9.6 Sound
Tracks
Track 6
Wednesday, June 26, 2024 |
3:30 PM - 5:30 PM |
Plaza P10 |
Speaker
Assistant Professor Samuel Swope
The Hang Seng University of Hong Kong
FP: Enhancing Embodied Telepresence in First-Person View Drone Pilots through Real-Time Data-Driven Sound Design
3:30 PM - 3:55 PMAbstract
This academic paper investigates the integration of real-time, data-driven sound design and construction within the context of first-person view (FPV) drone piloting. The objective of this study is to enhance the sense of embodied telepresence experienced by FPV drone pilots. The paper addresses several research gaps and questions, including the potential for shared experiences between the human body and the drone machine, the impact of different sound designs on the overall piloting experience, and the influence of new ocular and aural feedback on the pilot's understanding of aerodynamic position and movement. Additionally, the paper examines the limitations of current human-drone sensory overlay and emphasizes the necessity for a widely applicable methodology for aural sensory stimulation in drone operation. The research methodology encompasses the development of a physical prototype and the exploration of flight controller data sonification. The paper concludes with an evaluation of the prototype and the identification of areas that require further research and improvement, laying the foundation for integrating sound design into FPV drone control systems and opening up new possibilities for creating immersive and dynamic airborne art.
Biography
Samuel Swope’s practice is most recognized for his research and development of flight and air as medium. Merging multiple media and engineering practices, Swope constructs and controls aesthetic systems that work with air and are often themselves airborne. Through his research and studio practice he often engages with issues on hybridity, atmosphere, emerging technologies, autonomy, and the non-human. From 2018 - 2019 Swope was a Visiting Artist faculty member of the Art and Technology Studies Department at The School of the Art Institute of Chicago. From 2021 - 2022 he helped establish a new media Art program at Hite Institute of Art & Design, University of Louisville as an assistant professor. Swope’s studio is based in Hong Kong where he is an assistant professor for the Department of Art and Design at The Hang Seng University of Hong Kong.
Miss Yichen Wang
The Australian National University
AT: On Tangible Sonic Temporal Space:Designing New Musical Expression and Performing in a Mixed-Reality Space
3:55 PM - 4:20 PMAbstract
Laboratory investigations into mixed reality (MR) technology predominantly concentrate on time-critical and location-specific image augmentation. In contrast, creative practices perceive the MR environment as a fostering space that expands our temporal and spatial experiences. Embedding digital ele- ments into physical objects prompts tactile engagement and provokes us to reflect on the world we inhabit. In sound and music computing, MR presents a novel performance space for the design of new musical expressions. Musicians and their instruments can be networked, co-creating alongside acoustic instruments and mutually influencing one another. The “musicking” emerges as a product of the ecological resonance between musicians, their tools, and the surrounding environment. In this talk, I aim to broaden our understanding of MR in creative applications. Specifically, I emphasise how mixed reality, as a meditative platform, can stimulate considerations of mindful musical interaction. Situated within an interdisciplinary field, I encourage a holistic perspective on human-technology relationships and an ecological approach to creating MR tools and works. In retrospect on existing MR musical expressions, I will present three projects that encompassing experiences as a performer and creator in collaboration with others. I conclude with insights into how this knowledge can contribute to the fields of sound and VR/AR art.
Biography
Yichen Wang (she/her/hers) is a Doctoral Researcher in
the School of Computing, The Australian National Univer-
sity. Her interdisciplinary research works encompass new
interfaces for musical expression, augmented reality and
the entangled nature of digital music ensembles in Human-
Computer Interaction.
As a computer musician, Yichen has performed with her
mixed reality musical instrument at Electronique (Canberra), NIME’23, OzCHI’23, ACMC’23. The system has also been demonstrated internationally including in Australia, the United Kingdom, Europe and Mexico.
Mr Vijay Thillaimuthu
PhD Graduate Researcher, Studio Supervisor
The University of Melbourne, Melbourne Electronic Sound Studio
AT: Vectorscape: Audio-Visual Interactive Composition
4:20 PM - 4:35 PMAbstract
Vector Synthesis has emerged as a prominent and effective creative medium for communicating audio and visual correspondence as a unified experience. It is a form of simultaneous sound and vision generation whereby a discrete stereo sound signal is developed to form the x and y axes on a visual Cartesian plane. Interestingly, the images appear based on phase and frequency relationships across the stereo field. Therefore the moving image presents snapshots of the sound generation based on multiple temporal perspectives. The medium, however, currently does not adequately visually reflect the way sound behaves in acoustic spaces. My research therefore investigates whether a form of audiovisual synthesis could be developed that will allow a more intelligible understanding of the intricacies of sonic experience. I will consider modes of extending the Vector Synthesis form through utilising Cymatics as a reference as well as through innovative technological approaches. This practice led research must consider significant works in the medium as well as the nature of perception. Human-machine compositional approaches will be discussed and create a framework by which the potential of this synergistic collaboration can be evaluated. This research is therefore increasingly relevant with the emergence and prevalence of machine-learning in creative works. This artist talk will include a presentation of iterative works completed by the artist.
Biography
Vijay Thillaimuthu is an electronic composer/performer and audio-visual artist of Tamil Sri Lankan heritage informed by the rich history of analogue sound synthesis and electromagnetic phenomena. Often performing under the moniker Xenosine, he creates unique immersive environments that can be experienced across different sensual distinctions based on synergistic approaches with technology. This is largely enabled through the open ended architecture of modular synthesisers and visual programming languages.
