Acoustic architecture

At re-new 2011 we want to look at acoustics from the perspective of the space that contains the sound, and not from the perspective of sound, but. The traditional approach in music and signal processing is to predict transformations of sounds based on transformations and combinations of sound sources. This in turn can be calculated, to produce changes in the resulting sound of ‘smearing’ in different ways, as well as distributions of the sound in space. We may call this reverb, filtering, waveshaping and spatialisation etc. and there are a vast variety of results that can be had.

But rather than focusing on the music and the changes that happen to music when transported through a physical (or virtual) space before it reaches our ears, we want to look at the space as a container of sound. The space is where the listeners are, it is the environment they inhabit and it is where they take in the sound. The space is at the same time the transmuter and the receptacle, and is to people the physical presence of sound.

Such spaces can be joined in connections. Spaces are chosen locally and the waveforms are sent into one and passed on to another.

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I have over the years released a considerable amount of music as composer, flute and laptop performer and producer on digital and physical media – vinyl, cassette, CD, DVD. You will find all this material including listening links on the recordings page.

The programming I am doing for my own electronica and interactive music performance purposes has let me into research topics that have spun off a few snippets of generally useful software. This is available in the toolbox page.

Finally, the 3D Sound Object is a sound diffusion concept that holds very interesting artistic promises, and I am discussing the concept and pieces I have made on the 3D Sound Object page.