QUANTUM FRAME
LITTLE SOUND MACHINES
LITTLE SOUND MACHINES
2019 -
2018
2018
The Quantum Frame is a mechanical installation that speculates on the future of quantum computing and what that may hold for machine intelligence and consciousness. The installation takes the form of the present day quantum computer, with a tubular central chamber, where machine learning data drives the mechanical movements of an electromagnetic structure, breathing life into the metallic framework, a ghost in the machine.
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The current version of the frame is self-generative. But the artist hopes that once time-sharing of the quantum computer is open to the general public, that the installation may be able to talk with the quantum machine directly via data transfer.
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This piece is currently on-going. Magnetic field experimentation and research with ferrofluid are currently in--progress.
The Little Sound Machines is a sound installation consisting of a series of both mechanical and digital machines that are connected to an AI network. Three AIs form the central brain of the network. Through learning from and influencing each other, the AIs construct the musical phrases that are then played out through a series of sound-generating machines. The music generated by the AI is also presented on a series of television screens that visualizes both the AI data and audio, as well as machine logic and behavior to the audience.
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This piece proposes a new mode of music creation in the age of intelligent machine. Through experimentation, the artist presents an exploration of new musical interfaces that erases the composer from the equation, to present a purely machine-made performance.
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The Little Sound Machines are made from found objects, up-cycled and spare parts.
The Little Sound Machines is a sound installation consisting of a series of both mechanical and digital machines that are connected to an AI network. Three AIs form the central brain of the network. Through learning from and influencing each other, the AIs construct the musical phrases that are then played out through a series of sound-generating machines. The music generated by the AI is also presented on a series of television screens that visualizes both the AI data and audio, as well as machine logic and behavior to the audience.
​
This piece proposes a new mode of music creation in the age of intelligent machine. Through experimentation, the artist presents an exploration of new musical interfaces that erases the composer from the equation, to present a purely machine-made performance.
​
The Little Sound Machines are made from found objects, up-cycled and spare parts.
LITTLE SOUND MACHINES
2018
The Little Sound Machines is a sound installation consisting of a series of both mechanical and digital machines that are connected to an AI network. Three AIs form the central brain of the network. Through learning from and influencing each other, the AIs construct the musical phrases that are then played out through a series of sound-generating machines. The music generated by the AI is also presented on a series of television screens that visualizes both the AI data and audio, as well as machine logic and behavior to the audience.
​
This piece proposes a new mode of music creation in the age of intelligent machine. Through experimentation, the artist presents an exploration of new musical interfaces that erases the composer from the equation, to present a purely machine-made performance.
​
The Little Sound Machines are made from found objects, up-cycled and spare parts.
MAGNETIC BODY INSTRUMENT
electronics, magnets, body modification
2016
collaborators (in performance): LoN
The Magnetic Body Instrument looks at the human body as an interface and experiments with ways of hacking the body for the purpose of musical expression and performance. By embedding magnets into his fingers and working his hands in combination with custom designed electromagnetic instruments, the artist/musician creates a human-machine ecosystem that allows him to sense and feel his instruments during performance, where musician and instrument become one.
Performance images at the ++ Audiovisual Interaction International Forum in Shanghai, with performance support from Loads~Nothing.
++ Audiovisual Interaction International Forum performance video. (20min 8sec)
BODY HACKING
In preparation of the performance, the artist researched basic methods of body hacking and modification, including:
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different types of anesthesia and their affects
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what is available and safe for non-medical professionals
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quantities of anesthesia and it’s correlation with duration
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types of magnets that may be safe to embed into the human body
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best tools and protocols for injection
The final procedure utilized lidocaine and gold plated 1mm thick miniature circular magnets. Medical grade magnets (titanium coated 52N magnets) at the time were unavailable.
The documentary documents the embedding of magnets into three fingers, performed by the artist himself. After a period of two weeks, the artist was able to feel sensations of magnetic pulls within his fingertips triggered by magnetic fields from high voltage power cables in walls or metal objects. Unfortunately, due to a lack of access to medical grade magnets, the implants were ultimately rejected by the artist’s body after two months.
Testing magnetic finger after implant. Clip from documentary. (22sec)
Body hacking documentary, embedding of magnets. (Contains bloody scenes) (11min 32sec)
Credits: Benjamin Bacon (art direction), Andrew Rochfort (camera), Vivian Xu (editing), 2016
INSTRUMENT DESIGN
The Dogma Dual Axis Mono Synthesizer (DDAMS-1) was designed and created as part of The Magnetic Body Instrument and is controlled by interacting with the implanted magnets by way of cutting through electromagnetic fields around the instrument. The DDAMS-1 is an open-source Arduino-based two voice granular mono-synth with a customized dual-axis accelerometer human musical interface, midi in, line level out and programmable controller. The controller is designed to also accommodate for traditional instrumental use.
DDAMS-1 Prototype 2, 2016 (front and back view)