User:Zuhui//SI25/Weekly notes
Week 0, 1609
Week 1, 2309
Last week before the show, the team of week1 asked us to upload songs that are related to our memories on the wiki page, and they mixed them together with audio from the field recordings/memories during the show. Fred briefly showed us how he worked with Ableton.
- The hosts listened to all the recordings to become familiar with them and already had some ideas for possible pairings.
- From what I saw on Sevgi's wiki page, it seems like she also assigned keywords to each song for a better flow during the radio performance.
- Used a MIDI controller with labelled pads as a trigger. MIC were off most of the time.
- About 20mins break? (wyn's mix was nice, very fitting)
Web Audio API
Your use case will determine what tools you use to implement audio. If you want to control playback of an audio track, the <audio> media element provides a better, quicker solution than the Web Audio API. If you want to carry out more complex audio processing, as well as playback, the Web Audio API provides much more power and control.
A powerful feature of the Web Audio API is that it does not have a strict "sound call limitation". For example, there is no ceiling of 32 or 64 sound calls at one time. Some processors may be capable of playing more than 1,000 simultaneous sounds without stuttering.
See also
Tri-Phonic Turntable
Recreating the sounds of the BBC Radiophonic Workshop using the Web Audio API
Violent Theremin
Voice change-O-matic live
Tri-Phonic Turntable reminded me of previous works of Christian Marclay.
Week 2, 3009
radio performance
- Sound of Rotterdam featured field recordings, interviews, etc
- Used WORM's CDJ equipment
- A microphone was used to read aloud live chat messages about the Rotterdam experience.
- There was sound overlapping; Melisa created smooth transitions between sounds using Audacity.
- From a production perspective, it was tricky to control the volume levels and the pitch of each audio file.
after lunch
Eleni and Kim’s web audio interface on cereal box was impressive! Michael demonstrated how to create our own customized search HTML linked to archive.org.
Internet Archive
Internet archive is a non-profit library that was founded to bring all of human knowledge online and make it accessible for free to everyone. The internet archive was founded in 1996 and our original mission was to archive the internet.
Week 3, 0710
radio performance
week 3 team work log👏
- Main theme was 'water'
- Used Touch Designer(inspired by soundboards)
- Decision not to talk on the show, rather used "weird" narrator in text to speech, different voices and accents (I liked it)
- Many "PSA" materials (public service announcements)... again from archive.org
On the conceptual side of the show, it was interesting and quite enjoyable to experience the auditory immersion of two contrasting elements from the radio performance: the natural sound of water, with organic flow and rhythm (almost a bodily experience to listen to), and the questioning and answering around the concepts of ‘being experimental’ and ‘protocols’, which embody control, rules, and systematic procedures. Made a mental note to read the text Wyn introduced to me a couple of weeks ago <Half Sound, Half Philosophy by Jing Wang>, which I believe was the inspiration behind the performance's concept.
after lunch
Discussion about https://pzwiki.wdka.nl/mediadesign/Generous_Practices
Original text Generous Practices, an essey by Femke Snelting
Important questions (to answer over time)
Week 4, 1410
Radio debrief
-Tried to jam with vcv rack but it was hard
-Distributed role on vcv rack/ keyboard, drum - keyboard input -
-5mins of commentary session at the end, which was actually quite nice.
-it was very nice to have a jitsi visual this time (it also could be shared with other radio Worm listeners who are non-zero)
-not enough aux cable for every computer :/
Reading and re-enacting the interview from Femke Snelting's essay was really nice. It added depth to the show, giving the listeners a context and material to complement the auditory experience.
Afternoon
Steve Reich's Clapping Music
Week 5, 2110
Week 5 Radio board
Afternoon
Materials
Week 7, 0411
Week 8, 1111
Week 8 Radio board
afternoon for a SI25 public moment program meeting(Lost in Narrative) + general meeting
Week 9, 1811
Week 10, 2511
Radio debrief
CD!
Week 10 Radio
reference:
Cyberhotels & Other Tales of Forgotten Virtual Worlds, Kendal Beynon
↑Virtual Garden
Afternoon
SI25 text
written together with Claudio(PR)
Radio is not only as a medium for delivering information but also as an artistic platform, combining real-time sound creation, storytelling, and performative elements to create immersive and transformative experiences for both listeners and creators.
By the first year students of XPUB, 'Sounds of Making: Protocols for Collective Performance' explores the interplay of sound, performance, live creation and building protocols for collective work. This special issue is a culmination of questions, reflections, ideas and insights that gathered through hosting eleven weekly radio shows at Radio Worm and a public event at UBIK, Rotterdam.
Hosting the two-hour radio shows every monday with minimal reliance on conventional radio materials and collaborating with peers we had only just met, we've been questioning what does it mean to perform collectively. Together we designed and enacted protocols, and navigated performativity in the context of creating something live.
Building on these experiences with radio, we moved on to prepare for our first public event, "Sounds of Making", where we developed our own tools for performance and interface, constructed frameworks for storytelling, and invited public participation from all listeners and viewers. Through this process we've learned to open up to one another, to the unexpected, and to grasp the possibilities that emerge in the moment of creation.
Perhaps, at its core, radio is more than a platform for performance - it's a celebration of liveness. Every broadcast we created reaffirmed that it's a space where unpredictability becomes a tool, errors and mistakes foster intimacy, and the connection between maker and listener becomes unique with each context presented.