Celebrating that Xenakis would be 90 this year, Ny Musikk (New Music) and NOTAM in collaboration with Oslo Kino and Centre Iannis Xenakis (CIX) organize a Xenakis festival May 2-5 in Oslo, including concerts, film screenings, discussions and workshops.
As I am anyway in Oslo at the time for the Art.On.Wires festival, I an looking forward to be able to attend the evening program.
Figure 1. Analysis using a matrix-based decoder.
Figure 1. Analysis using a matrix-based decoder.
I am gradually exploring how to work on B-format files. Here’s some screenshots of patches I’ve whipped up to study the effect of processing the sound files before or after the decoding. If it is possible to do processing prior to decoding, it has a number of advantages. I’ll only need to process four channels, rather than the probably larger number of channels determined by the loudspeaker setup. Also the processed sound will be agnostic of speaker setup, making the processed files more flexible.
Figure 1 use the ICST ambidecode~ object. This is a matrix-based and hence linear decoder. Not surprisingly we see that there are no phase differences when comparing signals that were processed prior to and after decoding.
The second screenshot use the Harpex plugin instead. This is not a linear decoder:
A physical approach which reconstructs the recorded sound field is possible, but considering the volume of space occupied by even a single listener’s head, it can only work for frequencies below 800 Hz in the best case. So a psychoacoustical approach must be taken instead, where the loudspeaker feeds are designed to produce a sound field which, while different from the original soundfield, reconstructs the perceived auditory scene over a larger region of space. The design of a decoder therefore requires not only a model of the wave propagation from loudspeaker to listener, but also a psychoacoustical model.
Harpex is a new B-format processing algorithm that takes into account both the non-linear, parametric nature of spatial hearing and our uncanny ability to resolve simultaneous sounds.
As can be seen in Figure 2 there are phase differences between the signals resulting from a pre- or post-decoding processing. Now the next interesting question will be: What sounds the best, processing before or after the decoding?
Over the coming weeks and months I hope that I’ll gradually be able to do similar studies of other common (and less common) effects, in order to build up a versatile toolset of FX processes for ambisonic sound design and mixing.
Art.On.Wires is an annual event in Oslo for researchers, makers, creative professionals, artists, and practitioneers. For one week in May they create a temporary laboratory to explore and construct new technology for artistic expression in a relaxed and innovative atmosphere.
This years festival will include several workshops relating to Jamoma. I will offer two workshops: An introduction to using Jamoma, and a workshop on surround sound, while Alexander Refsum Jensenius from fourMs lab at University of Oslo will lead a workshop on motion capturing.
Please check out the Art.On.Wires web site for further information and tickets.
Coming Sunday I will be performing at MUSA in Aberdeen as part of the Three Cities Project.
This event is part of an ongoing artistic and cultural exchange between the three cities of Aberdeen, Bergen and St Peters-burg. The evening will showcase a rich variety of new sound and audiovisual works by Ross Whyte, Pete Stollery, Trond Lossius and Suk-Jun Kim as well as work by communities from each of the cities.
Last Friday I did a performance at the MUU FOR EARS 9 record launch at Lydgalleriet here in Bergen. The gig came up at short notice and I simply didn’t get the time to post about it ahead of the performance.
Friday April 13 Trond Lossius and Joonas Siren will play short concerts from 2000.
The new CD Compilation “MUU FOR EARS 9″ explores the sound art and experimental music scenes in Finland and Norway. The compilation contains a wide range of material, including field recordings, sound installations, experimental musical improvisations, remix and sample compositions and live recordings.
The artists on MUU FOR EARS 9 are Child Of Klang, Hemmelig Tempo, Trond Lossius and Marieke Verbiesen from Norway, with Mikko Maasalo, Aleksi Myllykoski/Urban Dark Ensemble, Antti Nykyri and Joonas Siren/Younghusband from Finland.
MUU FOR EARS Event at Lydgalleriet in Bergen offers a unique opportunity to experience new innovative music and sound art. During the event following artists from the CD compilation will perform: Trond Lossius and Joonas Siren.
Trond Lossius is a sound and installation artist based in Bergen. His work is a continuous exploration of sound in space. He is educated in geophysics, music composition and sound art, and combines artistic practice and research with software development.
Joonas Siren is a Helsinki-based aural/visual artist. He often works with sound and uses it in many different ways and contexts. His visual works are often located within the fields of digital art, installation and site-specific art.
The event is organised by Artists’ Association MUU in cooperation with Lydgalleriet in Bergen.
MUU is an artist run, Finnish interdisciplinary artist association, founded in 1987 to represent and promote new and experimental forms of art. The aims of Muu are to develop the collaboration and interchange of artists working within different fields, to produce projects, events, seminars and exhibitions of the Muu (”the Other”) art fields and to arouse cultural political discussion.