ADAD
This installation is a mechanism that serves as a kind of interface between planetary processes and an audience. It consists of 12 transparent piezocrystals, grown especially for the project, and 12 motorized hammers that strike them. The installation is connected to the internet. Its core algorithm is controlled by data from a meteorological site which shows lightning strikes in real time (on average, 10~200 lightning flashes occur on the planet every minute). Each time the installation receives information about a lightning strike, a hammer strikes one of the crystals, resulting in a small electrical discharge produced by the crystal under mechanical stress. Each of these charges activates a powerful lamp and sound effects.

beyond pages

The data projector loads images of a leather bound tome onto a tablet which a light pen activates, animating the objects named in it – stone, apple, door, light, writing. The soundscore immaculately emulates the motion of each against paper, save for the syllabic glyphs of Japanese script, for which a voice pronounces the selected syllable. Stone and apple roll and drag across the page, light illuminates a paper-shaded desklamp; door opens a video door in front of where you read, a naked infant romping, lifesize and laughing, in.

Piano
Iwai’s Piano — As Image Media (1995), a later sound work, is related to these early interactive experiments. Here the user, seated at the piano, triggers a flow of images that depress the piano’s keys; a consequence of this action releases yet another flight of images. The resulting interactive installation synthesizes two different aesthetics: sounds (simple melodies), images and a mechanical object (the piano) with digital media. A projected score and computer-generated imagery transform the piano into image media, hence the work’s name. Sound is the triumphant component in these works, for it activates and shapes the visual work. But the visual aspect of Iwai’s installations is lovely. His interactive systems appeal to the creative impulses of adults and children alike with their celebration of animation, computer potential, and the joy of sound.07

Bildverarbeitungsmaschine
Björn Schülke ist von den kinetischen Skulpturen des deutschen Klangkünstlers Peter Vogel und Jean Tinguely beeinflusst und schafft komplexe vom Betrachter aktivierte Maschinen, die Bewegung, Überwachung und Klang kombinieren.

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Björn Schülke é influenciado pelas esculturas cinéticas dos artistas sonoros alemães Peter Vogel e Jean Tinguely e cria máquinas complexas ativadas pelo espectador que combinam movimento, vigilância e som.

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Björn Schülke is influenced by the kinetic sculptures of the German sound artists Peter Vogel and Jean Tinguely and creates complex machines activated by the viewer that combine movement, surveillance and sound.

Encapsulated environmental system: Paludarium YASUTOSHI
This machine is fully equipped with a mist machine as if wrapping plants in a fog from both sides and drip feed-water system which can be activated depending on the situation in order to maintain the condition of a plant and control inside temperature and humidity. Also the cylindrical shape can fully capture the natural light by 365°angles from glasses, and it can correspond to plant growth by having the series’ largest scale of height. Fans on the ceiling play a role of wind, and a plant can listen music from the waterproofed speakers. The machine takes in essential elements – rain, wind, light and sound – by artificial means and completes a small world where its ecological cycle is condensed. It enables us to admire the beauty of the plants by not being affected by external environment.

Kinematope
Kinematope is specific twice over. First, for being formulated as a response to the perceptual qualities and inner structure of the place it activates. Second, its kinematic nature is directly connected to the function of the train station itself: transit, transport, motion. Kinematope uses ephemeral and intangible materials, projected light and sound, to set the space in motion. It makes use of elements from the cinema apparatus to generate a spatial film. It is a direct filmic experience that omits the mediation of the camera, transporting the observer into a virtual space-time and maintaining at the same time the real, physical bonds of the body with its environment.

Tenori-On
Media artist Toshio Iwai and and Yu Nishibori of the Music and Human Interface Group, Yamaha Center for Advanced Sound Technology, have collaborated to design a new digital musical instrument for the 21st+century, TENORI-ON. A 16×16 matrix of LED switches allows everyone to play music intuitively, creating a “visible music” interface. It consists of a hand-held screen with a grid of LED switches, any of which can be activated in a number of ways to create an evolving musical soundscape. The LED switches are held within a magnesium frame, which has two built-in speakers located on the top of frame, as well as a dial and buttons that control the type of sound and beats per minute produced.

