Ray McClure and Casey McGonagle

Visual Voice Virtual Reality
VVVR (Visual Voice Virtual Reality) is a voice controlled tool for self exploration and well being. It combines virtual reality and audio effects to temporarily free the mind from language and cultivate awareness of the present moment. In VVVR two people sit across from one another and are represented in the virtual space with corresponding avatars. When either person makes sound it is translated into glowing geometry that flows from their mouth. The vocal audio is harmonically processed and fed back through the headphones.

Ying Yu

airmorphologies

Humans, as social beings, use language to communicate. The human voice, as a biometric authentication mechanism, is constantly used throughout daily life applications, such as speech recognition, speaker verification, and so on. Currently, language-based communications mainly fall into two categories: voice over air, and voice over internet protocol. Can we add a new dimension for voice communication such as a wearable material? If so, how could we shape matter in order to physicalize vocal information?

airMorphologiesis an interactive installation that uses soft materials, such as silicon, fabric, and air, to realize these physicalizations. The human voice controls the actuation of a soft wearable structure, changing the appearance of the human body.

Marianthi Papalexandri-Alexandri

Untitled VI
für drei Männerstimmen und Klangobjekte
In Untitled VI the vocalists are singing with modified resonant tubes and motors the Greek word “akousate” that means to listen attentively. What happens when voice and singing are mediated and controlled with motor driven resonant bodies? How does this act of singing change the physical and imagined presence of the voice? How does it affect the process of intensive listening to one’s own voice, to one another, and to external sounds? Exploring these questions, Papalexandri encourages hearing the resonances between different voices and bodies.
text: Dr. Zeynep Bulut

Cod.Act

振り子の合唱団
Pendulum Choir

Pendulum Choir is an original choral piece for 9 A Cappella voices and 18 hydraulic jacks. The choir stands on tilting platforms, constituting a living, sonorous body. That body expresses itself through various physical states. Its plasticity varies at the mercy of its sonority. It varies between abstract sounds, repetitive sounds, and lyrical or narrative sounds. The bodies of the singers and their voices play with and against gravity. They brush and avoid each other creating subtle vocal polyphonies. Or, supported by electronic sounds, they break their cohesion and burst into lyrical flight or fold up into an obsessional and dark ritual. The organ travels from life to death in a robotic allegory where the technological complexity and the lyricism of the moving bodies combine into a work with Promethean accents.

PHILIP GLASS

فيليب الزجاج
菲利普·格拉斯
פיליפ גלאס
フィリップ·グラス
필립 글래스
Филип Гласс
Koyaanisqatsi Godfrey Reggio

The film consists primarily of slow motion and time-lapse footage of cities and many natural landscapes across the United States. The visual tone poem contains neither dialogue nor a vocalized narration: its tone is set by the juxtaposition of images and music. Reggio explains the lack of dialogue by stating “it’s not for lack of love of the language that these films have no words. It’s because, from my point of view, our language is in a state of vast humiliation. It no longer describes the world in which we live.” In the Hopi language, the word Koyaanisqatsi means “unbalanced life”.

Joe Diebes

Oyster
oyster is a new opera (in progress) about a surprising precursor to last.fm and Pandora. In the 1960’s, renowned American folklorist Alan Lomax developed a wildly ambitious system called cantometrics for coding and analyzing folk songs from every corner of the world. The opera is structured as a public lecture of Alan Lomax’s folk song analysis as demonstrated by four singers, who embody the IBM360 mainframe computer used to correlate his vast amounts of data. Working with the BOTCH vocal ensemble, I am reconstructing the folksong styles from regions as disparate as Bali, West Africa, and Central America using only the data from Lomax’s study. Things like melodic complexity, vocal blend, and nasality, are adjusted by the singers as they circumnavigate the globe. This data vocalization is further mediated by the ensemble’s distinctive extended vocal techniques, and is accompanied by a film narrative that unravels connections between cybernetics, surrealism and ethnography. The film also features a wide range of material drawn from the Alan Lomax archive at The Library of Congress.
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oyster will be performed by BOTCH ensemble: Christina Campanella, Michael Chinworth, John Rose, and Saori Tsukada

panGenerator

SPIRALALALA
The audience has been invited to experiment with various spatialised sound effects applied to their vocalisations that were synchronised with the movement of the balls falling along 35m long track. The interaction starts with insertion of the ball into the microphone. Then recording starts and after the recorded sound stops the ball is released to slide down along the track.

Evan Ifekoya

Ritual Without Belief
Ifekoya ha concebido el espacio de Gasworks como un lugar de acumulación en el que se cruzan diversas posiciones y proposiciones a partir de una gran instalación de sonido que explora cómo crear las condiciones para la polivocalidad. La artista describe su trabajo sonoro como “un algoritmo queer negro a través de generaciones, ubicaciones y afiliaciones políticas”.more

EUNJOO SHIN

Vocal Trio
FILE FESTIVAL
“Vocal Trio,” which consists of three musical instruments, transforms the voice of a singer or a speaker received through a mike into a sound of each musical instrument while maintaining the same rhythm and musical scale. A pipe horn, which looks like a long trumpet or pipe, makes a deep and low-tone horn sound. A water bell, which looks like a water drop, makes a clear bell-sound, and a leaf flute, which looks like a leaf, makes a reed pipe sound. The spectator’s voice is transformed into the sound of a musical instrument by means of a microcontroller chip. The microcontroller chip of each musical instrument makes a sampling of his or her voice’s frequency. A sampling of the voice made through frequency data is sent to midi chips, which transform it into the sound of a particular musical instrument and the sound is released through the speakers.

FILE LED SHOW 2013

1024 ARCHITECTURE

FILE FESTIVAL

The project consists of a podium with a microphone installed on the sidewalk of the Paulista Avenue, where people could interact through the vocal conversion into musical notes. The 1024 architecture group elaborated a brand new algorithm for this project, which changes the graphic behaviors by means of sounds. Depending on the note sung, several parameters of the program, such as colors, shapes and density.

PHILIP GLASS

فيليب الزجاج
菲利普·格拉斯
פיליפ גלאס
フィリップ·グラス
필립 글래스
ФИЛИП ГЛАСС
Liquid Days
forgetting
lyrics by Laurie Anderson, angelic vocals from Linda Ronstadt , Roches, and Kronos String Quartet

RÚRÍ AND JÓHANN JÓHANNSSON

Vocal-IV

YAMAHA

robotVOCALOID

MEREDITH MONK

מרדיית המונק
Мередит Монк
ميريديث مونك
16mm Earrings
Meredith Monk’s groundbreaking performance work, 16 Millimeter Earrings, was a seamless integration of live performance, objects, film, vocal and instrumental music, movement, text, recorded sound, and light. It marked several, notable “firsts” for Monk: thinking of sound as an overall environment, working with her voice and visual images as primary elements, creating a full sound score, and incorporating film into a live work. The piece was a breakthrough in her quest to discover a visual/sonic/poetic performance form that could weave together multiple modes of perception. Responding to the original performances in 1966, art critic John Perrault wrote in the Village Voice, “Images, movement, film, words and sounds in Miss Monk’s new work are so skillfully interwoven and inter-related that no description can substitute for the kind of magic that she has managed to produce. The whole stage is her canvas and she uses every bit of it. 16 Millimeter Earrings has to do with surfaces, all seen as if through glass or reflected in a mirror. The surface of the human body. The surface of the erotic and the emotional. The radical juxtaposition of apparently contradictory surfaces- film, flesh, colors, and sound- becomes a witty method of deliberation and deliverance, and of complete art.”
video

RURI

Water Vocal