Sympoietic Being
(Usa audífonos para escuchar sonido binaural)
Versión rectangular de la película para full dome creada para Zeiss Großplanetarium Berlín (2024) y Cité des sciences et l'industrie París (2025). Todos los procesos de espacialización sonora vienen de Spat5 de IRCAM, conectado a Unreal Engine 5.
Concepto: Arthur Wardenski y Vicente Yáñez
Diseño y Visuales: Arthur Wardenski
Sonido y Visuales: Vicente Yáñez
Créditos
Voz: Helen Hines
Violonchelo: I.O.
Texto de Nicolas Bourriaud
Click aqui para Artículo
Versión rectangular de la película para full dome creada para Zeiss Großplanetarium Berlín (2024) y Cité des sciences et l'industrie París (2025). Todos los procesos de espacialización sonora vienen de Spat5 de IRCAM, conectado a Unreal Engine 5.
Concepto: Arthur Wardenski y Vicente Yáñez
Diseño y Visuales: Arthur Wardenski
Sonido y Visuales: Vicente Yáñez
Créditos
Voz: Helen Hines
Violonchelo: I.O.
Texto de Nicolas Bourriaud
Click aqui para Artículo
Inside the Noise
Documentation of Altrememorie Residency held between 7–28 February 2025.
Hosted by Le(Serre (Udine, IT) and Pina (Koper, SI).
This residency was focused on the exploration of urban soundscapes and ambisonics. Using first- and third-order microphones, various urban environments and activities were captured, along with multiple impulse responses from different echoic spaces. The sound material originated from Koper and the surroundings of Udine. This material was then used to train a classifier network in MaxMSP with the FluCoMa library.
The training process resulted in a dataset containing frequency information carried by the first harmonic of the ambisonic recordings. Once trained, the classifier could identify incoming recordings and trigger real-time mixing of those sounds. A spatial FM synthesizer, also built in MaxMSP, was then fed into the network, merging both signals into an experimental, combinatory dialogue.
Hosted by Le(Serre (Udine, IT) and Pina (Koper, SI).
This residency was focused on the exploration of urban soundscapes and ambisonics. Using first- and third-order microphones, various urban environments and activities were captured, along with multiple impulse responses from different echoic spaces. The sound material originated from Koper and the surroundings of Udine. This material was then used to train a classifier network in MaxMSP with the FluCoMa library.
The training process resulted in a dataset containing frequency information carried by the first harmonic of the ambisonic recordings. Once trained, the classifier could identify incoming recordings and trigger real-time mixing of those sounds. A spatial FM synthesizer, also built in MaxMSP, was then fed into the network, merging both signals into an experimental, combinatory dialogue.
Purple Aether
Spatial composition for MONOM and 4DSOUND
(Watch the video with headphones for Binaural Sound)
The concept for this piece was at first an exploration of the 4DSOUND engine and the capabilities of the powerful MONOM speaker setup. The idea started as an assignment on how to imagine otherworldly natural soundscapes, aiming to invent an environment that transported the listener to a different reality.
The tools available within 4DSOUND are extensive and inspiring for spatial sound applications. This piece was a first attempt to delve into the functionality of the software, using MONOM’s speaker layout specially designed for its application, consisting in 48 omnidirectional speakers and 9 subwoofers. The result is a piece that uses directionality and height as narrative elements, unraveling sounds that evoke sentient life and movement, as the listener feels himself transported through a journey that culminates in a contemplative and solemn open space.
This piece was developed in the context of my 2024 internship at MONOM (https://www.monomsound.com).
Photo by Pablo O’Ryan
(Watch the video with headphones for Binaural Sound)
The concept for this piece was at first an exploration of the 4DSOUND engine and the capabilities of the powerful MONOM speaker setup. The idea started as an assignment on how to imagine otherworldly natural soundscapes, aiming to invent an environment that transported the listener to a different reality.
The tools available within 4DSOUND are extensive and inspiring for spatial sound applications. This piece was a first attempt to delve into the functionality of the software, using MONOM’s speaker layout specially designed for its application, consisting in 48 omnidirectional speakers and 9 subwoofers. The result is a piece that uses directionality and height as narrative elements, unraveling sounds that evoke sentient life and movement, as the listener feels himself transported through a journey that culminates in a contemplative and solemn open space.
This piece was developed in the context of my 2024 internship at MONOM (https://www.monomsound.com).
Photo by Pablo O’Ryan
Tableaux sans Exposition
Instalación sonora con Ambisonics en la UDK Berlin
(Mira el video con audífonos para escuchar el sonido binaural)
Composición de paisaje sonoro para sistema 8.1
Esta pieza multicanal de 8 canales busca explorar la espacialidad del sonido y la combinación de fuentes sonoras utilizando Ambisonics de tercer orden en 2D. Mezclo grabaciones de campo y síntesis sonora en la forma de una composición de paisaje sonoro. Esta exploración busca estimular la imaginación a través del disparo de la percepción y la memoria en el oyente: combinando sonidos reconocibles, aparentemente no intervenidos, con grabaciones procesadas y síntesis, todo presentado mediante una configuración espacial que no pretende recrear el realismo sonoro, sino mantener la atención del oyente activa dentro de la experiencia acusmática.
