Usman Haque

This artist is in fact a architect who does focus is research on interaction, connectivity, contextual awareness. These kind of technologies modify our understanding of space and change the way we relate to each other. He does not think of architecture as static and irreversible entity; instead he sees it as dynamic, responsive and conversant.

Two years ago I had the chance to see one of the project he worked on with Robert Davis:


 Evolving Sonic Environment

The installation is based t the collective behaviors of the devices, being affected by the way that the room is occupied (by people or other mobile objects) and, consequently the room will develop a “awareness” of its occupancy.

The devices work like neurons, cascading during high activity, altering their verges during periods of low activity and becoming. Inputs and outputs consist of high frequency sound near the threshold of human hearing. When they have received sufficient input energy they themselves “implose”, with a continuous sound of varying frequency.

When the visitor enter in this space, it can feel slightly dizzy because of the high frequency. I personally did not feel anything, but some schoolmate felt slightly strange……….

Evolving Sonic Environement

I found this paper on The Hague website, which I think could be very interesting for some of us, who has the aim to create an interactive installation.

This paper describes the results of a collaborative research project to develop a suite of low-tech sensors that might be useful for artists working with interactive Environments.



Music for Bodies – Sonic Bed

Last year we were had a trip to the see an exhibition with the sonic bed. Well, well the bed was not there anymore…L

Music for Bodies is a research project involving the sonic mapping of human bodies to architecture, through studies of bio-resonance and interface building. Its aim is to discover new methods of experimental music making, and make a new kind music more accessible to a wider community. The research is mainly based on feeling the music rather than just listening it to. 


Music for Bodies




During the workshop we have been introduce to some sound environment installation.

Within the realm of public art, the sound installation can be a musical equivalent of a sculpture, or and can be part of a sculpture.. Some sound installations have gained by applying a variety of electroacoustic techniques and technology in their creation and spatial arrangement. 


In this installation the visitors lie down and relax, watching the firmament above them. Using their finger pointed upwards, the visitor can insert new stars into orbit with distinctive visual and musical characteristics.

The sound will be determined by the  emplacement chosen on the orbit, Bigger you let the star grows louder it plays.


 “The orbiter is an interactive sound environment by Vera-Maria Glahn and Marcus Wendt. It invites you to reach for the stars and play their music!”

The installation is based on custom-built software , performing real-time analysis of a camera image of the player as well as generating 6-channel-audio and video signals. The video analysis is coded in C++, instructing SuperCollider for the audio generation, Processing for the graphics.

The synthesized sound used in this installation has a very heavy 70’s influences. Quite psychedelic in a way……