• Motion Origami


  • IN DUST & RHYTHMS / music album

  • IN DUST & RHYTHMS / music album

  • IN DUST & RHYTHMS / music album

  • IN DUST & RHYTHMS / music album

  • IN DUST & RHYTHMS / music album

  • IN DUST & RHYTHMS / music album


Sound Extrusions

about the sound installation

The idea for the Sound Extrusions installation is based on creating an interacting living sound element in space inspired by natural organic shapes.

resonant porcelain

The organic-looking porcelain shapes are in fact an 8-channel audio installation creating interactive soundscape based on the position of the listener. The actual use of porcelain crafting proved to be quite an exciting and innovative experiment in acoustics and porcelain design as well. Most of the soundscapes are built around recordings from my live electronica performance project, the e-didjeridoo.

to interact

The installation behaves as a living element. When it notices your movement in the space it plays a start-up sequence, 'stretches out' and plays its feature song. From this point on, as you move around the space it will follow you, playing to you as you go. All of the shapes are amplified resonators using vibration speakers and deliver spatial hearing experience across all the surface of the installation, which is suspended off the ceiling.

MAX/MSP patch & the interaction realization

The first idea was to use 'data sonification' technique and sonify meteo data from the Australian East Coast to connect the organic porcelain elements with actual environmental variables (hence the original name the Sound Extrusions). Afterall I have decided to use direct interaction with the listeners within the space at The Edge lobby. One of the reasons was also the fact, that the meteo data rate of change is way lower, than would be needed for any musicaly perceived changes or soundscapes generated by the MAX/MSP patch.

As the interactive element tool was chosen the MAX/MSP jitter library in combination with a live webcam video stream. Video frames are analyzed for specific color changes in the frames compared to the floor color. The x and y axis is than translated into Ambisonic sound position. The rate of change is also continuously evaluated and sounds are triggered, when the acceleration exceeds a specific treshold.

the interactive soundscapes

The actual sounds are stored in two banks: the drone section and the solo sound themes. The solo sound themes are thrown into the soundscapes as spatialized elements each time acceleration exceeds set value. The drone section builds up the underlying vibe and mood of the soundscape, while the solo sound theme bank follows the movement and fast paced moves of the listener.

Extensive filter section allows the sound installation to 'be tuned' and reflect each shape resonant properties and overall sound EQ characteristics.

technical details

sound residency & project realization

The project was realized as part of five months long artist in residence position at The Edge (Centre for Arts, technology & enterprise) in Brisbane, Australia.

There the sound residency blog entries are also available online at the Edge website and the whole sound residency project is presented there as well.


porcelain making advisory: Corey Biever (porcelain designer, AU), Lukas Urbanec (porcelain designer, CZ), Dan Pirsc (porcelain designer, CZ)

MAX/MSP programing advisory: Michal Rataj (Music Academy in Prague, CZ), Hans Tammen (Harvestworks NYC, US)

solid drivers inspiration: Jan Trojan (Music Academy in Prague, CZ)

big thanks: to the Edge team & my partner Zuzka for a huge support throughout the project