Documente Academic
Documente Profesional
Documente Cultură
234
1.4. Materials
1.3. Wounded CD
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software development.
2.3.2. Phase 2
2.3.1. Phase 1
Data (frames+headers)
Decoder
Audio
Corruption
Skip bad frames
Corruption
MP3 file
Audio
(discarded)
Decoder
Error
codes
Data
Audio
input
Skipping/looping
process
Audio
output
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4. REFERENCES
[1]
[2]
[3]
[4]
[5]
[6]
[7]
[8]
3. CONCLUSION
The software developed during this project allows Tone to
use MP3 corruption processes for sound generation in the
studio and in live performance. It implements a series of
indeterminate means beyond his control, however it is
important to note that he expressed no interest in
'removing' himself from the works created by the use of
such systems or processes. His interactions with semiautonomous processes are central to the performance and
creation of new works.
While the concept of data corruption is central to the
MP3 project, the 'realisation' of the concept is not its end
goal. Rather, the concept is a starting point for work which
emerges from interactions between conceptual, aesthetic
and technical concerns. The development was not
primarily driven by a desire to reveal or interpret the
concept directly, nor to develop an instrument for intuitive
musical expression. For Tone, the software is part of a
process that allows him to realise performance and studio
works incorporating indeterminacy, decontrol, automatism
and the idea of paramedia. It was clear that an intuitive
design that allowed direct access to audio parameters
would have been counterproductive in this context;
unintuitive and unpredictable controls enabled the creative
potential of the system. This approach could be productive
in other interface design contexts to encourage creative
exploration.
[9]
[10]
[11]
[12]
[13]
[14]
[15]
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