Vijay has collaborated with Robin Fox and performed alongside Suzanne Ciani, Keith Fullerton Whitman, Richard Devine, AtomTM and Dasha Rush. Amongst a range of diverse outcomes, Vijay Thillaimuthu has presented work for Unsound, the Melbourne International Film Festival, Liquid Architecture, Red Bull Music Festival, The Banff Centre - Canada, Subliminal Impulse - Manchester and the Tokyo Festival of Modular. Vijay currently works at the Melbourne Electronic Sound Studio and is a PhD candidate and educator in interactive composition at the University of Melbourne.
Mx Patty Preece
Associate Lecturer
CQUniversity
SP: Hot & Heavy: A Search for New Futures Amidst the Beat of a Broken-down Washing Machine
4:35 PM - 4:50 PMAbstract
There is no denying that across all continents and industries, we are living with climate change and that systemic change needs to happen in order to minimise the impact of the Anthropocene. The interactive multi-art experience Hot & Heavy explores queer new worlds where domesticity has been made strange, appliances are defamiliarised, and the casual horrors of human production lines and capitalist consumption are vividly transformed. Hot & Heavy emerged out of a creative research process guided by Theory U as a theoretical framework. The creative practice project aims to make visible issues of transnational labour, heteronormative individualism, and the ecological impacts of consumerism. In Hot & Heavy, we use digital technologies, projection, and digital instrument design to heighten the audience experience. The queer dance floor becomes a metaphor for community, diversity, inclusivity, and a safe space to explore new beginnings. Collective performance is used as a practice of shifting from ‘ego-systems to eco-systems’ – a trans-formational space where the audience moves from individualism to collectivism.
Biography
Patty Preece is a musician, electronic music producer, Ableton Live certified trainer and sound artist who works with hacked domestic objects to critically explore aesthetic and relational hierarchies at the intersection of sound, gender and technology. Preece’s practice spans performance, instrument design, production and most recently installation.
This Cairns based artist creates performance ecosystems using discarded domestic steam irons, ironing boards, DIY sensors and electronics. Their live performances engage with augmented domestic objects, noise and the relationship of performer, instrument, and context. Preece’s creative practice research explores themes of labour, instrument design, sonic cyberfeminisms and sound art.
Mx Melania Jack
Programs Coordinator
The Ironing Maidens
Co-presenter
Biography
Melania Jack is a queer, multimedia artist working within music, digital art, projection art & mapping, and performance. The conceptual framework of the visual elements of Melania’s projects employs a glitch feminism lens to explore themes of gender socialisation, equity, and labour. Imagery drawn from popular culture and social media is sampled and collaged to explore these themes. Projections on familiar domestic materials (tea towels, irons, ironing boards) are used to create windows into the unseen labour. Melania has a Master of Creative Industries and is the programs coordinator for NorthSite Contemporary Arts.
Mr Samuel Beilby
The University of Western Australia
FP: Machinic Paragenesis: Experiments in Handling Noise as an Artistic Material
4:50 PM - 5:15 PMAbstract
To speculate upon the nature of artworks that produce noise is to re-approach automation in more open-ended terms by subjecting oneself to that which is unknown. Machinic Paragenesis (2023) is a speculative fieldwork project that attempts to enact this “re-approach.” The exhibition documents a creative fieldwork methodology: a series of guerrilla field trips undertaken during a two month residency in Taiwan, where three automated warehouses that deploy biomimetic swarm technologies (automated swarming robots) were of primary focus. Using specific microphones, spatio-temporal frequencies and radio-waves that emanate outwards as noisy labour byproducts from these sites were captured, rendered tangible and channelled into a body of work. Constituting the “everywhen” nature of noise, this outcome seeks to chart points of tension and symbiosis, that are at once hyper-localised yet ubiquitous, between swarming and capital - two systems of organising nature and labour. This paper employs the Shannon-Weaver model of communication to discuss the emancipatory potential of noise in automated ecosystems. Reflecting on the successes and shortcomings of art that attempts to wield this impossible material, this paper questions: How can art’s apparent compulsion with aestheticising or making sensory the phenomenological character of noise possibly be of any use, given that noise is by definition, stuff that is unknown, de-organised, and illogical?
Biography
Samuel Beilby is a contemporary artist and researcher based in Boorloo (Perth, Western Australia). His practice and research interests address processes of extraction, noise, materialism and labour. He currently occupies a committee member role at Cool Change Contemporary (an artist-run organisation in Boorloo) and a sessional teaching position at the University of Western Australia’s School of Design’ Fine Art Department. Samuel recently completed his Master of Fine Arts (Research) candidature at UWA which consisted of a thesis entitled “Swarmic Trajectories: Mapping the Symbiosis of Social Insects and Biomimetic Automation at Fulfilment Centre Worksites” (2022) and a creative body of work, Workwelt Logistics (2022). As of 2023, Samuel has participated in exhibitions, residencies, artist talks, academic conferences and performances in Taiwan, Japan, France, Singapore and Australia. He is also a part of the Boorloo-based experimental performance art collective mg.
Session chair
Andrew Brown
Artist
Griffith University
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