The document summarizes Sense Symphony Rainforest, a 2008-2009 new media installation and multi-sensory performance art piece by David Rose. It engaged viewers' senses through visuals projected around the gallery synchronized with aroma and audio environments. Professional artists and DJs collaborated to immerse viewers for six hours, blending familiar and unfamiliar stimuli. Future plans include developing multimedia structures and integrating holographic technology.
An interactive light installation allows users to change the appearance of a room through noise and sounds, transforming waiting time into a pleasant experience by generating shapes and colors that correspond to harmonies and rhythms.
This project proposes an interactive sound installation using floor projections and motion sensors. Participants can trigger different drum/percussion sounds by stepping on zones projected on the floor, allowing them to experience playing percussion without experience. The project aims to make drumming accessible in a fun way while also exploring its benefits for expression, healing, and community building. Precedent examples and floor plans are presented, along with rhythmic music demos and a storyboard conceptualizing the user experience.
Halsey Burgund created an interactive sound installation called Scapes for exhibition at deCordova Sculpture Park and Museum. Visitors use smartphones to record sounds as they walk through the park, which are then integrated into a collective soundscape accessible to all visitors. The piece aims to raise awareness of the sonic environment and how individual actions can shape a shared auditory experience of a place. It draws on the participatory and process-based works of John Cage and Brian Eno to create an evolving sound composition influenced by visitor contributions over its four-month duration.
The document discusses using audio effects boards and software to alter audio files. The Ambience effects board was used to make the audio skip and sound different by adjusting time, diffusion and width settings. RealPitch software was then used to make the audio deeper by changing the semitone shift while adjusting other options.
This document summarizes a student's final year project presentation on soundscapes. The project, titled "Stairscape", uses stairs to represent different heights and allow users to experience the unique sounds of cities in Kuala Lumpur and Selangor, Malaysia. Research included field recordings in the cities and using motion sensors to trigger different sounds based on the user's position on the stairs. The goal is to study urban soundscapes and how sound creates an identity for different places.
This document summarizes a student's final year project presentation on soundscapes. The project, titled "Stairscape", uses stairs to represent different heights and allow users to experience the unique sounds of cities in Kuala Lumpur and Selangor, Malaysia. Research included field recordings in the cities and using motion sensors to trigger different sounds based on the user's position on the stairs. The goal is to increase awareness of how sound creates an identity for places.
Roberto Pugliese is a sound and media artist based in Helsinki. His work includes installations, performances, and compositions that combine sound with visuals and audience participation. He uses sound to create alternative relationships between audiences and spaces. His installations digitally process environmental sounds and videos to develop a shared sonic and visual language. He also collaborates with dancers on new media performances that experiment with alternative stages.
The document describes how GROHE SPA collections can transform a bathroom into a home spa. It discusses how bathrooms are no longer just for cleansing but are spaces for preparation, rejuvenation, relaxation and recreation. The GROHE SPA collections include faucets, showers and accessories to create different zones for these activities in the bathroom and tailor the space to the user's needs and preferences.
An interactive light installation allows users to change the appearance of a room through noise and sounds, transforming waiting time into a pleasant experience by generating shapes and colors that correspond to harmonies and rhythms.
This project proposes an interactive sound installation using floor projections and motion sensors. Participants can trigger different drum/percussion sounds by stepping on zones projected on the floor, allowing them to experience playing percussion without experience. The project aims to make drumming accessible in a fun way while also exploring its benefits for expression, healing, and community building. Precedent examples and floor plans are presented, along with rhythmic music demos and a storyboard conceptualizing the user experience.
Halsey Burgund created an interactive sound installation called Scapes for exhibition at deCordova Sculpture Park and Museum. Visitors use smartphones to record sounds as they walk through the park, which are then integrated into a collective soundscape accessible to all visitors. The piece aims to raise awareness of the sonic environment and how individual actions can shape a shared auditory experience of a place. It draws on the participatory and process-based works of John Cage and Brian Eno to create an evolving sound composition influenced by visitor contributions over its four-month duration.
The document discusses using audio effects boards and software to alter audio files. The Ambience effects board was used to make the audio skip and sound different by adjusting time, diffusion and width settings. RealPitch software was then used to make the audio deeper by changing the semitone shift while adjusting other options.
This document summarizes a student's final year project presentation on soundscapes. The project, titled "Stairscape", uses stairs to represent different heights and allow users to experience the unique sounds of cities in Kuala Lumpur and Selangor, Malaysia. Research included field recordings in the cities and using motion sensors to trigger different sounds based on the user's position on the stairs. The goal is to study urban soundscapes and how sound creates an identity for different places.