The Immortal
A number of life-support machines are connected to each other, circulating liquids and air in attempt to mimic a biological structure.
The Immortal investigates human dependence on electronics, the desire to make machines replicate organisms and our perception of anatomy as reflected by biomedical engineering.
A web of tubes and electric cords are interwoven in closed circuits through a Heart-Lung Machine, Dialysis Machine, an Infant Incubator, a Mechanical Ventilator and an Intraoperative Cell Salvage Machine. The organ replacement machines operate in orchestrated loops, keeping each other alive through circulation of electrical impulses, oxygen and artificial blood.
Salted water acts as blood replacement: throughout the artificial circulatory system minerals are added and filtered out again, the blood gets oxygenated via contact with the oxygen cycle, and an ECG device monitors the system’s heartbeat. As the fluid pumps around the room in a meditative pulse, the sound of mechanical breath and slow humming of motors resonates in the body through a comforting yet disquieting soundscape.Life support machines are extraordinary devices; computers designed to activate our bodies when anatomy fails, hidden away in hospital wards. Although they are designed as the ultimate utilitarian appliances, they are extremely meaningful and carry a complex social, cultural and ethical subtext. While life prolonging technologies are invented as emergency measures to combat or delay death, my interest lies in considering these devices as a human enhancement strategy.This work is a continuation of my investigation of the patient as a cyborg, questioning the relationship between medicine and techno- fantasies about mechanical bodies, hyper abilities and posthumanism.

Samplingplong
File Festival

Randomly selected, acoustically usable finds (electronic junk, relays, plastic toys,compressed air valves, pneumatically operated components) are combined with cables and tubes. Via a device controlled by computer, they are turned into interactive instruments. An improvised ensemble evolves, from which – per mouse-over and mouse-click -short miniature compositions of dense rhythmic clicks, hisses, whirs, hums and crackles can be elicited. A tapestry of sound bursts forth from the floral-like web of cables and tubes. The installation can be used by the projected mouse-cursor: rolling over the improvised instruments causes small sound events. Activating the installation by rolling over its parts enables the user to play spontaneous improvisations. Clicking these objects starts short programs of loop-like compositions. Small “techno-compositions en miniature”, rhythmic patterns of analog (or real) sounds; a physical low-tech simulation of electronic, digital music, perhaps an ironic comment on interactivity.

FREQUENCIES (A)
Sound performance combining the sound of mechanically triggered tuning forks with pure digital soundwaves. The performer is triggering sequences from the computer, activating solenoides that hits the tuning forks with high precision. Streams of light burst in synchronicity with the forks, creating a not quite minimal sound and light composition.

Soundform No.1
“Soundform No.1” is a minimalistic soundscape and kinetic art installation that transforms heat energy into a poetically evolving, spatiotemporal composition. All the sound in this installation is created thermo acoustically by activating heating elements inside quartz glass tubes hung in the space. As the glass warms, a nickel-titanium spring reacts instantly, pulling the cylinder upright. At the correct angle, airflow becomes unrestricted, and a thermo acoustic phenomenon, known as a Rijke effect (named for the professor who discovered the phenomenon in 1859), creates an audible tone.

Vision Machine #8
Influenced by German sound artist Peter Vogel and Jean Tinguely’s kinetic sculptures , Björn Schülke creates complex viewer-activated machines that combine movement, surveillance, and sound.

尤里铃木
يوري سوزوكي
Garden of Russolo
‘Garden of Russolo’ is an interactive sound installation by Yuri Suzuki allowing visitors to have a sonic experience using their own voice. The auditory installation, shown at the V&A during the 2013 London design festival, is based on Suzuki’s previous series of sound-activated work ‘white noise machines’. Influenced by futurist painter and composer Luigi Russolo – one of the first experimental composers – the series of phonograph-like wooden boxes compose the exhibition, re-interpreting audio inputs into a muffled atmospheric output, twisting and amplifying the original soundtracks.

CANDESCENCE
Candescence is a performative light sculpture. Acoustically responsive spheres are activated by sound and touch, designed to inhabit and alter perceptions of architectural space. The installation consists of one or multiple spheres, acting in a spatial dialogue with the audience. Human interaction triggers an ascendance of vision, light and sound in a cyclic loop of which the individual is integral.

Эрнесто Клар
Convergenze parallele

Convergenze parallele is an audiovisual installation in which airborne dust particles passing through a beam of light are tracked, visualized, and sonified in realtime by a custom software system. The installation reacts to air movements in the exhibition space, allowing the viewer to see and hear the amplified movement of dust particles. “Convergenze parallele” explores the poetic potential of revealing and transforming the imperceptible. The custom software uses a video camera to capture the activity of dust articles passing through the beam of light. It then analyzes the video signal to track the location of individual dust particles, and reveals each particle’s trajectory in the image-processed projection. The physical particles draw traces of their otherwise invisible motion on the digital screen. At random intervals, the software artificially saturates the system by briefly activating the fan-a cloud of dust fills the beam of light and creates dense and stunning patterns of particle trajectories and sound.

