Saturday 26th May 2012
“This workshop will be dedicated to constructions of touch-reactive noise
machines. Such devices, based on a simple amplifier chip, are able to
produce a variety unexpected tones and textures, depending on the
position, humidity and pressure of the fingers touching its circuits’
contact-points. The body becomes part of the machines’ electrical flux,
and is directly responsible for the generation of sound. Such
characteristics turn them into amusing sonic puzzles open to sensorial
By the end of the workshop, apart from taking home an instrument of
their own design, guaranteed to put and end to the neighbours’ peace,
participants will become familiar with basic knowledge of electronics
and circuit building.
Participants are asked to bring non-metallic objects, such as boxes,
buckets, tupperwares, etc, to house their tactile noise machines.
All levels of experience welcomed.”
More info available on the WORM website.
Tracy Staedter blogs about some clothing that ‘plays music’ when touched. This sensor-based technology was developed by Jeannine Han and Dan Riley at the Swedish School of Textiles.
I’m a serial subscriber to mailing lists. Sometimes they deliver interesting things to my inbox. Occasionally I have time to read them. I was particularly intrigued by an ad for a workshop offered as part of the Code of Contingency series. Unfortunately I’m unable to attend, but here are the details in case you are (please let me know all about it if you go):
Lucky Dragons workshop:
Lucky Dragons’ Make a Baby
3rd of June, 6-9pm with Opening to Follow
Starting with Lucky Dragons performance “make a baby”–in which audience members are invited to play music by touching one another, modulating a low voltage electrical network by passing signals across skin–we will look closely at ways in which one signal can be modulated to carry another signal, as well as the open forms created by playful collaboration. Each point of contact between participants becomes a variable resistor in the network, a point at which any subtle interaction produces a ripple of changes in the sound, the network becomes fragile and dynamic, able to change quickly and radically as the interaction between participants evolves through playing.
Please e-mail Sarah Jury at firstname.lastname@example.org to ensure we will have enough room for attendees.
The relationship between skin and sound is something that I’ve thought about on and off for the past five or so years (since discovering the Paula Josa-Jones and Pauline Oliveros collaboration Skin). I have various short skinsoundscribblings that I will put up here (or on my website) soon.