“Sonic Totem” is a sculpture of wood, metal and horn, which incorporates a series of interactive speakers. The Totem is in the middle of a virtual circular space, around which the viewer can turn 360 °. The space is divided into four zones, recalling the four cardinal points and the four primordial elements. The Totem wears a circular ring of ultrasonic distance sensors that analyze motion and trigger and modulate sound sequences according to procedures between necessity and randomness.
The figure of the traditional totem is invoked, a ritual object serving as an interface with the world of the ancestors and the invisible forces. The sculpture functions as a contemporary “digital totem”. He proposes to reformulate and question the human / non-human / machine ontological
distinction, and the function of the art object as a magic object.The public interacts with sculpture to generate unique narratives, hybrid identities, and spatio-temporal disturbances. The Totem is powered by recordings, field recordings, interviews, potentially infinite sound documents, and recorded in every place where it is installed. The Totem can also receive and modulate a live audio stream, emitted from another location.
A “meta-genealogy” emerges: the processes of interactive composition reflect the processes of the Living. By selection, repetition, mutation, between determinism and chance, sequences are constructed, identities, genealogies and memories are defined, at the level of the cell, the individual, the collective history.
8 ultrasonic sensors in circular configuration.
Interaction surface: 360°, radio = 3m.
4 integrated speakers + Sub. Audio inputs: sample playback, live input, audio stream. Audio processing: filter, delay, ring modulation, EQ, compression, lfo.
Modular architecture, audio affectations & open datas. Control and Monitoring remote online.
Original software. Online streaming dedicated server.
Concept, design & composition
Software development & coordination
MIGUEL ANGEL DE HERAS
Soluble dans l’Air, Association
art2M Hangar, Barcelona, Sonic Totem phase I R&D realised by Floy Krouchi, in a residency at Hangar, www.hangar.org
DIFFUSIONS Biennale DREAM CITY (TUNIS) HANGAR
Since 2012, Floy Krouchi has been working on a bass augmented by electronics within her project Bass Holograms, for which she composed several concert pieces (commissioned by GRM, Maison de la radio, LEM, Signal, Spazio Musicale) that she performed in France, Europe and the United States.
This augmented bass project is the result of a practice and reflection on new lutheries: hybrid lutheries marrying physical instruments and electronic extensions, which raise new paradigms for composition, lutheries which renew instrumental gesture and precipitate new modes of playing.
Since 2017, the research on the augmented bass focuses on the integration of sensors and controllers onto the instrument itself. Thus, with the FKBass, the musician and composer approaches the question of sound, composition light or scenography control by the gesture through the development of a unique instrument.
The FKbass has close to fifty integrated sensors in three different modules (Bass, Head and Lighthouse, its control module) and a complete matrix of ten fully modular digital transformation units for the FKB software.
Original idea, Conception, Composition
Cesare-CNCM Hardware development
Pierre Fleurence additional software development
THIBAULT LECHERF Lutherie
Production Soluble dans l’Air
Coproduction Cesare Reims-CNCM
With the support of FSIR (2017), Arcadi île-de-France
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