one bit louder on Thu, 9 Mar 2000 20:07:57 +0100 (CET)


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<nettime> o-n-e-b-i-t-l o-u-d-e-r


ONE BIT LOUDER
the irresistible inferiority of systematic network noise

	[ apologies for anyone who receives this more than once ]

#-w-h-e-r-e-------------------------------------
Exhibition as part of Video Positive 2000
Liverpool, Bluecoat Gallery, 9March-1May 2000
Private View: 8March 2000
Performance: GameBoy Pocketnoise V.0.0.b
             Bluecoat Concert Hall 8March 7pm

#-o-n-l-i-n-e-----------------------------------
http://mi.cz/obl/

#-----------------------------------------------
Projecteurs:
(info below)
	GameBoy Pocketnoise V.0.0.b
 	[Christoph Kummerer]

                ~leegte
                [Jan Robert Leegte]

                mail2midi
                [lo-ser]

                The Frequency Clock
                [r a d i o q u a l i a]

Textuelle:
(info below)
	 Bring The Noise
  	[Drew Hemment]

                The Killer App
                [Ulrich Gutmair]

                Pitch Shifting
                [Honor Hargar & Adam Hyde]

#-i-n-t-r-o--------------------------------------
One Bit Louder
the irresistible inferiority of systematic network noise

The audio network is back! After the hostile take-over by the Internet, the
ultimate audio network of the 20th century, the phone system, has
eventually re-established itself to deliver what it was originally
conceived for: audio content.

This time, the digital formats within which audio content is delivered
online leave a lot of creative space to manoeuvre for artists and media
collectives. Layered on top of the original copper network, online digital
audio provides a multitude of options and potential unheard of even  five
years ago.

One Bit Louder presents creative approaches towards audio on the Internet.
It attempts to go beyond the mere sound spectrum and probe various
interfaces developed to make audio environments accessible; after all,there
is a screen in your sound file. Experience networking initiatives unique to
the Internet radio community, as well as efficient technical interventions
in consumer electronics such as the Nintendo GameBoy. The next step is
clearly: Do It Yourself, and try to be that One Bit Louder!

curated by Micz Flor; Berlin, Vienna, Feb2000

#-p-r-o-j-e-c-t-s-------------------------------

gameboy pocket noise Version 0.0b
Christoph Kummerer

Gameboy pocketnoise is an experimental audio generating software
Especially written for and burnt into a Nintendo Gameboy cartridge. This
way the number one educational device of the young consumer generation is
turned into a highly controversial sound source. Searching for mobility,
Christoph Kummerer sees the main advantage of his new device as the
portability  of the Gameboy. The interface of pocketnoise is "absolutely
non-intuitive" which adds to the appeal and reduces the marketability.
Kummerer has  built a unique 4Bit sampler which is driven by a genuine
mixture of intended lo-fi sound and unintended software bugs which make
each performance a challenging experience for the artist and the audience.
"This buggy  piece of code will never leave the alpha stage, meaning, the
User is kept  feeling lost, like a confused lab rat ."  Certainly, this
item will not reach  the mass market. Neither will the approach of hacking
Gameboy cartridges. Still, pocketnoise proves that consumer electronics are
not only  subject to commercial hacks, but can also be abused for creative
purposes.

bio
Christoph Kummerer, born in 1974, lives and works in Vienna on sound  based
adventure holidays. He is part of a group establishing the label
'pilot.fm', which will present mpeg and midi based sound experiments,  and
regular audio shows featuring the nerdsonair.org team. Recently he  wrote
pocketnoise for Nintendo Gameboy, the first cartridge to turn your  Gameboy
into an experimental music unit (read: gadget). pocketnoise will be
touring Europe this summer. You can run, but you can't hide.
---

~leegte
Jan Robert Leegte

In Leegte's work, the audience is looking at a blind spot defined by a
number of works surrounding it. These "generators" have to be totally
unique in form, material and solution in order to define this "blind
spot". The mesmerising experience leaves the visitor a minimal setting for
observation, trying to force him or her out of this interpreting shell,  by
inviting the user solely to observe. By introducing randomly generated
sound-loops, the sound seems stationary like cheap techno. But only by
listening and taking time will the sound start to twitch and slowly  expand
until it reaches its full range. The viewer might find him/herself
squatting silently in front of the machine, eyes and ears transfixed,
absorbing the unexplainable fascination known to the phenomenon of a
waterfall.  The fascination for the "unspoken" result in reduced
environments of bare experiences, leaves only a few elements intact.
Superfluous details are erased, refusing to allow further thoughts and
associations in the mind of the startled beholder.

