sig.term is the new audiovisual live performance project by Julien Bayle, based on data transmissions, interferences and physics of sound
sonic particles 2.0 is a real-time sonification of urban environmental data.
Instruments from the Augmented Gamelan ensemble presented as an interactive installation, using rule-based part generation, synthesis, and light control in Max.
Even in times of modern warfare, personal security is a subject of each personality.
This algorithm focuses on when to generate notes, based on analyses of syncopation and repetition within Live MIDI clips.
Contemporary Music, Hörspiel
Yohkoh means ray of sunshine in Japanese.
La mélodie du bonheur is the musicalization of the emotions of our society.
"Chasing LIFE on MAX" goals are:
WebernUhrWerk (translated: Webern's Clockwork) was composed as an open-air sound installation for the 60th anniversary of Webern's death which took place on 15 September 2005 on the market place at Mittersill.
TEXT TONE is an interactive mobile phone based sound sculpture created out of broken and obsolete telephone technology.
This is an extension of Project 894, in which a 2D landscape was used to control morphing between MIDI clips in Ableton Live. Here color and video are instead used to provide the UI for morphing.
The room is pitch black and filled with the hollow sound of a machine breathing.
One of Harry Bertoia's "sonambient" sound sculptures sits on display at Bowling Green State University.
Ableton Live lets you trigger this-versus-that MIDI clip.
Srđan Dedić: Time Scales-Pitch Scales Algorithmic composition for synthesizers with graphic score The purpose of this multimedia work is the projection on a large canvas as it premiered on September 30th, 2014, in Zagreb, Croatia.
Unlike many random generators, Compositor Max For Live gives predictable results with algorithmic approach.
I was first introduced to Max/MSP in September 2013.
This is an object for Max that implements variable order Markov models for generating melodies, beats or other musical data.
The advent of the computer has provided composers with the ability to produce absolutely any sonic material within the human range of hearing.