He developed and administers runme.org, an online repository for software art, which has given rise to works like dot_matrix_synth, where a dot matrix printer is reprogrammed to play music while it prints its own notations in patterns as it is performed. He forms part of slub, a trio of coders who develop their own software for the creation and performance of process-based improvisations and live generative music. In the same vein, he is also a member of TOPLAP, a group of highly improvisatory programmers who write software while it is being executed to generate music and live visuals during a performance.

She has performed audio/visual work with artists like Chris Caines, Shannon O’Neill and Ben Byrne. She has curated collaborative performance events like Semaphore and is also Co-Director of the Firstdraft Gallery.

In many of her pieces a live physical presence central to the work, where the audience’s movement and interaction with the installation directly affects the space. In Potential Energy, where a line of sensors on the wall set into movement the line of chains opposite, the audience functions as triggers. In The Real Thing, a large-scale kaleidoscope where the viewer’s body not only triggers the installation but becomes the content for it, the work literally cannot function without the presence of an audience, as it is their body that is captured as an image, processed and projected as the kaleidoscopic content shifts and changes with the person’s movement.

She has collaborated with performers, writers, video artists and sound artists like Talia Linz, Eva Mueller, Young-Ah Noh, Matthias Erian, Muse Me and Nick Mariette, and participated in residencies ranging from CarriageWorks in Sydney to the Transmediale: Digital Culture Festival in Berlin.

Located in Montreal, Canada, the Society for Arts and Technology (SAT) is a multidisciplinary centre dedicated to research, creation, production, presentation, education and conservation in the field of digital culture. The centre operates as a forum where practitioners who work with digital technologies may congregate and collaborate across an array of artistic and scientific disciplines. The centre is situated prominently within an international network of industry and educational institutional partners who share similar and complementary objectives.

Since 1996 the SAT has established a number of programs that facilitate access to human and technical resources with the aim of encouraging reflection on issues related to the use of technology. SAT[Art&D] supports IT projects in IP network environments by providing a studio for research, production and commission of artwork that is utilized as a workspace by artists participating in SAT’s artist in residence calendar. [Espace]SAT is a presentation space that is used to house live electronic music and video events conceived and performed by international artists. Between such larger events SAT[Mix Sessions] serves to promote and develop local audiovisual creativity by gathering Montreal’s VJ and DJ/sound artist communities for jam session meetings. SAT also provides education through [TransForm], which offers courses on production of interactive projects, video art, audiovisual creation in real time and VJing, teaching students to operate software such as Arduino, Max/MSP and Modul8.

SAT is an affiliate of The SenseLab, a research-creation laboratory that houses the collaborations of Erin Manning and Brian Massumi.

Operating nationally and globally for two decades, ANAT has been delivering initiatives which enable connection, collaboration, research and development, fostering enterprise, sustainability, dialogue and exchange across art, culture, science and technology.

By creating opportunities for enrichment & inspiration, ANAT supports emerging and established artists in the fields of media and hybrid arts, networked and distributed practices, sound and performance to develop new concepts and work. The majority of Australia’s prominent media artists, curators and producers have benefited from ANAT’s innovative programs.

ANAT collaborates with science, industry and arts partners within Australia and overseas to initiate opportunities including immersive residencies, databases and emerging technology labs. ANAT also provides quick response competitive grants to assist Australian practitioners to take up professional development opportunities worldwide.

David Haines and Joyce Hinterding live and work in the Blue Mountains, NSW Australia and work both collaboratively and independently.

Their collaborative work has produced large scale immersive video and sound works that explore the tension between the fictive and the phenomenal. This work incorporates Joyce’s investigations into energetic forces and David’s concern with the intersection of hallucination and landscape.

