The demo of variable animal sounds was made by pure data, which was based on the combination of three to four different patches, as the trial of testing sounds variation for group project electronic performance with Clare. The recordings was made based on half of my personal interests during the testing, and would like to be shared.
The patches are mainly focused on developing loop and delay unit to change the frequency of sound so that animal sounds cannot be heard clearly but still can be identified during the performance. The experiment is to explore the possibility of noise related to the cultural context by a narrative way.
Using 3 patches as below:
2 raw variable animal patches + 1 telegram patch.
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Pure Data is pretty fun that is allowed to get a quick try with any possibility of linking and changing the value, which makes me feel less pressure and more motivation do the experiment of noise. This is the testing of how to make the noise with low/medium pitch – the outcome sounds like the combination of telegramming and whisper from data, which keeps me arising the further idea about improving the theme of duo performance, and it still needs to consult with mate next week.
1. The idea of the electric telegraph can be traced back to the middle of the eighteenth century but had not been adequately developed. (Corby 2006, p12)
2. […] The invention of the telegraph is not just a major technological development; it is also Samuel Morse’s most notable contribution to the history of art. His paintings have been to a large extent forgotten. (Corby 2006, p12)
3. […] More directly, his invention and others that were to come later, such as the telephone, film, television, video and the computer, opened up new possibilities for the production of art and ideas concerning its role. This can be seen early on in the work of the Futurists, and Moholy Nagy’s Telephone paintings. Later developments such as John Cage’s use of radios and Ray Johnson, amongst others; and ultimately in the first substantial use of mass media technologies in video art, computer and cybernetic art, and of course, the recent development of net art and other practices intended for the Web. (Corby 2006, p12, p13)
Corby, T. (ed.) (2006) Network art: practices and positions. New York: Routledge .
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