Digital performance and production
Triggered
Triggered is a music and dance collaboration which examines the nature of electronic and digital interfaces for musical and physical expression. The project employs an innovative use of custom software and sculptural sensor clusters, the data from which is used to control multiple and evolving musical parameters. Algorithms within the software are used to explore relationships and feedback mechanisms between sound and movement. The current outputs of this project include creative exploration using these means to create a significant public performance at Kings Place, London, on Monday 13 June 2011.
The project is a collaboration between Dr Richard Hoadley and Dr Tom Hall (Department of Music and Performing Arts and the Digital Performance Laboratory), with Dr Cheryl Frances-Hoad (Opera North/University of Leeds), Jane Turner (London Metropolitan University) and guest musicians Dr Sam Hayden (University of Durham) and Dr Jonathan Impett (University of East Anglia).
A CoDE-sponsored publicity video can be viewed below.
Contact: Richard Hoadley
Triggered is a music and dance collaboration which examines the nature of electronic and digital interfaces for musical and physical expression. The project employs an innovative use of custom software and sculptural sensor clusters, the data from which is used to control multiple and evolving musical parameters. Algorithms within the software are used to explore relationships and feedback mechanisms between sound and movement. The current outputs of this project include creative exploration using these means to create a significant public performance at Kings Place, London, on Monday 13 June 2011.
The project is a collaboration between Dr Richard Hoadley and Dr Tom Hall (Department of Music and Performing Arts and the Digital Performance Laboratory), with Dr Cheryl Frances-Hoad (Opera North/University of Leeds), Jane Turner (London Metropolitan University) and guest musicians Dr Sam Hayden (University of Durham) and Dr Jonathan Impett (University of East Anglia).
A CoDE-sponsored publicity video can be viewed below.
Contact: Richard Hoadley
Digital Synch
Digital Synch will form a collaborative project between Tim Sidell-Rodríguez (Cambridge School of Art) and Dr Rob Toulson (Department of Computing and Technology) that sets out to construct a digital synching system for analogue film production. This will, in turn, feed in to an ongoing collaboration between Tim Sidell-Rodríguez and Vaughan Pilikian (Unrouwe Films) in the form of The Tar Barrel Run, an investigation into modes of ethnographic documentary filmmaking that explores an annual Guy Fawkes night ritual in Ottery St Mary, Devon. The villagers create a festival atmosphere and as the day progresses, charge through the streets with flaming barrels on their shoulders: first the children; then the women; the teenagers and finally the men. The last to hold the barrel before it completely disintegrates wears its metal frame as a crown. The event is hectic and dangerous and a unique method of film production is called for to document it. Digital Synch will make this possible through developing a new technology based on quite simple and accessible components - one that may have value well beyond The Tar Barrel Run.
Please click images to enlarge.
Digital Synch will form a collaborative project between Tim Sidell-Rodríguez (Cambridge School of Art) and Dr Rob Toulson (Department of Computing and Technology) that sets out to construct a digital synching system for analogue film production. This will, in turn, feed in to an ongoing collaboration between Tim Sidell-Rodríguez and Vaughan Pilikian (Unrouwe Films) in the form of The Tar Barrel Run, an investigation into modes of ethnographic documentary filmmaking that explores an annual Guy Fawkes night ritual in Ottery St Mary, Devon. The villagers create a festival atmosphere and as the day progresses, charge through the streets with flaming barrels on their shoulders: first the children; then the women; the teenagers and finally the men. The last to hold the barrel before it completely disintegrates wears its metal frame as a crown. The event is hectic and dangerous and a unique method of film production is called for to document it. Digital Synch will make this possible through developing a new technology based on quite simple and accessible components - one that may have value well beyond The Tar Barrel Run.
Please click images to enlarge.
Click to enlarge
Beyond the Soundtrack
This project has been created to examine the relationship between sound and film/video in the wake of the expansions of sonic arts and developments both in new technologies and the creative use of 'outmoded' means of technical production. It aims to bring together international practitioners, scholars and institutions to explore, through workshops, practice-based presentations and collaborations - and deconstruct, critically, the present possibilities of sound-image relations. It also aims to run the gamut of historic media - pre-electrical, analogue, digital and surround. At the core of the project lie questions and concerns around problems of new aesthetic potentials (rather than research into purely technical outcomes) of sound image relations and how these might inform both theoretical discourse and practice-based research. CoDE seedfunding will enable additional research and travel to secure European collaboration in the project.
Other Related Outcomes:
Contact: Dr David Ryan
This project has been created to examine the relationship between sound and film/video in the wake of the expansions of sonic arts and developments both in new technologies and the creative use of 'outmoded' means of technical production. It aims to bring together international practitioners, scholars and institutions to explore, through workshops, practice-based presentations and collaborations - and deconstruct, critically, the present possibilities of sound-image relations. It also aims to run the gamut of historic media - pre-electrical, analogue, digital and surround. At the core of the project lie questions and concerns around problems of new aesthetic potentials (rather than research into purely technical outcomes) of sound image relations and how these might inform both theoretical discourse and practice-based research. CoDE seedfunding will enable additional research and travel to secure European collaboration in the project.
Other Related Outcomes:
- 2010: Via di San Teodoro 8 (Dir. David Ryan) screened at the Italian Cultural Institute, London, and the Arts Picturhouse, Cambridge. It has also been shown in the Avanca Film Festival and Conference, Portugal, and featured at the Festival Suono nel Suono in Rome, Italy, and will be featured in The Gradisca d'Isonzo Festival, Italy in November 2011.