This document summarizes a student's final year project presentation on soundscapes. The project, titled "Stairscape", uses stairs to represent different heights and allow users to experience the unique sounds of cities in Kuala Lumpur and Selangor, Malaysia. Research included field recordings in the cities and using motion sensors to trigger different sounds based on the user's position on the stairs. The goal is to increase awareness of how sound creates an identity for places.
Roberto Pugliese is a sound and media artist based in Helsinki. His work includes installations, performances, and compositions that combine sound with visuals and audience participation. He uses sound to create alternative relationships between audiences and spaces. His installations digitally process environmental sounds and videos to develop a shared sonic and visual language. He also collaborates with dancers on new media performances that experiment with alternative stages.
The document describes how GROHE SPA collections can transform a bathroom into a home spa. It discusses how bathrooms are no longer just for cleansing but are spaces for preparation, rejuvenation, relaxation and recreation. The GROHE SPA collections include faucets, showers and accessories to create different zones for these activities in the bathroom and tailor the space to the user's needs and preferences.
The document proposes modifications to the "Filmachine" art installation to enhance the visitor experience. It suggests replacing the white LED lights with colored lights and assigning an audible tone to each color's frequency, so that colors are accompanied by unique sounds. A composition would trigger colors and intensities based on the music. The goal is to further manipulate perceptions of sound and light and how they interact.
This document provides definitions for terms related to the language of sound and acoustics. It defines acoustemology as the cultural sense of place embodied in a location's acoustic sensations and imaginations. An anechoic chamber is described as a room designed to completely absorb reflections of sound or waves. Cymatics is defined as the study of how sound waves can be made tangible. The document also briefly defines concepts like foley, sonification, skeumorphs, soundscapes, soundmarks, worldizing and gives thanks to Marc Weidenbaum.
This document summarizes a collaboration between Guy Dartnell, Dirk Püschel and Chisato Minamimura. It discusses developing a process integrating voice and movement to help the deaf Chisato access her musicality. The collaboration uses voice, movement, and acoustic technology visualizations to help Chisato internally visualize sound shapes and exchange sound-movements with others. The goal is to make her inner vocalizations accessible as a soundtrack for her choreography. The technology may also enhance deaf audiences' appreciation of sound in performance.
The documents discuss various topics related to music including how music affects emotion and mood, the influence of music marketing, the history of electronic music experimentation involving human-machine integration, and challenges interpreting sounds and determining musical popularity. Interactive music is discussed in the context of cybernetics pioneers like Gordon Pask and Myron Krueger's work developing responsive computer environments using music.
We are defined by sound from birth, as our experiences, memories, and identity are shaped by the sounds we hear. While silencing sound completely is about half right, humans thrive on sensory stimulation, including healthy stimulation of our hearing. Just as visual environments are designed using colors and textures to enhance life, acoustic environments should also be designed to enhance life enjoyment through sounds that can help patients heal faster, guests sleep deeper, groups celebrate longer, and even increase worker productivity and sales. New technologies allow acoustic design of soundscapes to positively influence human behavior and create opportunities.
The document discusses the development of an experimental film project by Ross Walker, James Swallow, and Caitlin Willcox. Their initial idea was a sound project based on kitchen noises, which evolved to focus on overlapping morning routine sounds. They created the sound project using Pro Tools then applied visuals in Avid Media Composer, showing body parts interpreting sounds. The film was inspired by experimental films using sound and imagery abstractly rather than narratively. They analyze their film as "pure abstraction" and discuss improvements like using different sounds and subjects.
This document discusses using native plants for their scents in potpourri and other applications. It begins by introducing a workshop on native plant scents hosted by Project SOUND. It then provides information on how smell is our most primitive sense and how plant scents can elicit strong memories. Various native plants that produce essential oils are discussed, such as incense cedar and Monterey cypress. Methods for using scented foliage like potpourri, sachets, and essential oils are covered. Key chemical components of plant scents are explained, such as terpenes, monoterpenes, and alpha-pinene. The roles and effects of these compounds are summarized.
This document discusses the future of fulldome theaters and immersive digital experiences. It argues that fulldome can thrive by delivering powerful media experiences that are also meaningful, striving for excellence in theater design and programming, leveraging collaboration between stakeholders, and converging with other immersive technologies like VR and games. Unique characteristics of fulldome like spatial understanding and data visualization could be leveraged to address needs like environmental education and cultural understanding. The document also discusses using fulldome for transformative storytelling and experiences through cognitive, emotional, and consciousness-shifting approaches.
