Volumes of Spaces

http://acgunsdcroses.com/volumes/

Collection of recordings from a site specific, browser based sound intervention “Three Recurring Irregularities“. Upon visiting the website, the users is asked whether he would permit the website to use the microphone and record any sound around. If the users confirms, the website starts recording the microphone input from the users computer to the server, saving IP address and available user and location data with it, but at the same time plays this recording back from the computer, creating a feedback loop. This feedback loop though is controlled by a Auto Gain Control which gives additional structure to the sound, based on the intensity of resonance. The recordings do not only offer a kind of insight into the sound environment of computer users, thus constituting a kind of database of network node recordings (in the sense of “network field” recordings), but also record how people react and interact with electroacoustic effects. Some of the recordings show how people start playing with the phenomenon, while others immediately think somethings wrong and try to fix it. 

Soundwwwalk

Soundwwwalks are an emerging genre of live browser-based performances using <embed> improvisation, plugin sound-collage and multitab mixing, shamelessly blending the traditions of pro-surfing, Soundwalk composition and laptop music.

The performances take the audience on a sonic Detour through the World Wide Web. A Soundwwwalk considers the act of surfing the World Wide Web as form of sonic action.

The artists either perform their Soundwwwalks themselves on stage or transmit their notation, sometimes in real time, to a local interpreter operating the browser.

All performances follow the Soundwwwalk One-Line-Manifesto: “All sound sources must be played in a browser, must not be self-produced and must be publicly accessible.”

So far performed by Peter Moosgaard, Julian Palacz, Will Schrimshaw, Constant Dullaart, Joel Holmberg and Bernhard Garnicnig at iMAL Brussels, Worm Rotterdam and Raum D / Museumsquartier Vienna.

WORM/detour Soundwwwalk: Peter Moosgaard (Excerpt) from Bernhard Garnicnig on Vimeo.

WORM/detour Soundwwwalk: Peter Moosgaard from Bernhard Garnicnig on Vimeo.

WORM/detour Soundwwwalk: Will Schrimshaw from Bernhard Garnicnig on Vimeo.

WORM/detour: Meta Soundwwwalk from Bernhard Garnicnig on Vimeo.

WORM/detour Soundwwwalk: Constant Dullaart from Bernhard Garnicnig on Vimeo.

CHISEL HARD

Polyurethane, Lacquer, Projection (2011)
Text rendered with a chiseling effect projected on artificial rock surface.
for K ≠ (S + R + B)^30 x [P^n - A^x]^RIF, curated by Georg Russegger, at Glockengasse 9 Wien, June 2011
Hybrid book featuring 30 essays about “Chisel Hard / I BELIEVE IN TECHNOLOGY, written by Georg Russegger. Book published by TRAUMAWIEN, featuring an Augmented Reality reproduction on the rear cover.

Exhibition: Stimuli

at Stilwerk Shop21, curated by Max Lust, with Martin Bilinovac, Bernhard Garnicnig,
Thomas Gänszler, Jakob Neulinger, Valentin Ruhry and Kay Walkowiak (April 2011)

Front: All the ways this could go (C-Print on Aluminium, 150cm)
Left: Spectrum (One of three choices)  (C-Print on Aluminium, 100x100cm)

Spectrum (One of three choices)  (C-Print on Aluminium, 100x100cm)

 

 

All the ways this could go (C-Print on Aluminium, 150cm)

And all the ways you can look at it (C-Print, 30x45cm)

 

Sound Track Logs

Sound Track Logs are a series of vinyl objects and recordings made as part of my 2011 magisterial thesis Random Access Memories. Inspired by the synergetic effects of environmental sounds and music on headphones and a loose contact in the earphone plug, I set out on several walks through Vienna. With every step interrupting the music coming from the music player, leaving space for the environmental sounds to be more present.

I recorded both sound sources just like they sound to my ears using in-ear microphones and semi-open over-the-ears headphones. The music selected for those walks is a selection of favourite songs and pieces. The way DJ Shadow nicely syncs with the sound of the alarm of police cars, or how John Cages piano pieces leave so much air and space for the sound around us to find a place in a musical structure.

The vinyl objects have the sound recording on one side and a laser engraving on the other side. The laser engraving shows a map of the area of the city I walked through, as well as the path I walked.

Sound Track Logs are a manifest to the experience of music in public spaces on mobile devices. Listening to music on the go isn’t the same as music filling a room. The music changes, it becomes more open, with room for interpretation and intervention from the outside. 

 

Walking from Stubentor to Kärntner Ring with John Cage Piano Variations by David Tudor on my headphones

Walking from Kärntner Ring to Getreidemarkt with Damian Frey: Further on my headphones

Walking around Praterstern with with DJ Shadow: Midnight In A Perfect World on my headphones

 

Walking from Julius Raab Platz to Bauernmarkt with with Asa Chang & Junray: Hana on my headphones

Download Album (MP3, 320k)

 

 

 

 

 

 

 

Memochrome

Memochrome is a photo app for Android. Instead of taking pictures as close approximations to realistic depiction, Memochrome takes highly abstracted pictures based on only four colors picked up by the camera sensor. Image file saved by Memochrome also store information about where pictures were taken (geotag) as well as date and time – allowing for maximum abstraction while still saving basic factual information associated with the photographic moment.

Part of my 2011 magisteral thesis Random Access Memories.

 

Download App from Android Market.

Polychrome Anachron

img_59301 (color space)

p1020303 p1020299

(object.1)

 (color space: cube)

 

 (all the ways this could go)

(all the ways you can look at it)

 (spectrum: one of three choices)

dg9ppck9_265gbwhtrf4_b (Preserved Birds at the Oxford Museum of Natural History, Department of Ornithology )

255-11.jpg
255-2.jpg
255-3.jpg

(256 shades of grey on 512 pages)

 

 

 

 

 

 

 

(aigle)

(next level)

almost white

Almost White

Almost all cameras allow the user to set the photographic white point manually. To make this setting on some cameras, you have to shoot a picture of a usually white surface and set it as the white point reference. 

These pictures, usually deleted right after confirming the setting, question the concept of subjective realities in the photographic process and document the photographers surroundings from his part unconscious, part mechanic eye. Tthis is one of the last kinds of photography where no post processing is applied by a human while it shows how much the camera is manipulating the image already. 

Its one of the last snapshots of photographic truth in the digital imaging age.

almostwhite1.jpg