Audio MP3


Computer software analyzes the 12 heartbeats of the members of The Heart Chamber Orchestra in real time with various algorithms turning the data into a living musical score. While the musicians are playing, their heartbeats influence and change the composition and vice versa. Computer graphics are also generated from the same heart data that add a narrative and visual layer to the performance, providing the audience with a multi-layered lateral experience. The heartbeats of the musicians and their relation to each other become audible and visible in a transformative way.

(thanks to The Heart Chamber Orchestra)

huff a colorcast genie


Ocean of Light: Surface is a responsive virtual eco-system from Squidsoup that occupies a physical space. It uses a room-sized 3D grid of individually addressable points of light to simulate movement in this physical space. The space is dominated by a surface which is a boundary between two fluid virtual materials. The materials are affected by sound. Nearby noises create waves that ripple across the surface. The surface is unstable. The turbulence caused by noise also triggers luminous blasts.
Two videos follow. The second one I decided to shoot from underneath the installation.




Á Rafsegulsvið Jarðar


For the installation Earth 2010, Finnbogi Pétursson creates an interference wave measuring 7.8Hz in a pool of water. The tone, which can be heard and physically detected, is visible on the surface of the water in the form of waves. The frequency of 7.8 hertz corresponds to the physical phenomenon known as the Schumann Resonance, which is the frequency of the Earth’s electromagnetic field. For Pétursson, this frequency represents the primal pulse of our planet. The first video is Pétursson’s own professional video. The second is my fuzzy hand-held that zooms in on the reflected wave patterns.



(thanks to Finnbogi Pétursson)

Return top

biz at stas...

Rod Stasick is a composer in the broad sense of the term. He is interested in the creation of event-systems for various situations. Template scores are often created using a combination of graphic signs and symbols that usually suggests a syncretism of styles and methods of performance. Using these methods, he produces works in diverse disciplines (audio, video, text, mail art, conceptualism, etc.) utilizing assorted influences: Eastern Philosophy, Fluxus, The Situationist International, Oulipo, Semiotics, Discrete Event-Systems, random numbers to revamp Zen planning and forms of Information Theory.

  • Psychoacoustics
  • Generative Music
  • Composition
  • Sound Diffusion
  • Interactive Art
  • Installation
  • Sound Design
  • Radiophonic Art
  • Field Recording
  • Electroacoustics
  • Sound Art
  • Performance
  • Sound & Image

  • His studies with Karlheinz Stockhausen (2001-2007) have renewed his interest in various aspects of compositional integration.

    Extensive number of performances
    of experimental works.

    Archivist for the Jerry Hunt Estate

    Percussion studies:

  • Steve McCall
  • Dennis Charles
  • Charles Hammond
  • Gary Burton

  • Eternally grateful to these folks who had, in person, taken the time to encourage me in my compositional work (chronologically listed):

  • Alan Watts
  • John Cage
  • Joseph Beuys
  • Jerry Hunt
  • Alvin Lucier
  • Robert Rauschenberg
  • Merce Cunningham
  • Buckminster Fuller
  • Nam June Paik
  • Charlotte Moorman
  • Anthony Braxton
  • David Tudor
  • Earle Brown
  • Pauline Oliveros
  • Ben Patterson
  • James Tenney
  • Christian Wolff
  • Karlheinz Stockhausen