Materializing & Sonification of Movement with Matthew Kenney

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From the course by Duke University

Art of the MOOC: Experiments with Sound

3 оценки

Duke University

Art of the MOOC: Experiments with Sound

3 оценки

Students of this course may try their hand at their own sound interventions and musical compositions, or simply focus on learning more about diverse musical traditions, sonic experimentation, and acoustic phenomena in everyday life. Designed by artist and Duke professor, Pedro Lasch, and UdK composer Mathias Hinke, this course is also co-taught by scholar and musician Jace Clayton (DJ Rupture) and curator Candice Hopkins (Documenta 14). The lectures link major artistic developments of recent decades to wider ideas about sound in specific social and spatial contexts. Also included are guest presentations from key thinkers and practitioners, like: Christopher DeLaurenti, Jen Delos Reyes, Tina Haver Currin, Quran Karriem, Christina Kubisch, Thomas Kusitzky, Scott Lindroth, Mark Anthony Neal, Bill Seaman, and John Supko. As the ‘ART of the MOOC’ title implies, learners and participants are encouraged to treat the MOOC itself as a public art medium. This happens mostly through the course’s optional practical components, local project productions, global exchanges, and critical feedback. While no prior sound production or musical experience is required, projects also offer challenging options for advanced learners. For other course offerings or language versions in this series, just search 'ART of the MOOC' in the Coursera catalog.

From the lesson

NOTATION, HOW MUSIC TRAVELS & PUBLIC SPACE

This lesson begins by focusing on the relationship between experimental practices and scores or notation systems. It also examines how sound has been used and understood by artists in specific urban contexts, such as ports, train stations, and airports, as well as rural settings, including forests, gardens, and the wider landscape. We conclude with an examination of how sound and music travel, be it through the populations who produce it, or the objects and digital files that are used to record and share it.

The Garage & Found Metal Ensemble with Scott Lindroth9:03

The Sound of Electromagnetic Waves with Christina Kubisch7:10

Materializing & Sonification of Movement with Matthew Kenney6:10

Auditory Architecture with Thomas Kusitzky7:48

Meet the Instructors

Pedro Lasch
Visual Artist and Associate Research Professor
Duke Art, Art History & Visual Studies
Candice Hopkins
Documenta 14 Curator, Producer, and Author
Jace Clayton
Composer, DJ, Author, and Lecturer
Mathias Hinke
Composer, Researcher, and Professor University of the Arts (UdK) - Berlin

[MUSIC]

Over the years, Matt, you've been devoting your artistic talent, and

also your research to this notion of making that a physical, right?

Taking big databases, data pools and finding creative

ways to manifest that information into giving it a form.

A lot of your background actually has been very inspired in composition.

So can you tell us a little bit how processes and

kind of past forms of composition led you to work with these data pools?

>> Sure, yeah, so I was really, initially inspired by the work of

Iannis Xenakis and John Cage kind of these avant garde composers

who were using algorithms to kind of drive their work.

I really liked the idea of being able, not having a kind of set structure.

But being able to push either data or

an algorithm through a system and kind of create a kind of generative piece.

So I started out really in the kind of algorithmic range

where I would really take kind of these nodes or

voids and kind of throw them into a space, and

kind of see what kind of physical structures came out of them.

At the time, I was kind of in the area of experimental architecture,

experimental form making, not so much in the kind of music realm.

But really, yeah, again,

really interested in kind of using these algorithms to kind of drive the structure.

Algorithmic pieces I kind of I would throw them in, and

it was more kind of like an iterative process.

So I would stop it when something came out that I found particularly interesting or

striking to me.

For the data visualizations and kind of sonifications,

which I'm sure we'll get into in a second, those were really driven kind of

by the concepts and kind of the meat of the data, right?

So, for instance, is the sonifcation that I

created using 400,000 years of Antarctic ice melt data.

And of course we had to shrink that time scale by a huge

order of magnitude to be able to fit it into the time

frame that people would enjoy listening to.

So it's really a kind of playing and exploring.

At the end of the day we kind of kept it towards a traditional song,

the traditional length of the song, maybe six minutes or so

just to keep it in a reasonable time frame.

[MUSIC]

>> You have this great project with 3-D printing with clay, right,

where information literally becomes clay work.

Can you talk a little bit more about that project,

like what data were you working with?

What types of shapes and printings were you after?

>> Sure yeah, so that project was working with hurricane data I was collaborating

with a professor at Penn State and really trying to capture a wind speed and

kind of the movement of these hurricanes as they pass through.

And it was really wonderful, kind of both

constructing the technology to be able to do that in building the clay 3-D printer.

And I'm kind of trying to bring this to life

in a more physical way by printing clay.

Yeah, so we had the great opportunity of working with Chicks on Speed,

and we brought Alex, Mary, and Leslie into the biomechanics lab.

And hooked her up with all kinds of sensors.

And we were able to kind of track her movements in real time as she kind of

kind of moved abstractly through the space.

And from there we took the data and then I was able to feed the data into a program

we called super collider and sonified that data to be used in the piece.

[MUSIC]

>> And what was the kind of final performance because there was

a public dimension to this too, right?

>> Yeah, so the sonification ended up being used in our larger piece I was

displaying in Venice.

And kind of added another layer on top of their kind of main performance.

You could kind of hear the movements of the artist

as a extra layer on top of their main performance.

[MUSIC]

Yeah, so the movement's more abstract but also very physical and

athletic, which is something that's not really seen and

not really kind of brought into a lot of our practices.

So it's a really unique experience for me to capture those movements and

then kind of bring another physicality to the project, sonified.

>> And I think that's also very powerful about seeing documentation of

the performance, that it does connect with dance and

more traditional approaches to art making.

But it brings in a whole other set of movements.

>> That's right. >> Yeah.

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