En esta pieza busco superponer ontologías de la materia sonora, esperando que se manifieste una aparente complementariedad. También pretendo crear un espacio para la escucha atenta, que active los mecanismos de codificación del oyente, de modo que cada experiencia de escucha estimule una (re)codificación del contexto, abriendo la posibilidad de una co-creación con el oyente. La pieza está impulsada por SPAT5 de IRCAM (HOA encoder) y Max/MSP. En la instalación, el orden de los paisajes sonoros y qué grupo de ellos se reproduce en cada sesión de escucha se genera de manera aleatoria, al igual que el movimiento espacial y la síntesis sonora multicanal hasta cierto punto. La pieza está pensada para ser escuchada desde una posición central, equidistante a los altavoces.
El título de la pieza es un juego de palabras con Kartinki s vïstavski de Modest Mussorgsky (Tableaux d’une exposition / Pictures at an Exhibition).
Foto de portada por Pablo O’Ryan
(Mira el video con audífonos para escuchar el sonido binaural)
Composición de paisaje sonoro para sistema 8.1
Esta pieza multicanal de 8 canales busca explorar la espacialidad del sonido y la combinación de fuentes sonoras utilizando Ambisonics de tercer orden en 2D. Mezclo grabaciones de campo y síntesis sonora en la forma de una composición de paisaje sonoro. Esta exploración busca estimular la imaginación a través del disparo de la percepción y la memoria en el oyente: combinando sonidos reconocibles, aparentemente no intervenidos, con grabaciones procesadas y síntesis, todo presentado mediante una configuración espacial que no pretende recrear el realismo sonoro, sino mantener la atención del oyente activa dentro de la experiencia acusmática.
En esta pieza busco superponer ontologías de la materia sonora, esperando que se manifieste una aparente complementariedad. También pretendo crear un espacio para la escucha atenta, que active los mecanismos de codificación del oyente, de modo que cada experiencia de escucha estimule una (re)codificación del contexto, abriendo la posibilidad de una co-creación con el oyente. La pieza está impulsada por SPAT5 de IRCAM (HOA encoder) y Max/MSP. En la instalación, el orden de los paisajes sonoros y qué grupo de ellos se reproduce en cada sesión de escucha se genera de manera aleatoria, al igual que el movimiento espacial y la síntesis sonora multicanal hasta cierto punto. La pieza está pensada para ser escuchada desde una posición central, equidistante a los altavoces.
El título de la pieza es un juego de palabras con Kartinki s vïstavski de Modest Mussorgsky (Tableaux d’une exposition / Pictures at an Exhibition).
Foto de portada por Pablo O’Ryan
Your Care
Tuce Alba / Ina Ritter / Helen Hines / Vicente Yáñez
The experiment lies in the ability to highlight the effects of the actions we have on others through technology. "Your Care" research into the individuality of sound perception. It emphasizes how every person experiences sound individually and the experiment participants become in shaping the auditory environment of another individual, the specifics of which they can only imagine. This shows the idea that we can never truly know the full extent of someone else's sensory experience, yet our choices and actions can affect it.
This is a collective experience/experiment. There's a circle of chairs with a fish tank filled with cables in the middle. The users/listeners open the app in the mobile phones that are on each chair. They put on headphones that are right next to the mobile phones. Both are not hooked up to each other but go into a fish tank filled with cables.
When the experience starts, they are encouraged to look at each others faces, seeing who is reacting (and how) to the manipulation of the app.
The experiment lies in the ability to highlight the effects of the actions we have on others through technology. "Your Care" research into the individuality of sound perception. It emphasizes how every person experiences sound individually and the experiment participants become in shaping the auditory environment of another individual, the specifics of which they can only imagine. This shows the idea that we can never truly know the full extent of someone else's sensory experience, yet our choices and actions can affect it.
This is a collective experience/experiment. There's a circle of chairs with a fish tank filled with cables in the middle. The users/listeners open the app in the mobile phones that are on each chair. They put on headphones that are right next to the mobile phones. Both are not hooked up to each other but go into a fish tank filled with cables.
When the experience starts, they are encouraged to look at each others faces, seeing who is reacting (and how) to the manipulation of the app.
Gineceo
Nuri Gutés
Video: Bruno Torres Mecci
Suddenly here, and long ago, they trace their future with a subtle quill— one that resembles silence.
Music: Vicente Yanez
Suddenly here, and long ago, they trace their future with a subtle quill— one that resembles silence.
Music: Vicente Yanez