City Synth transforms the city of Eugene into a musical instrument. By transmitting video feeds from multiple locations to a central location downtown that interprets movement and color into sound, the cityscape becomes a soundscape. The project offers the community a playful way to learn about and interact with the gigabit network in downtown Eugene. The project was a month long installation housed in downtown Eugene, OR. Project partners include South Eugene Robotics Team (SERT) and XS Media. The project was funded by a Mozilla Gigabit Community Fund Grant.
Artists involved in the project:
Jon Bellona, sound design, coding, project lead
John Park, coding and visual design
Jeremy Schropp, interface design and construction
Human-powered computer music. No tapes. No spacebar playback. Just body movements turned musical mutants.
DistanceX is a new digital musical instrument I’ve developed for live performance, specifically tailored for Kyma. The input controller consists of a hacked Gametrak, cut in half to leave a single 3D joystick fader, which is then strapped to the right arm. A Nintendo Wiimote provides additional button and accelerometer controls. In Study 1 (TCF4), a single 6.928 second audio sample serves as the material, a mid-range frequency oscillation that is controlled directly by the performer. Both Gametrak and Wiimote control analysis file parameters, and these controls shift slightly depending on varying control states. The performer has full command over each control state. The result is a choreographic relationship between performer and sound, a movement-based sonic composition wound within the boundaries of his own parametric kinesphere.
The performance was recorded at Virginia Tech on May 2, 2017. Thank you to Tanner Upthegrove for running sound and Charles Nichols for organizing the concert.
Precipitation 3 is one of a series of musical compositions written for 26 clock chimes as part of the sound art installation, Aqua•litative. With my Precipitation series, I treat the electromechanical structure as musical instrument, navigating through sound with the syntactical construction of code. Compositions played by the sculpture evoke precipitation data of California weather stations by cycling through bits of its data. These cycles create emergent sonic patterns in a continuously evolving play between density and rhythm. Movement flows as collapsing waves, additively striking a cybernetic balance between natural order and mechanic motion.
Aqua•litative is a kinetic installation that renders multiple data sets of California’s water history into a physical experience. The work correlates natural factors contributing to California’s water shortages, outlining the serpentine narrative of water through the translation of data into kinetic movement and acoustic sound.