Doug van Nort

GNSS1_Mac

This piece is a generative system that creates a new sound-based work each time that you run it. There is one version for Macintosh and another one for Windows.
Your control over the piece consists of a mouse click, anywhere on the window, to start as well as to stop the system. A full black screen means that the system is running, while a small white screen (with text) means that the system has been stopped. When the piece is over it will go small again, but remain black until you click again to reset.
Regardless of the starting sound material, you should always hear something in the first few seconds. If you do not, it could be a matter of your sound settings. The output sound should follow whatever your main system sound output is set to. One exception: Max/MSP users who have changed their sound output settings may have in turn changed the output settings of this piece. If there is no sound, you can go to Audio Settings in the menubar and change the output sound settings as well as audio driver if need be.

GNSS1_Mac_ (Download)

GNSS1_Windows

This piece is a generative system that creates a new sound-based work each time that you run it. There is one version for Macintosh and another one for Windows. The Windows exe can be found inside the main file folder. More information about the piece itself is given in the text that appears when the application is opened. Your control over the piece consists of a mouse click, anywhere on the window, to start as well as to stop the system. A full black screen means that the system is running, while a small white screen (with text) means that the system has been stopped. When the piece is over it will go small again, but remain black until you click again to reset. Regardless of the starting sound material, you should always hear something in the first few seconds. If you do not, it could be a matter of your sound settings. The output sound should follow whatever your main system sound output is set to. One exception: Max/MSP users who have changed their sound output settings may have in turn changed the output settings of this piece.
Windows Users:
-If there is no sound, you can hit space bar in order to access Audio Settings and to change the output sound settings as well as audio driver, if need be.
-You can hit the ‘q’ key in order to quit the application.
-I suggest extracting the included .zip file before running the piece. (right click on main .zip file->extract all…).
-Some users may encounter an error that says “The program can’t start because VCRUNTIME140D.dll is missing…” This does not influence the applications
functionality, and so you can click ‘OK’ for this error message, then re-open the application and run the piece as normal.

GNSS1_Windows_ZIP (Download)

Doug Van Nort

Doug Van Nort

Is an artist, researcher, composer and performer. His work is concerned with issues of performance and sensorial immersion in technologically-mediated environments. He holds a particular interest in affective and visceral experiences of the sonic and haptic senses, the complex and embodied nature of listening, and the phenomenology of time consciousness. In this context, Van Nort examines improvisation as an important site of investigation and model of creative, social exchange. He creates works that integrate improvisation and collective performance with machine agents, interactive systems and experiences of telepresence. Van Nort regularly presents this work internationally, and recent projects have spanned telematic music compositions, transforming an elevator into an electroacoustic sculpture, interactive textiles, developing machine improvisation systems, interactive music composition for a dance piece based on muscle sound, and performing sonified data streams from NASA’s Kepler mission. This work is informed by his background in mathematics, media arts, music composition and performance, and draws upon disparate areas ranging from perception and cognition, systems theory, performance studies, cybernetics, machine learning, signal processing and various forms of ritual.

As a performer specializing in truly improvised electroacoustic music, over the past decade Van Nort has developed his own digital systems for performance that assume a turntable-like, sculptural approach to shaping sound using his hands and voice. He often performs solo as well as with a wide array of artists across musical styles and artistic media. Ongoing collaborations include the trio Triple Point with Pauline Oliveros and Jonas Braasch as well as a duo with underground noise legend If, Bwana; he also participates as a member of the Composers Inside Electronics, founded by the late David Tudor. In recent years he has performed and recorded with dozens of artists including Francisco López, Stuart Dempster, Chris Chafe, Kathy Kennedy, Ben Miller, Alessandra Eramo, David Arner, Anne Bourne, Eric Leonardson, Judy Dunaway, Katherine Liberovskaya, Carver Audain, Paul Hession, Jefferson Pitcher, Jonathan Chen, and in Sarah Weaver-conducted ensembles alongside the likes  of Gerry Hemingway, Min Xiao-Fen, Ray Anderson, Miya Masaoka, Franz Hackl, Mark Helias and Dave Taylor among many others. He has performed his work at a range of venues including the [SAT] and Casa del Popolo in Montreal, on WNUR in Chicago, Casa da Musica in Porto, Betong in Oslo, Cafe OTO in London, Skolska28 in Prague, Liebig12 and QuietCue in Berlin, The Red Room in Baltimore, Studio Soto in Boston, The Guelph Jazz Festival, Roulette, Harvestworks, the Flea Theatre, Socrates Sculpture Park, the New Museum, the Miller Theatre, Issue Project Room and the Stone in NYC, at Town Hall (NYC) on an ‘intonarumori’ as part of the Performa futurist biennial, at EMPAC in Troy, NY, at the International Conference on Auditory Display (ICAD), New Interfaces for Musical Expression (NIME), as part of the legendary Phil Niblock-curated ‘festival with no fancy name’ at Experimental Intermedia, at the NYC electroacoustic music festival and many other festivals and events across the U.S. and Europe.

His creative/research work has been supported and recognized by disparate sources including the NY Foundation for the Arts (NYFA), the NY State Council for the Arts (NYSCA), the National Science Foundation (NSF) and the International Computer Music Association (ICMA).