This document provides an overview of an architectural acoustics course and discusses some of the key concepts around acoustic communication and privacy in buildings. It uses the example of Carolingian churches to illustrate how their design facilitated communication through chanting despite challenges posed by large interior spaces with hard surfaces that caused reverberation. Specifically:
1. The course covers promoting communication vs. acoustic privacy in buildings.
2. Carolingian churches had large stone interiors that reverberated sound, making speech difficult to understand over long distances.
3. However, the liturgical services in these churches were conducted through chanting, which engaged multiple voices and enhanced the message through repetition and melody to overcome acoustic challenges.
The document discusses how music affects human emotions and behaviors, and can promote social bonding, while also exploring how interactive computer music works and how the performer relates and interacts with the computer during a performance. It also examines what makes popular music popular and how people interpret different sounds.
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The document proposes modifications to the "Filmachine" art installation to enhance the visitor experience. It suggests replacing the white LED lights with colored lights and assigning an audible tone to each color's frequency, so that colors are accompanied by unique sounds. A composition would trigger colors and intensities based on the music. The goal is to further manipulate perceptions of sound and light and how they interact.
This document provides definitions for terms related to the language of sound and acoustics. It defines acoustemology as the cultural sense of place embodied in a location's acoustic sensations and imaginations. An anechoic chamber is described as a room designed to completely absorb reflections of sound or waves. Cymatics is defined as the study of how sound waves can be made tangible. The document also briefly defines concepts like foley, sonification, skeumorphs, soundscapes, soundmarks, worldizing and gives thanks to Marc Weidenbaum.
This document summarizes a collaboration between Guy Dartnell, Dirk Püschel and Chisato Minamimura. It discusses developing a process integrating voice and movement to help the deaf Chisato access her musicality. The collaboration uses voice, movement, and acoustic technology visualizations to help Chisato internally visualize sound shapes and exchange sound-movements with others. The goal is to make her inner vocalizations accessible as a soundtrack for her choreography. The technology may also enhance deaf audiences' appreciation of sound in performance.
The documents discuss various topics related to music including how music affects emotion and mood, the influence of music marketing, the history of electronic music experimentation involving human-machine integration, and challenges interpreting sounds and determining musical popularity. Interactive music is discussed in the context of cybernetics pioneers like Gordon Pask and Myron Krueger's work developing responsive computer environments using music.
We are defined by sound from birth, as our experiences, memories, and identity are shaped by the sounds we hear. While silencing sound completely is about half right, humans thrive on sensory stimulation, including healthy stimulation of our hearing. Just as visual environments are designed using colors and textures to enhance life, acoustic environments should also be designed to enhance life enjoyment through sounds that can help patients heal faster, guests sleep deeper, groups celebrate longer, and even increase worker productivity and sales. New technologies allow acoustic design of soundscapes to positively influence human behavior and create opportunities.
The document discusses the development of an experimental film project by Ross Walker, James Swallow, and Caitlin Willcox. Their initial idea was a sound project based on kitchen noises, which evolved to focus on overlapping morning routine sounds. They created the sound project using Pro Tools then applied visuals in Avid Media Composer, showing body parts interpreting sounds. The film was inspired by experimental films using sound and imagery abstractly rather than narratively. They analyze their film as "pure abstraction" and discuss improvements like using different sounds and subjects.
This document discusses using native plants for their scents in potpourri and other applications. It begins by introducing a workshop on native plant scents hosted by Project SOUND. It then provides information on how smell is our most primitive sense and how plant scents can elicit strong memories. Various native plants that produce essential oils are discussed, such as incense cedar and Monterey cypress. Methods for using scented foliage like potpourri, sachets, and essential oils are covered. Key chemical components of plant scents are explained, such as terpenes, monoterpenes, and alpha-pinene. The roles and effects of these compounds are summarized.
This document discusses the future of fulldome theaters and immersive digital experiences. It argues that fulldome can thrive by delivering powerful media experiences that are also meaningful, striving for excellence in theater design and programming, leveraging collaboration between stakeholders, and converging with other immersive technologies like VR and games. Unique characteristics of fulldome like spatial understanding and data visualization could be leveraged to address needs like environmental education and cultural understanding. The document also discusses using fulldome for transformative storytelling and experiences through cognitive, emotional, and consciousness-shifting approaches.