bio
Jan Robert Leegte, born 1973, lives and works in Amsterdam. He studied
architecture at the Technical University, Delft in 1992, and continued  his
studies until graduating in sculpture, installation and computer work  at
the Willem de Kooning Academy, Rotterdam in 1999. Between '95 and '99  his
field of studies included audiovisual design and fine arts. Leegte's  shows
include the electronic sound performance, 'kapel', in Rotterdam, the
group-exhibition 'Kangoeroe II', in Amsterdam and another electronic  sound
performance at V_2 in Rotterdam. He also worked for various online
projects such as <http://www.damnet.demon.nl> and <http://www.lokaal01.nl>.
Between 1996 and 1999 he worked collaboratively with Edo Paulus and Steven
Brunsmann on electronically based music projects under the title M>O>S.
---

mail2midi
lo-ser

In technical terms, mail2midi allows the user to send email to a  gateway
which converts the ASCII into a midi signal which in turn, is played by  an
external sampler at lo-ser's home in Vienna, an independent new media
collective. This audio signal is then scanned in and converted into a
RealMedia stream and played back to the user via the internet.  The
original concept of mail2midi was borne out of the simple question  of
alternative ways to present complex data structures. Traditionally, the
presentation of data has always worked towards ways of visualising such
data bodies.  mail2midi differs in that it is an experimental sound
generator.  It demonstrates the problems which arise when interfacing
different kinds of signals - in this case, bare ASCII code, midi  control
files, and RealMedia compression formats. mail2midi is an instrument  and
requires certain equipment to be played. Being totally embedded within  the
technical structure and communicative nature of the internet, mail2midi  is
a true online gadget. Noise or art?  Not for you to decide.

bio
lo-ser is an offspring of the independent art server
<http://www.lo-res.org>. lo-res has been influential in the German  lo-fi
and ascii art scene since its first online appearance in 1996. It then
developed into a web and *real space* based community in Vienna.  Members
come from various areas and fields of interest. Today lo-res hosts  various
art related mailing lists and music projects, mainly propagating free
access to cultural products, with an emphasis on MP3 files.
---


The Frequency Clock
 r a d i o q u a l i a

The Frequency Clock is an experimental online and on-air broadcast  system
involving the establishment of a network of FM transmitters placed in
communities located around the world. This installation version  comprises
a pair of computers broadcasting different internet.radio streams via a
mini-FM transmitter. Each net.radio stream is from a different part of  the
world. The 2 computers, represent points on an analogue clock, each
computer a physical representation of a step in global time zones. By
traversing this space while wearing the FM radio receiver headset,  tuned
to the broadcast frequency, the audience participant becomes part of a
global net.radio tuning mechanism. Physical movement literally tunes the
radio machine. The organic part of the mechanism is the autonomous tuning
agent (the audience participant); the inorganic part is the associated
hardware (computer, transmitter). Like the vital role a crystal plays in
tuning traditional radio into different radio stations, the audience
participant in this cybernetic tuner, moving through localised radiospace,
tunes The Frequency Clock into different net.radio stations.

bio
r a d i o q u a l i a <http://www.radioqualia.net>, is an online radio
station, opening an electronic portal into the eccentricities of
antipodean radio space.  As a geographically isolated project (both
participants  are from New Zealand and in global transit - the radio
station itself is physically located in South Australia), one of r a d i o
q u a l i a's primary motives is to use online broadcast media to critique
geographical distance as an impediment to creative collaboration.  Since
its  inception in 1998, r a d i o q u a l i a have used tools such as live
audio performance, exhibitions, customised gadgets, and regular netcasts to
remap prescribed media territory.


#-t-e-x-t-s---------------------------------------


One Byte Louder - "bring the noise"
Drew Hemment

Volume is the weapon of noise. In an age where solitude is defined in
decibels and policed by officers of environmental health, a turn of the
dial is a call to arms. But with the on-going mutations in modern  media,
the point at which the battle lines are drawn is no longer simply a  matter
of amplification or speaker placement, as what constitutes a turn of  the
dial is no longer clear. (contd...)

---

the killer app
Ulrich Gutmair

Up to now, the Internet was a mythical place where you could store your
Utopia according to your desires. Left-wingers re-discovered a space  free
of control which they had thought was lost forever, whereas liberals
described the net in short as the conception of a global market. The
consequences were not to be feared. Something that seemed to be nothing
more than a question of faith or an expression of a fundamental
ideological schism has now become a genuine conflict about control of
channels. A conflict involving a great deal of money.  (contd...)
---

pitch shifting
Honor Hargar & Adam Hyde

Radio is mutating. No longer trapped within small receiving units, and
controlled by large broadcasting companies, the concept is multiplying  and
evolving into new hybrid forms - cellular radio, molecular radio,
personalised radio, and in league with the giant telecommunications  drift
net that is the internet, net.radio. Net.radio, perhaps the younger
sibling of the yet to materialise monster, web.tv, has excited artists and
advertising companies alike, bringing to the internet the oft promised  era
of live broadcasted sound, using a process often called "streaming".  But
what exactly is net.radio? Where did this term spring from? And who are the
protagonists behind this phenomenon?  (contd...)

#-f-i-n------------------------------------------


Micz Flor - micz@mi.cz
http://mi.cz


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