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| Research in to implementing old technology within our modern society
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| INTRO
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| In our society we are constantly searching for the newest, fasted and perhaps prettiest way of using and designing new technology. By making things thinner, faster and more beautiful we discard our “old” technology faster. A mobile phone has an average life of 2 years and we are focussed on getting a better model after these years. What about old technologies? Are we skipping ahead to fast and are we forgetting these technologies? This research is there to create a toolset to re-implement old technologies in modern society. Can old communication devices help us in creating a safer and unsupervised communication network? How much energy do we safe by using old technology to fulfil our daily needs? Can we recycle old devices into functionally nature friendly objects?
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| There are a lot of subjects to research but this proposal is made to show some of these examples so the reader has a toolset to find their own implementations of old technology.
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| PREVIOUS PRACTICE
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| Essay on the TB-303 (Roland, 1983)
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| Introduction (synopsis):
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| In 1982 The Roland Corporation made a bass guitar simulation synth, the tb-303. The machine sparked an unpredicted wave of music and has a long history of being used / misused and reinvented. Within the evolution of the machine towards the current status in 2014 with the official release of a new version by Roland, the tb-303 has been the focal point of big following in the electronic music scene. It is important to understand what kind of influences the machine has and has had within this period. So this essay is dedicated to the history and future of the machine. With examples of how the machine was used / copied / emulated and involved in current music environments, the wiki will show an in depth story about the machine and its history future.
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| http://anycolouryoulike.nl/CMO/Index.html
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| THE LARGER CONTEXT
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| RESEARCH
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| Research:
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| Vida Telephonica:
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| http://vida.fundaciontelefonica.com/en/project/equilibrium-variant/
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| Equilibrium Variant
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| is a table-mounted installation consisting of two mechanical
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| arms, one bearing a microphone, the other a speaker. Displacements of these
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| finely articulated limbs are programmed to ensure enough distance between
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| the devices to prevent clipping of the amplifier. Interdependently harnessed
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| to intangible sonic vibrations as much as to their mechanical bases, the
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| microphone and speaker arms move constantly and unpredictably in response
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| to permanently changing frequencies and positions.
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| Equilibrium variant
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| thus
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| embodies the quest for an impossible
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| perpetuum mobile
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| or steady state. It
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| offers a metaphor for our own lived experience of homeostasis, proxemics,
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| and feedback, which invariably colours our encounter with this mechanically,
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| poetically constrained
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| pas de deux
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| .
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| http://vida.fundaciontelefonica.com/en/project/n-polytope-behaviors-in-light-
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| and-sound-after-iannis-xenakis/
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| The
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| N-Polytope
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| performance environment and installation employs 21st
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| century computional, audio and light technologies: 150 monochrome LEDs
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| and 50 small custom designed speaker/ electronics/ sensor boxes are
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| suspended from a fine cable grid attached to a truss arch, steel plate mounted
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| architectural frame. Coloured lasers bounced off mirrors complement the
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| LEDS. Wireless sensors pilot the system via an artificial neural network which
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| implements custom-developed Qualia open source software machine learning
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| algorithms. The software agents receive sensor-actuator information from the
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| environment (light intensity, sound frequency/ amplitude) and steer responses
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| in keeping with these predetermined algorithms: “firefly” mode tends towards
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| synchronisation of outputs, based on light levels, whereas “chaser” mode
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| corresponds to rapidly relayed successions of impulses.
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| Sound Environment
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| IMPULSE / RESPONSE - London Edition
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| London (UK) 2005
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| IMPULSE / RESPONSE - London Edition
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| is a generative sound environment based on
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| recorded sound material, a composition defined by a computer program which generates an
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| infinite and ever-changing flow of slowly evolving sonic patterns. Both the characteristics of
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| the impulses creating these patterns and their temporal evolutions have been adjusted in situ,
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| so as to fit the acoustic signature of the space. This is referred to as a process of inscription.
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| Eight loudspeakers project the sound textures onto the foyer's ceiling's reflective surfaces,
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| producing a diffuse sound projection. As the spectral energy of the sounds is concentrated in
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| the highest registers, they lend themselves best to reflection and occupy only a small niche in
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| the acoustic ecology of the foyer. The soft, thin sonic textures interfere little with the sounds
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| that naturally inhabit this space of social exchange amongst the participants of the School of
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| Sound.
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| http://yourlineormine.com/
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| http://thecreatorsproject.vice.com/mira-calix/inothing-is-set-in-stonei-2012
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| http://thecreatorsproject.vice.com/blog/artist-mira-calix-creates-a-labyrinth-
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| of-sound-and-storytelling-out-of-paper
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| http://thecreatorsproject.vice.com/blog/an-album-of-generative-sounds-and-a-
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| sound-sculpture-created-with-supercollider
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| http://vida.fundaciontelefonica.com/en/project/effulge/
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