briantuohy 10755 sonicartist 2012 bio schloss

7/30/2019 BrianTuohy 10755 SonicArtist 2012 Bio Schloss

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Brian TuohyBrian Tuohy is an Irish sonic artist based in Belfast, Northern Ireland. With a background in computerscience and music technology, Brian recently completed a Master of Arts program in sonic arts at therenowned Sonic Arts Research Centre at Queens University Belfast. His work has an interdisciplinaryfocus, which approaches art from the perspectives of electroacoustic sound design and interaction designfor live performance systems. Aesthetically, Brians work concentrates on the subtleties that reside on thebrink of microsound and minimal soundscape composition. For his MA dissertation, Brian focused onbinaural soundscape work, which turned an ear to the banal elements that can often be overlooked in thestudy of modern acoustic ecology; sounds such as computer fans, hard-drives, and creaking ceilings. For

his undergraduate thesis, Brian developed a live performance system for the delivery of algorithmicallycomposed music, based on the sampling and analysis of live input from an electric guitar.

At present, Brian is collaborating on sound design and spatialisation for a sound installation based on a 32 channel ambisonic system. Brian also recentlyestablished a fledgling sound art collective with university colleagues, working on electroacoustic music and sound art projects. Academically, he iscontinuing work on papers for submission to conferences on multiple topics, including: algorithmic composition and live performance systems;interaction design and augmented vocal instruments; computer-aided algorithmic composition. Brian is also currently developing a suite of performanceand audio processing tools in Max/MSP to be shared online.

This document provides background information for the three pieces put forward with this proposal.

http://www.tuohybrian.bandcamp.com - Further Audio Examples

http://www.scribd.com/tuohybrian - Papers

[email protected] - Email

0044 742 8189 890 - Phone


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Gyre

This piece explores the use of several differentsound design methods to create a diverse paletteof sonic textures and colours from a single source

recording. The initial audio is a recording ofBrian reading The Second Coming by WilliamButler Yeats.

This work defines itself primarily throughpulsation: beating and repeated articulations.The piece builds toward the introduction ofrecognisable vocal sounds, which are integratedinto the more abstract surrounding textures. Asan abstract essay, the work layers both disparatetextures and disparate tempi.


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Dilatory Algotarli

Recorded using the Algotar system . All contentis algorithmically composed based on live

performance analysis. The system interprets the

playing style of the performer by drawing aMarkov chain representing the probabilities ofcertain note and rhythmic patterns. The notesbeing played back have been dynamically sampledfrom the performer's live input.

The Algotar Project attempts to create a linkbetween the areas of guitar-based popular musicand computer-aided algorithmic composition.This is achieved by the use of a guitar-mountediPod touch as a wireless control interface for analgorithmic composition application. Byintegrating the device into the guitarists

performance, and taking advantage of techniquesinherent in the existing playing style, a non-intrusive extension to the guitars system isachieved.

This recording is the algorithmically composedcontent and contains no human-composedmaterial.

This is the sound of the system.


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Hypnagogia (Binaural)

This composition places the listener in thecenter of a soundscape that would normally beregarded as mundane. Through the use of

binaural recordings and artificial spatialisation,we experience the environment as though wewere present adapting and becoming familiarwith the sounds, and allowing the sonic imageryto develop and transform throughout the courseof the piece. As we become more familiar withthe environment, our focus begins to shift and

we slowly experience the transition from arealistic, banal location to a complex and

abstract sonic world.The location is a small domestic room. We aresat relatively stilly at a desk beside an open

window. Interactions with the environment aresparse. The sounds we hear surround us;

primarily originating from the street outside theroom, with little sound emanating from withinthe direct vicinity of our person. The sonicelements are not spectacular; they are banal,

commonly over-looked as background noise ornot noticed at all. The sounds of the room areprimarily mechanical and electronic: laptop fans, hard-drives, passing cars etc.

This is perhaps the most challenging piece in this collection due to the endurance and concentration it requires. The piece is presented as a window, not astage it provides a glimpse into the experience of residing within this particular environment. It is simply a sample taken from an open-ended storyboard.The intention of the piece is to very slowly introduce the listener to the environment and allow the sounds to transform without event or celebration. Theimplied experience is one that crosses the states of consciousness associated with wakefulness and sleep. This transition passes through the state known ashynpagogia a state of intense mental activity, which teeters on the threshold of consciousness.

briantuohy 10755 sonicartist 2012 bio schloss

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