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Which clippings match 'Acoustics' keyword pg.1 of 1
17 FEBRUARY 2017

Acoustic signatures used in the sound design for Arrival (2016)

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TAGS

2016 • acoustic signature • acoustics • Alan Murray • alien beings • alien vocals • Arrival (2016) • bagpipe • Bernard Gariepy Strobl • body physicality • Claire Pochon • Claude La Haye • Daniel Capeille • Dave Whitehead • Denis Villeneuve • extraterrestrial life • field recording • Gregory Vincent • heptapod vocals • kokako • Luc Raymond • Mathieu Beaudin • Michelle Child • Mimi Allard • Nicholas Becker • Nicolas Becker • Niels Barletta • Olivier Calvert • Olivier Guillaume • Patrick Rioux • physical body • physicality • Pierre-Jules Audet • rice paper • Simon Girard • sound design • sound designer • Stan Sakellaropoulos • Steven Ghouti • Sylvain Bellemare • tui • Valery Dufort-Boucher • White Noise Ltd

CONTRIBUTOR

Simon Perkins
15 MARCH 2014

Organ of Corti (2010-11) an experimental acoustical intervention

"Organ of Corti is an experimental instrument that recycles noise from the environment. It does not make any sound of its own, but rather it attempts to draw our attention to the sounds already present by framing them in a new way. Named after the organ of hearing in the inner ear, it uses the acoustic technology of sonic crystals to accentuate and attenuate frequencies within the broad range of sound present in road traffic or falling water. By recycling surplus sounds from our environment, we hope to challenge expectations of what might constitute a piece of music by adding nothing to the existing soundscape but rather offering new ways of listening to what is already there. This instrument is a device that, for us, rematerializes our experience of sound, inviting us to 'listen to ourselves listen'."

(Frances Crow and David Prior)

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TAGS

2011 • acoustic properties • acoustical experimentacousticsambient soundarchitectural conjecture • architectural interventions • architectural speculation • David Prior • design research project • experimental acoustical intervention • experimental music • experimental music composition • experimental musical instrumentexperimental soundexploratory projects • Frances Crow • interdisciplinary investigationlandscape futures • Liminal (partnership) • listening • music production • noisenoise pollutionorgan • Organ of Corti • persistence of sound • PRS New Music Award • public sound art • research and consultancy • site-specific interventionssonic artssonic environment • sound and music environments for exhibition • sound artsound artistsound designsound experimentssound performancesound sculpture • sound walk • soundscape • spatialised sound installations • spatialised soundscapes • speculative researchUKurban experienceurban landscapeurban speculationuser paths

CONTRIBUTOR

Simon Perkins
13 DECEMBER 2013

No Reverb Added: An Acoustical Experiment in Drumming

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TAGS

acoustical experimentacousticsambient sound • audio editing • audio reflection • beatcut-updiegetic sounddrum beatdrum kit • drum pattern • drum solodrummingdrumsechoecho uniteditingenclosed spaceenvironment • Julien Audigier • live contextlocationlocation-specificmusic • Natal Drums • natural environmenton locationpersistence of soundplacere-edit • reverb • reverberation • reverberation time • sequence designsonic environmentsound • sound absorption • sound decaysound experimentssound performance • Vincent Rouffiac

CONTRIBUTOR

Simon Perkins
04 JUNE 2013

The Senster: pioneering cybernetic sculpture

"The Senster, commissioned by the electronics giant, Philips, for their permanent showplace, the Evoluon, in Eindhoven, was a much bigger and more ambitious piece of work than SAM. In addition to responding to people's voices, the Senster also responded to their movements, which it detected by means of radar, and was (as far as I know) the first robotic sculpture to be controlled by a computer. It was unveiled in 1970 and remained on permanent show until 1974 when it was dismantled.

Its size – it was over 15 feet (4 m) long and could reach as high into the air – made the use of aluminium castings inappropriate, so it was welded out of steel tubing, with the castings employed only in the more intricate microphone positioning mechanism. Its behaviour, controlled by a computer, was much more subtle than SAM's but still fairly simple. The microphones would locate the direction of any predominant sound and home in on it, rather like SAM but much more efficiently, and the rest of the structure would follow them in stages if the sound persisted. Sudden movements or loud noises would make it shy away. The complicated acoustics of the hall and the completely unpredictable behaviour of the public made the Senster's movements seem a lot more sophisticated than they actually were. It soon became obvious that it was that behaviour and not anything in its appearance which was responsble for the impact which the Senster undoubtedly had on the audience."

(Aleksandar Zivanovic)

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TAGS

1970acousticsart + technologyartificial intelligenceartificial life • audio activated • audio controlledautomata • computer controlled • computer historycomputer sculpturecybernetic art • cybernetic sculpture • Cybernetic Serendipitycybernetics • direction detection • Edward Ihnatowicz • Eindhoven • futuristic machineshanging mobileinteractive artinteractive toykinetic artkinetic sculpturemechanical beingmechanismmovementPhilipsradarrobotroboticrobotic sculpturerobotics • SAM (Sound Activated Mobile) • sculptureshow (spectacle)simulation • sound activated • sound sculpturespeculative design • The Senster • wonderment

CONTRIBUTOR

Simon Perkins
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