Most recently they have exhibited their collaborative work in the exhibitions ; Turn and Widen, The 5th Seoul International Media Art Biennale, Seoul Korea (2008), Superlight, The 2nd Biennial 01SJ Art on the edge, San Jose Museum Art, California, USA, (2008), Waves – The Art of the Electromagnetic Society, PHOENIX Halle Dortmund, Germany, (2008), (in)visible sounds, Montevideo, The Dutch Institute for Time based Art, Netherlands (2007), V2 Zone, Act interact, The Museum of Contemporary Art Taipei, Taiwan (2007). ReSearch, The Sendai MediaTech in Sendai, Japan (2006). Under the Radar, FACT, (Foundation for Art & Creative Technology) Liverpool England (2006), Waves (Electromagnetic Waves as medium for Art), Riga, Latvia (2006), The 26th Biennale de Sao Paulo, Brazil (2004); Liquid sea, Museum of Contemporary Art, Sydney (2003); Space odyssey: sensation and immersion, Australian Centre for the Moving Image, Melbourne and Art Gallery of New South Wales, Sydney 2002-01.

David Haines Recent individual exhibitions include:  AV festival, Reg Vardy Gallery, Sunderland, England, (2008) Biennale of Sydney, (the world may be) fantastic, Museum of Contemporary Art, Sydney (2002), Adelaide Biennial of Australian Art, Converge: where art and science meet (2002); 7 Istanbul Biennial, Yerebetan Cistern, Istanbul, Turkey, (2001), Joyce’s live solo sound performances include, The NowNow festival (2008) Sound and Electricity, The Performance Space (2006), Audiotheque, The night air, ABC radio national (2005).

Cymatics pattern

Cymatics, the study of ‘wave phenomena’, or sound vibrations and their harmonically resonant properties in matter is an area of scientific research which has enjoyed a few brief and spasmodic periods of interest, but often with quasi-scientific and quasi-mystical and spiritual leanings. Whether or not one wants to pursue the relationship of wave phenomena to crop circles, cosmic music, theology and spirituality healing powers, etc etc, the fact remains that cymatics presents a very concrete example of the inextricably material and embodied relationship between the sonic and the visual, between audio and video and the ability of sound to affect and even form physical structures. For this reason it is a very interesting phenomena / research area from the point of view of cross-signal processing, synaethesia and data-visualisation techniques in art and new media. Indeed Robin Fox’s Oscilloscope works and Carsten Nicolai’s audiovisual works with milk employ this very technique of emergent harmonic patterns formed in matter by excitation by sonic vibration.

Cymatics, the study of wave phenomena, is a science pioneered by Swiss medical doctor and natural scientist, Hans Jenny (1904-1972). For 14 years he conducted experiments animating inert powders, pastes, and liquids into life-like, flowing forms, which mirrored patterns found throughout nature, art and architecture. What’s more, all of these patterns were created using simple sine wave vibrations (pure tones) within the audible range. So what you see is a physical representation of vibration, or how sound manifests into form through the medium of various materials. (cymaticsource.com)

Also interesting from a research point of view is this article published in 1982 which sets out to explore the dynamic relationships between sound waves, matter, visual patterns of cymatics in terms of their potential for audiovisual ‘interactive and new media’ environments:

“One of my guiding principles is to create a total sonic and visual music based on archetypal dynamic structures that transcend the cultural deformations of perception. Archetypal dynamic structures result from timeless natural processes that involve the patterns, relationship, interaction and transformations of energy. One such example is the solar system as we refer to it in the planetary, international, social and atomic contexts. Magnetic polarity is another example of a natural energy field. Another is the structure of weather patterns, a model which I have used for the composition of a number of my own interactive environments.

I am sensing on the horizon a truly new field of composition, a field being fostered by the emerging instruments of the electronic arts of sound and light – computers, synthesizers, laser graphics systems, holography and videographics systems. This new field of composition is based on creating totally integrated, nontrivial sound/light compositions from a complex multidimensionally organised wave set – a wave set that will simultaneously speak to the ear and signal to the eye with the life force.”

Cymatic Music: Towards a Metatheory of Harmonic Phenomena: My Interactive Compositions and Environments
# Ronald A. Pellegrino
# Leonardo, Vol. 16, No. 2 (Spring, 1983), pp. 120-123