In this second of a four part series of soundscapes and interviews I did at the Toronto Electroacoustic Symposium this August, I share two sound exhibits. PluseCubes by Ryo Ikeshiro. From the program: “is an interactive sound where visitors are invited to become part of an implicit feedback loop whose other components include a set of small cubes on a flat surface, computer vision and digital signal processing. The cubes are tracked by a web camera positioned overhead and processed by a programming environment known as Max/MSP/Jitter. The audience interaction is created through the placement and movements of these cubes acting as a control device which in turn results in the production of audio and physical vibrations. Ryo is a London, England based electronics and acoustic musician working in the fields of audiovisual composition, improvisation, interactive installations, soundtrack and therapy. He is currently studying for a PhD in studio composition.” The next exhibit I explore is Ghostwood a/v by Michael Trommer who did the audios, and Brent Bostwick who did the visual part of the exhibit. From the same program: “It is an audio-visual installation which investigates the psycho-geography of Ontario’s northern wilderness. It is primarily focused on the use of infrasound provided by specially constructed tactile transducers and is supported by a video component of the Georgian Bay landscape. The project title is is a reference to those suburban neighbourhoods in which the sole memory of what has been displaced or eradicated as a result of their construction survives in the now prosaic street names (‘Valleyview’, ‘Forest Hill’, etc).”
In our discussion of infrasound, Michael mentions a phenomenon called the brown note and wonders if it is a myth. As it turns out, it is a myth, according to my sources. But you’ll hear more about that during the interview.
Enjoy the show.
Or right click to Download: HotFRM 209 (63mb 33m39s)