nakatano

The whole soundtrack was realized using Max/MSP/Jitter/Max for Live.

entreici

ENTRE/ICI

Pandelis Diamantides

A digital granary of processed instrumental and electronic sounds, field recordings, rock formations, plants, animals and swarms unfolds a narrative of becoming.

The prime material of the work consists of deconstructed human voices, physical instruments and field recordings dissolved in an imagery of photographs, videos and processed visual material collected around the Troodos mountain range on the island of Cyprus.

I have worked with custom software to algorithmically process the source material, generatively creating configurations of visuals and sound; a collaboration between human and algorithm, the work constitutes an audiovisual 'narrative of becoming' and questions the relationship between the digital and the organic. 

Software developed in MaxMSP & Jitter. Visuals are rendered in 4K using an Atomos device. Sound is edited in Ableton Live. Go Back to Hiding in the Shadows is performed live using Max for Live.

More info on Technique & Material. Artworks available on Sedition.

A digital granary of processed instrumental and electronic sounds, field recordings, rock formations, plants, animals and swarms unfolds a n

go-back-to-hiding-in-the-shadows

Go Back to Hiding in the Shadows Collection of Audiovisual Works

thierry@thierryfourni

The installation is based on 24 IR presence sensors installed on microphone stands, triggering 24 sound tracks of orchestra groups during their tuning, that were recorded with the Lille National Symphony Orchestra. The communication between the sensors and the Max program is managed via a network and an Arduino. All the sounds are looped, randomly selected for each of them within a list. They are spatialized within an apparatus of 12 Elipson speakers laying on the ground, allowing each sound to appear very exactly in front of each microphone stand. 

A spatialization interface created for the project allowed us to determinate the microphone stands and speakers set-up according to scenographic criteria, and manage the resulting spatialization and filtering parameters in real time. The sensors and their network and communication protocol were programmed by Alexandre Saunier. The sound and spatialization software was programmed by Mathieu Chamagne.

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