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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)

True-born, delicious hot stuff


When you’re inside the Fablab of the Ars Electronica Center, you can see, through a glass wall, the Biolab next door where gene technology is demonstrated using synthetically cloned plants. A 3D printer that is used to produce replications through digital fabrication sits conveniently located nearby. Laterally connecting these two areas, we have the folding of proteins in nature meeting the folding of paper and synthetic fabrics in a field of research known as Oribotics. Working in the Futurelab, Matthew Gardiner has furthered his interest in an area where robotics, nature and origami intersect by creating interactive cyber-flowers called “oribots” that are made of a polyester fabric and contain proximity sensors that not only respond to, say, the presence of your hand, but are also networked to each other causing even small interactions to spread sympathetically amongst the other oribots. A blossom opens, causing 1,050 folds to actuate while electro-reflexes do the same to over 50,000 folds across the installation.

After Hours


 (thanks to Matthew Gardiner)




If you’re indoors, even in a tight little apartment, and you have some natural light streaming through your windows, you can grow your own tasty, healthy food by setting up what Britta Riley calls “windowfarms” – vertically growing hydroponic farms that will grow right in your window and won’t use soil that might take up precious living space. It’s a wonderfully compact system that produces healthy food without making a major carbon footprint.

(thanks to Britta Riley)


Elektromagnetische Feldforschungen


My interest in the work of Christina Kubisch goes back a few decades. Ever since the early Italian label recordings, I’ve been steadily adding to my library of audio and text (and in a recent case, DVD) and have frequently found her work to be on the level of people like Alvin Lucier and Maryanne Amacher. Based on the sound art works involving her interest in electromagnetic resonance, she clearly has a fantastic ear for sound. There was a wonderful variety of works that were being offered – pretty much in the following order as you entered and made your way through the Tabakfabrik: her film Wavecatcher; an installation consisting of numbered photos on a wall coupled to an audio guide called Ruhrlandschaften 2010; a multi-channel sound installation, Bewegungen nach entfernten Orten (50 seconds of video appear about 6 minutes into this slideshow) as well as the Electrical Walks tour through various electronically vibrant spaces. We were outfitted with specially created magnetic headphones that made audible the various electromagnetic fields that surrounded us while being personally guided through areas that normally would be closed to the public such as the inside rooms of the on-site power plant or warehouse basement areas as well as normally accessed areas amidst various technology-enhanced artworks on display. We also had the ability to borrow the specialized headphones and create our own walk through the city of Linz. A map was provided suggesting areas of interesting and particularly vibrant sound loci.


During an electrical walk, one of the first things that you notice is the overall change in the psychological dynamic of your physical position in relation to your aural perception. Not only is there no longer the one-to-one correspondence between what you see with what you hear, but the depth of it extends to where the normally unheard is now clearly present while the associated sounds have become just an underlying muffle – if heard at all. For me, this is a beautiful experience because it provides a new perspective that lies almost solely in the realm of what some may call contextual confusion, but what I like to think of as an auditory situational-event. Of the recordings that I’d made, the best was of the single electrical walk through Linz, but I still wish I had made at least one more that had followed a self-devised compositional scheme. This recording seems to present a kind of suite of movements that are not clearly deliniated – which I feel is a positive thing. There becomes a dominant sound that sets a mood as a movement, then slowly, you later find yourself mentally attached to a different kind of movement with a “ground” of sound that can easily lull you into a sense of complacency. For the following audio, you will hear something that lies in-between the above-mentioned compositional scheme and the mapped out version that you see above – something resembling more of an electromagnetic trace of a psychogeographical dérive where a world of security gates, induction loops, WLAN transmitters, ATMs, ticket vending machines, LED tickers, TV screens, and other assorted electrical field generating devices impinge on us in ways that we’ve yet to uncover.

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(thanks to Christina Kubisch for the use of the headphones)

rheo: 5 horizons

Ryoichi Kurokawa‘s audiovisual installation is composed of five flat-panel displays,
vertically positioned, with five-channel sound – each mono channel paired to a display.
The spatial cognition of the sound is enhanced by being wedded to the movement of each image. The behavior of the image indicates the position of the sound source,
it’s sonic direction and drive. It was the winner of this year’s Golden Nica.







(thanks to Ryoichi Kurokawa)

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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