We will present our work on 1-bit audio at the International Faust Conference 2020 taking place on 1.12.2020 and 2.12.2020 at the Maison des Sciences de l’Homme Paris Nord. Our presentation will be about the
bitDSP faust library developed by Till Bovermann and Dario Sanfilippo.
This performance involves three interactants, two predominantly working in the audio domain (Thomas Grill and Till Bovermann) and one focusing on a visual counterpart (Kathrin Hunze). We generate and exchange streams of 1-bit audio, a signal representation with properties of both the digital and analog domain that we have already been investigating in the artistic research project “Rotting sounds – Embracing the temporal deterioration of digital audio” (FWF PEEK AR445-G24). With simple switchboard matrix devices, we channel such bit streams between the individual performers and through simple processing modules, like delays, logical operators, etc., generating feedback and interferences on the way. These phenomena are made audible and are also mirrored by a visual representation of particle streams, forming directed jets and point cloud aggregations.
11. September 2020 – 20:10 – 20:35
Hauptplatz 6, Glashörsaal D (H6.DG.04)
4020 Linz, Austria
The audio-laser installation dust a bit by Klaus Filip is the first of our installations, which – over the duration of more than a year – has eroded to a state which would be commonly described as “broken”, at least from the standpoint of the original concept.
The audio signal is not modulated onto the laser any more, as intended – what is heard is purely collected, amplified noise.
At this point, we will not attempt to repair it because it is already scheduled to upgrade the installation to a fully digital version on the basis of our custom 1-bit audio hardware DADA. We expect this to happen at the end of June 2020.
In the last year, the installation has been restarted a couple of times because the carefully calibrated laser beam tends to wander out of focus by the time. This is most probably due to temperature changes and/or vibrations, causing the mirrors to lose their precise adjustment.
We have prepared timelapse recordings of the sonic developments of the several installation runs – every time several weeks of collecting “dust”. One minute of a time lapse corresponds to a day of operation. Technically, the recordings are concatenated (and cross-faded) 1-minute snapshots taken every 12 hours. The naming of the recordings corresponds to their starting date. Enjoy!2019-05-07 2019-08-21 2019-09-20 2019-11-07
Sumit Paul-Choudhury has contributed a review of Ars Electronica’s AI x Music festival to the The Wire magazine’s November edition, featuring our installation Mutual Understanding. It is listed as an exception to the line of presented works quite unrelated to the festival’s theme.
Some impressions of the “Fragments” performance evening that took place on October 2, 2019 at the Auditorium for Rotting Sounds, featuring Tobias Leibetseder, Angélica Castelló, Elisabeth Flunger and Thomas Grill.
We took part in this year’s European Researchers’ Night, showcasing a broad range of research projects at the University of Applied Arts Vienna.
From our ongoing research, we presented a couple of exemplary positions, such as Tobias Leibetseder’s “Fragments“, Almut Schilling’s and Till Bovermann’s “CD-R(ot)“, a part of Almut’s “The Carrier” installation, Till’s take on “Data Forensics”, as well as Thomas Grill’s “Mutual understanding” and “Reference Tone“.
We had a great outside location in the Garden of the Sommerrefektorium, even if the weather was partly rainy. The installation could withstand the humid weather.
The Zentrum Fokus Forschung at the University of Applied Arts Vienna has produced a short interview with me explaining in very short the project of Rotting sounds. This was done in the context of the exhibition UNDERSTANDING – art & research at the Museum of Applied Arts in Vienna.
The Rotting Sounds project has been invited to participate in the exhibition Understanding – Art and Research with a select object of our arts and research practice. We have produced the new object prototype “Reference Tone“, a variation on the existing object “Midnight Song“, exhibited at the Auditorium of Rotting Sounds.
Reference Tone is a printed representation of a pure sine tone of 1 kHz frequency at -3 dBFS volume. The encoding in 1 bit (DSD) audio is an ultra-high quality embodiment of the sound with the potential of being re-transferable into sound by optical means. Placed at a transitory spot in the exhibition, the object (and with it the embedded sound) will only stay pure and perfect for a certain time. Already at the opening, stains and scratches on the surface were noticeable, by visitors accidentally or purposefully walking over the object. Over the duration of the exhibition of one month, the audio content will transform from a “reference tone” into a sound being influenced by the context of its placement.
After the opening on June 27 at 7pm, the exhibition will run until July 28.
Museum of Applied Arts (MAK)
Stubenring 5, 1010 Wien, Austria
The University of Applied Arts Vienna presents exemplary approaches to its artistic research under the title UNDERSTANDING – ART & RESEARCH, it is about understanding as the very creative impulse. Through examples from research and teaching, science and art the transformation of society can be viewed, examined, sensed, discussed and experienced.
The exhibition UNDERSTANDING – ART & RESEARCH, developed by Gerald Bast, Alexander Damianisch and Barbara Putz-Plecko, now at MAK Vienna had first stations in New Zealand (Dunedin School of Art), Singapore (Nanyang Technological University Singapore), and Los Angeles (UCLA Art|Sci Center).
The “rotting sounds” researchers Thomas Grill, Till Bovermann and Almut Schilling were invited to conduct a masterclass at the Institute of Music, Theater and Choreography of the Russian State Pedagogical University A.I. Herzen, above all with the students of Andrey Bundin.
After an introductory presentation on the concepts of the research projects, we worked with/on “digital artefacts” that each of the participants brought to the workshop. The focus was on the notion of the “digital trinity”, we have established, consisting of storage material, information content, and interpretation.