise3.ar(freq_0)
val cuspN = CuspN.ar(freq = freq2, a = 1.0, b = 0.0, xi = xi)
val mix = Mix(lFDNoise3, cuspN))
val sig = Limiter.ar(LeakDC.ar(mix.clip2(1.0)) * 0.5)
There is a peculiar phenomenon with "strict" repetitive electronic sounds that I noticed a few times. When listening to these sounds for prolonged durations (a minute or two suffice) via headphones, then turning them off, all your "natural" acoustic environment has a strange modulation to it. E.g. with the following sound, the acoustic "after image" I have is some "bubbly" or "fft-ish" modulation of my environment. Guess it's a neural-physiological thing:
https://open.audio/library/tracks/42838/ (try with loop)
About this account
I'm a sound and digital artist, interested in installation and intermedia, improvisation and electronic/electroacoustic music. I develop a bunch of open source software.
I keep only one account, so the toots are a mix of sound/art focused things, random thoughts, and few rants (CW'd, and you don't need to share my opinion). I'm friendly/respectful 🍍 + aim to keep an open mind.
Account is locked (allow time to review), because I don't want bots and nazis to follow me. Thx 🌈
The info is that James McCartney will be talking about his new language project which "draws on ideas from APL", code is compiled and stored in database (why that sounds familiar LOL?), but no pre-compiled UGens but live DSP code. Exciting!
Back to working with the genetic synth-def programming in #Negatum ; I will try to integrate that soon into mainline Mellite. Now trying to automatically reduce the redundant graphs (replace constants, replace duplicate UGen signals). Here is a nice one:
(should I use mp3 directly now in mastodon or stick to funkwhale?)
I learned a word last week: Petrichor - it's the amazing type of smell you get when the streets are dusty and it just begins to rain
Sound Artist, Composer, Researcher
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