Thomas Grill gibt mit Noise Shaping einen Einblick in das Forschungsprojekt rotting sounds, das sich mit der Vergänglichkeit von digitalem Klang im sozialen, technologischen und zeitlichen Kontext beschäftigt. Ein zentraler Forschungsgegenstand ist die Repräsentation von Klang als 1-bit-Datenstrom, der die Brücke zwischen digitalen und analogen Signalen schlägt. Der Begriff Noise Shaping steht dabei für den voluminösen Rauschhintergrund, der als Träger der darin verborgenen Klänge verwendet wird. Aloïs Yang and Andreas Trobollowitsch spannen mechanisch erzeugte Klänge in ein komplexes digitales Feedback-System ein; found objects kommen ebenso zum Einsatz wie natürliche Substanzen und performative Raumvermessungen. Und Rojin Sharafi, die ursprünglich aus dem Iran kommt und seit einigen Jahren in Österreich lebt, widmet sich in ihrem Stück der „kulturellen Hegemonie, kulturellen Hybridität und dem kulturellen Überleben“, jenen Stimmen also, die im Kampf um die kulturelle Vorherrschaft gezielt unterdrückt werden. Für ein immersives Klangerlebnis bei Hidden Dome sorgt die 50-Kanal Ambisonics Audioanlage des Dom im Berg, für die die drei Auftragswerke konzipiert wurden.
October 8, 19:30pm
Dom im Berg, Schloßbergplatz, A-8010 Graz
We will be presenting 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
For an upcoming performance at the Ars Electronica Festival 2020 SOUND CAMPUS, we are testing hardware to interconnect 1-bit audio streams.
For that purpose, we are using an STM32F4 Discovery Board to generate 1-bit audio streams, sent through a Future Sound Systems MTX9 point pin matrix (Figure 1) as often found in modular synthesis systems.
The software used on the STM board to efficiently generate 1-bit audio streams using DMA transfer over an SPI interface is an offspring of our DADA hardware development efforts.
The FSS MTX9 can be used as passive hardware (only 1-to-1 connections), or using the MTX9A buffer board to sum over input busses.
In passive mode (Figure 2), the bandwidth is sufficient to come close to 1 MHz bit rate which allows 32-fold oversampling at usable PCM audio rates.
For active mode (using the buffer board MTX9A, Figure 3), the hardware introduces low-pass filtering, reducing the audio bandwidth to around 100 kHz. This is good enough for high quality analog audio, but not for 1-bit digital audio at high bit rates.
Clearly, it must be noted that the summing function over inputs is not strictly meaningful for 1-bit signals, where some kind of post-processing needs to bit applied to return to single bits.
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
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 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 performance evening will revolve around Tobias Leibetseder‘s processual and constantly changing sculpture “Fragments“. It is in permanent development and consists of artifacts of the Rotting sounds research process. Waste, things collected, things stored and put aside, texts, pictures, data, sounds etc. are the basis of the shape-changing work. Object or exhibition, museum or archive, collection or documentation are moments of intrinsic research and decomposition, accompanying the process and resting in the distant but immediate eye of the observer.
Tobias Leibetseder‘s performance Transformation 1 is a transformation step and insight into the process of fragments. Artifacts as materials and sounds are transformed into new shapes and synthesized in a performative and concert act.
Angélica Castelló will present a performance based on recordings of her performance “Magnetic litany” from the opening evening of the Auditorium of Rotting sounds on March 29, 2019. It is connected to the permanently exhibited object “Magnetic Room“.
October 2, 2019 19:00
Auditorium of Rotting sounds (Altes Auditorium)
University of Music and Performing Arts Vienna
Anton-von-Webern-Platz 1, 1030 Wien
As the audience will have to be limited, admission is on personal registration only.
The pieces Magnetic litany 1 and 2 by Angélica Castelló have been made possible by the support of El Sistema Nacional de Creadores de Arte (FONCA).
Due to the summer break at the University of Performing Arts Vienna, we suspend our regular opening times through July and August. Visiting the Auditorium is still possible by individual appointment, though.
For the upcoming exhibition UNDERSTANDING ART AND RESEARCH at the Museum of Applied Arts (MAK), we today printed the new prototypical audio object Reference Tone at the Digital Photography Lab at the University of Applied Arts.
It is a variation on the large-scale 1-bit audio print concept, similar to Midnight Song, as exhibited in our Auditorium of Rotting Sounds. Reference Tone represents a 1 kHz -3 dBFS sine tone at 44.1 kHz PCM sample rate, converted to a 1-bit DSD encoding with 64-times oversampling.
The director of the lab, Josef Schauer-Schmidinger supervised the printing of the 250 MB programmatically generated PDF file at 150 dpi bit structure size. The printed diameter of 100 cm contains approximately 30 Million bits, equivalent to about 10 seconds of very high quality audio.