File Festival

Cliff Hanger

Jeff Shore and Jon Fisher started their collaborative practice in 2002. Trained as a visual artist, Jeff Shore develops the visible sculptures and mechanisms, while Jon Fisher builds the electronics, writes the software, and creates the original soundtracks; for this he uses both digital and analog audio sources. The result of their collaboration is a series of kinetic devices and installations that generate live animated video and musical compositions. Similar to cinema storytelling, the movement in the pieces relate to the accompanying soundtrack or animation, and similar to a theater of automata, the pieces create precise and captivating sequential events. Bridging high and low-tech devices and instruments, the collaborative team creates mechanically activated moments of wonder, explores the relationship between automatism and chance, and comments on the impact of technology interfaces in our lives.

Stressato – Samurai Serpents
File Festival
Samurai Serpents” resembles Jean-Pierre Gauthier’s drawing machines (such as Marqueurs d’incertitude). Like many of the artist’s creations, the work emphasizes graphic quality and the movement of a line in space. On a large panel covered by an “action painting” (that is reminiscent of the textured and dark surfaces of a Borduas, Soulages or Kline), which looks like a (drawing?) table, cables are activated by an approaching viewer and begin to wiggle all over the place, twisting and intertwining in a surprising way – as though they were actually reacting to a threat. In moving about in this way, these silver lines on a black ground continuously change the “painting’s” composition and transform it into an animated image. Like a musical improvisation, the line’s disorganized movements create sounds that vary each time.

150 prepared dc-motors, 270kg wood, 210m string wire

The sounds of 150 mechanical seesaws striking the floor of a former church in Austria reverberate around its nave in this installation by Swiss artist Zimoun (+ movie).Named after the materials used in its creation, Zimoun’s latest installation is titled: 150 prepared dc-motors, 270kg wood, 210m string wire.The artist used the wood to build 150 simple seesaws, made from long batons that pivot vertically on short upright lengths.Orientated in different directions, these are scattered around the nave and transepts of Klangraum Krems – a Gothic church converted into an events space in the Austrian town of Krems an der Donau.Each seesaw incorporates a motor that powers a thin metal arm, which is attached to one end of the rocking wooden element by piece of wire.When the motor is activated the arm flicks back, pulling the string taught and causing the end of the wood to strike the ground.“Over a simple mechanical system the wooden laths are set in motion and randomly falling back to the floor,” said Zimoun.

Symphony in D Minor

‘Symphony in D Minor’ is an interactive sound and video installation on an epic scale. A thunderstorm contained within a series of large hand cast resin sculptures, each individual form is a unique instrument hanging from the ceiling. Suspended just within reach and activated by touch, the viewer sets the symphony in motion by pushing the forms through the air to trigger the various sound elements of the storm. Sensors relay individual recordings of thunder, lightning, wind and rain with alternating intensities to a full-scale sound system. Acting as both conductor and musician, the viewer creates an evolving composition out of atmospheric sounds, forging an environment that envelops the audience. Housed within each piece are 2 video projectors employing mapping software to evenly fill the surface of the forms. Like giant illuminated pendulums each sculpture radiates video projections that in their dormant state display abstractions of water droplets and slow moving clouds. As the sensors detect movement different ranges initiate more visual elements of the storm. Once activated, the form then shifts to a swirling torrent of clouds.

振り子の合唱団
CYCLOID-E

This piece, which comprises a series of tubular pieces arranged horizontally and activated by a motor, generates a particular sound through its movement, which is unexpectedly harmonic. The artists have taken their interest in the mechanisms that generate wave motions as a starting point to create this sculpture: five metal tubes joined together feature sound sources and sensors that allow them to emit different sounds based on their rotations.
The sculpture runs through a series of rhythmic movements, like a dance, creating, in the words of the artists themselves, “a unique kinetic and polyphonic work, in the likeness of the “Cosmic Ballet” to which the physicist Johannes Kepler refers to in his “Music of the Spheres” in 1619.” This work is part of the reflection on the possible interactions between sound and movement developed by the artists since 1999, using electronic devices and inspired by the aesthetics of industrial machinery.