Alvin Sonic Incubator The Alvin Sonic Incubator is a sound sculpture, composed of Plexiglas, speakers, audio electronics, wire, and metal filings. It is a crude neural network in which 8 sound sources build electrical connections to each other, creating a soundscape that evolves independent of human manipulation or computer control.
Steven Lam is a research-based artist working in performance, video, sculpture, net-art, and writing. His recent turn to organizing exhibitions has become an extension of his artistic practice. Lams art work has recently been included in exhibitions at the Bronx Museum of Art, NY; Eyebeam, NY; Art Interactive, MA; Diverseworks, TX; and Tyler School of Art, PA; He is the 2006 recipient of the Lori Ledis Memorial Award as part of Rotundas Curatorial Initiative Program, which fosters emerging curatorial talent.
Ghost Jockey is a computer program that continually generates mashup audio and video. The program repeatedly swaps audio samples from a library, layers and aligns them by tempo and key, and makes decisions on volume levels. The visuals are created by running a Google image search on the name and artist of each sample, cycling through the results, and adjusting the brightness with the volume of each sample track; the result is multi-track layered images that pulse with the music.
Daniel Iglesia creates music and media for humans, computers, and broad interactions of the two. He is especially interested in live manipulations of sound and video, with notions of automation and algorithmic composition, the magnification of inherent chaos in sounds, and real-time media performance with traditional instruments. His works have taken the form of audio and video performance, instrumental works with live electronics, gallery installations, and collaborations with many disciplines such as theater and dance.
From the mid-twentieth century into the twenty-first, artists and musicians manipulated, cracked, and broke audio media technologies to produce novel sounds and performances. Artists and musicians, including John Cage, Nam June Paik, Yasunao Tone, and Oval, pulled apart both playback devices (phonographs and compact disc players) and the recorded media (vinyl records and compact discs) to create an extended sound palette. In Cracked Media, Caleb Kelly explores how the deliberate utilization of the normally undesirable (a crack, a break) has become the site of productive creation. Cracked media, Kelly writes, slides across disciplines, through music, sound, and noise. Cracked media encompasses everything from Cage's silences and indeterminacies, to Paik's often humorous tape works, to the cold and clean sounds of digital glitch in the work of Tone and Oval.
D-Tonate challenges the conventional music video format and allows the viewer to interact with the films selected. rough edits of D-Tonate were sent to musicians worldwide who produced soundtracks for the films. nine films were created and re-interpreted in up to five versions, which can be randomly accessed. 10 tracks [5 exclusive] features internationally acclaimed electronica musicians including kid 606, scanner, ken ishii + funkstörung. Includes over 90 minutes of multiangle films and multi-audio tracks utilising dynamic 3d space over 5:1 audio. d-tonate pushes the boundaries of dvd technology creating a totally unique video experience.
Keri Elmsly is a multimedia artist in the artist collective D-Fuse. She is currently Producer of United Visual Artists a British based collective whose current practice spans permanent architectural installation, live performance, and responsive installation.
Matthias Kispert is a composer and artist working in London. In his work he is interested in the city and the relationship between sound and everyday life, as well as the politics of representation. Since 2004, he has been a member of the media arts collective D-Fuse, with whom he has created a number of videos and installations, as well as live cinema performances. Kispert is also a member of the experimental music group Crowd Formation.
Light Reading(s): Visual Mix (2003) is a single channel video based on a live performance with a hand-held photocell that varies the flow of electric current according to the amount of light falling upon it. The resulting sound translation is sent through an assortment of custom sensors and vintage processors, generating a luminous single channel video projection and droning, delicate or scratchy surround sound.