This document provides an overview of an architectural acoustics course and discusses some of the key concepts around acoustic communication and privacy in buildings. It uses the example of Carolingian churches to illustrate how their design facilitated communication through chanting despite challenges posed by large interior spaces with hard surfaces that caused reverberation. Specifically:
1. The course covers promoting communication vs. acoustic privacy in buildings.
2. Carolingian churches had large stone interiors that reverberated sound, making speech difficult to understand over long distances.
3. However, the liturgical services in these churches were conducted through chanting, which engaged multiple voices and enhanced the message through repetition and melody to overcome acoustic challenges.
The document discusses how music affects human emotions and behaviors, and can promote social bonding, while also exploring how interactive computer music works and how the performer relates and interacts with the computer during a performance. It also examines what makes popular music popular and how people interpret different sounds.
Similar to Sense Symphony Exhibition Documentation (10)
1. Sense Symphony Rainforest
2008 - 2009
Documentation of Creative Process, Project Development and Exhibition
By David Rose
2. Docum entation of the Sens e S ymphony Rainforest
New Medi a Installation an d M ulti-sensory Pe rforman ce
August 8, 2009 - Pro ject 1 Art Gallery, San Francis co
Sense Symphony Rainforest is an art piece that
engages the viewer’s unconscious responses. This artwork in
its foundation is a hybrid. Blending performance art, new
media installation, and experience design. This alchemic blend
of sensations creates an unspoken dialogue between the
natural/technological elements of the art piece and the body
and mind of the viewers. This collaborative performance and
installation acts as a transformative space, a bridge to a new
world of sensation. Sense Symphony Rainforest creates a
space of metamorphosis where memory, imagination and
perception all transform into a new perspective, shifting the
meaning of place, where identity, consciousness and our
relationships to nature and technology are questioned.
The Visual:
The Video Mixing Interface
3. 2
A total of four projectors were used to surface the
walls and ceiling of Project One Art Gallery. The visual
performance lasted for six hours, moving through video and
imagery reminiscent of nature with an occasional burst of
ultra high tech imagery. The projections were mixed in sync
with the Aromascape and Audio Environments; causing a
consistent engagement with the other teams throughout the
performance. This total focus on the moment allowed the
maximum level of multi-sensory saturation and cohesion for
every instant during the performance.
The Illuminated Space
The Auditor y:
Jimmy B using CD Turntables and Vinyl simultaneously
4. 3
A select group of internationally established DJ’s
including Jimmy Love of Non Stop Bhangra donated their
time to perform the auditory aspect of this multi-sensory
performance. Jimmy B of Green Gorilla Lounge performed
during the 2 hours when the Aromascape was in full effect.
Fully encompassing sound proved to be very important as
full saturation of each sense is essential in creating the
depth of sensation I was going after. This included
professional grade audio monitors to submerge the viewers in
the selected auditory environment.
The Aromascape:
Ingredients for the Aromascape Essential Oils in Pure Form
Shell Thomas performing the Organic Aromascape
5. 4
Shell Thomas led the Aromascape aspect of the
project. The organic essential oils and specially crafted
hydrosols used were chosen to specifically reference both
familiar scents and exotic fragrances. Excellent ventilation was
used to ensure the distinct quality of each aroma. Shell
Thomas, Alice Encinas and Lauren Mills custom crafted the
twenty mixtures. Each aroma was used in rotation, in
aromatic alternation during the two-hour Aromascape
performance.
Alice Encinas Duvernell performing the Aromascape
A Full Sensory Exper ience:
The three elements, light, sound and aroma
harmonized majestically. Each element was performed by a
different team of individuals, which allowed for dynamic
communication between the different teams. A non-verbal
multi-sensory conversation between the three teams became
evident. The visual team would shift pace and color to the
music, causing the Aromascape team to shift scents. This
dynamic multi level conversation between different teams
6. 5
controlling different sensations was open to the interpretation
of the viewers who were engulfed in the artists’ environment.
The balance created was euphoric at it base, bridging the
gap between reality and the world of imagination. Familiarity
was bridged with the abstract as familiar sounds, smells and
images were integrated seamlessly with highly modified
unfamiliar sounds, images and smells.
Future Plans:
Future plans include the development and construction
of Multimedia Structures with the assistance of Argentinean
Architect, Roque Tomatis. Eventually holographic technology
will be integrated into the new media installation art aspect
of these multi-sensory art pieces.
8. 7
Participating Organizations & Collaborators:
Alice Encinas Duvernell (The Nova Studio)
David Rose (MODA Creative Media Agency, Studio 53)
Duser
Jimmy B (Green Gorilla Lounge)
Jimmy Love (Surya Dub, Non Stop Bhangra)
Project One Gallery
Shell Thomas (Cane Restaurant Consultants)