- David Ryan: 'Changing the System: Politics and Indeterminacy in the 1970s' in Changing the System, the Music of Christian Wolff, ed. Chase/Thomas, Ashgate Academic Press, 2010
- 2010: Knots and Fields (Dir. Andrew Chesher/David Ryan) - new music at Darmstadt, screened at Kettles Yard, Cambridge and the Darmstadt FerienKurse fur Neue Musik
- David Ryan: 'We have Eyes as Well as Ears: Experimental Music and the Visual Arts' in The Ashgate Companion to Experimental Music, ed. Saunders, Ashgate Academic Press, 2009
Contact: Dr David Ryan
Touching sound: an interactive workshop concerning human computer interaction in health and music
In spite of many years of research into human computer interaction there have consistently been issues with the explicit adoption of technology in therapeutic environments, not least because of the way in which clients and practitioners view such technologies: as unnecessary and intrusive. At the same time, there are many ways in which technology can be used positively, for instance in the spontaneous generative of aesthetically interesting artefacts as well as the exploitation of kinaesthetic and multisensory elements.
This research seeks to describe, implement and analyse work that investigates unique methods of articulating and implementing expressive gesture through physical interaction with objects. This includes the implementation of custom-designed and built hardware and software using methods that are as close to invisible to clients and practitioners as possible while still maintaining the benefits of cutting-edge digital technologies. In particular, activities in music performance, dance and various physical and arts therapies are considered.
The aim of the workshop is to inform and discuss these fundamental ideas, as well as related theories and innovative applications in music instrumentation, gestural and movement interaction, multisensory engagement and entrainment and synchronisation, rhythm and prosody, emotion and responsivity. The workshop's results will contribute to a conclusive framework for the funding bid to the NIHR Research for Innovation, Speculation and Creativity (RISC) Programme.
The collaboration team includes Helen Odell-Miller (Anglia Ruskin Music and Health Research Group), Richard Hoadley (CoDE/DPL/MPA), Satinder Gill (Centre for Music and Science), Cecily Morrison (Cambridge University Engineering Department), Ian Cross (West Road Centre for Music and Science) and Phil Barnard (MRC Cognition and Brain Sciences Unit), Gill Westland (Cambridge Body Psychotherapy Centre) and Bonnie Kemske (tactile artist).
Contact: Richard Hoadley
In spite of many years of research into human computer interaction there have consistently been issues with the explicit adoption of technology in therapeutic environments, not least because of the way in which clients and practitioners view such technologies: as unnecessary and intrusive. At the same time, there are many ways in which technology can be used positively, for instance in the spontaneous generative of aesthetically interesting artefacts as well as the exploitation of kinaesthetic and multisensory elements.
This research seeks to describe, implement and analyse work that investigates unique methods of articulating and implementing expressive gesture through physical interaction with objects. This includes the implementation of custom-designed and built hardware and software using methods that are as close to invisible to clients and practitioners as possible while still maintaining the benefits of cutting-edge digital technologies. In particular, activities in music performance, dance and various physical and arts therapies are considered.
The aim of the workshop is to inform and discuss these fundamental ideas, as well as related theories and innovative applications in music instrumentation, gestural and movement interaction, multisensory engagement and entrainment and synchronisation, rhythm and prosody, emotion and responsivity. The workshop's results will contribute to a conclusive framework for the funding bid to the NIHR Research for Innovation, Speculation and Creativity (RISC) Programme.
The collaboration team includes Helen Odell-Miller (Anglia Ruskin Music and Health Research Group), Richard Hoadley (CoDE/DPL/MPA), Satinder Gill (Centre for Music and Science), Cecily Morrison (Cambridge University Engineering Department), Ian Cross (West Road Centre for Music and Science) and Phil Barnard (MRC Cognition and Brain Sciences Unit), Gill Westland (Cambridge Body Psychotherapy Centre) and Bonnie Kemske (tactile artist).
Contact: Richard Hoadley
Neomaterialist Cultural Theory: Affect, Performance and Design
This project is a conceptual laboratory that addresses recent transformations in cultural studies. In addition to the agenda of meanings, signifiers and cultural representations, such notions relating to embodiment as affect, intensity and relationality have emerged in cultural analysis and contemporary philosophy. The work in this area addresses multiple media formations and arts, from digital media to sonic arts and performance. In this stream, through publications, events and seminars, the researchers engage with emerging trends in media and cultural theory and their links with creative digital practice.
Contacts: Dr Jussi Parikka and Milla Tiainen
Sound and Audio Engineering Research Group (SAERG)
The Sound and Audio Engineering Research Group embraces knowledge and innovation in the fields of sound recording and production, sound analysis and synthesis, audio electronics, acoustics and psychoacoustics, digital audio processing, audio forensics and audio data management and distribution. The key motivation of the group is to develop novel engineering knowledge and technique for the creative audio industries, as well as engaging in innovative design in all facets of the audio engineering field. Furthermore, industrial collaboration is key to the success of SAERG.
Contact: Dr Rob Toulson
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The Digital Media Research Group (DRMG)
The Digital Media Research Group aims to enhance the body of knowledge in all aspects of digital media communication involving sound and vision. The ten members of the group have interests in:
- Audio Analysis and Synthesis
- Avatar Animation and Portability
- Creative Online Design
- Image Processing
- Mobile Device Technologies
- Spatial and other Data Visualization
- Video Reconstruction
- Virtual Environments
Recent and current projects by the group include the use of:
- Second Life as a Virtual Learning Environment (hosting one international conference and achieving one best poster award);
- The calibration of images from the High Resolution Stereo Camera (Mars Express) involving collaborative work with members of the European Space Agency;
- The development of a tactile inkjet mapping system (externally supported from part of a UK Research Council funding award).
Contact: Dr George Wilson
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