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1. Critical Sections

   The Critical Sections interface enables you to sketch pieces of architectural and cinematic history, along with related commentary, onto virtual pages whose content and composition are under your control. The primary interface element is the "cluster".

   Eric Dean Rasmussen - 26.04.2012 - 16:30

2. Re:Cycle

   Re:Cycle is a generative ambient video art piece based on nature imagery captured in the Canadian Rocky Mountains.  Ambient video is designed to play in the background of our lives.  It is a moving image form that is consistent with the ubiquitous distribution of ever-larger video screens. The visual aesthetic supports a viewing stance alternative to mainstream media - one that is quieter and more contemplative - an aesthetic of calmness rather than enforced immersion.  An ambient video work is therefore difficult to create - it can never require our attention, but must always rewards viewer attention when offered.  A central aesthetic challenge for this form is that it must also support repeated viewing.  Re:Cycle relies on a generative recombinant strategy for ongoing variability, and therefore a higher measure of re-playability.  It does so through the use of two random-access databases: one database of video clips, and another of video transition effects.  The piece will run indefinitely, joining clips and transitions from the two databases in randomly varied combinations.

   Jim Bizzocchi - 20.06.2012 - 18:58

3. Film of Sound

   Film of Sound

   Kathi Inman Berens - 20.06.2012 - 19:29

4. Losing the Lottery

   Losing the Lottery

   Scott Rettberg - 01.01.2013 - 22:42

5. Arlequi

   The music/animation, “arlequi,” is a digital map, a metaphor connecting the sensory divide as image and audio derive from the same numeric source, creating a visual music in a synaesthetic counterpoint.

   Ole Samdal - 25.11.2019 - 01:39

6. Concrètisations X

   Graeme Truslove on Concrètisations X:

   "For me, one of the salient features of acousmatic composition is the capacity to compose the performance – where the composer-performer can form (or perform) a concrete musical structure, whose every timbral and temporal detail can be reproduced from one concert to another. This ability to capture, combine and idealise spontaneous performance was the catalyst behind Concrètisations. I began composing the work by editing and combining several recorded improvisations. I sought to preserve the performative energy and micro-level developmental characteristics of the original recordings, whilst further enhancing them using combinations of montage and real-time signal processing techniques. The original improvisations were performed on an interactive software instrument, which is the real-time implementation of processes used in some of my earlier pieces."

   Ole Samdal - 25.11.2019 - 01:58