The Georgian composer and music technologist Akaki “Koka” Nikoladze spent a year at Notam by the Arts Council Norway’s aspirant programme. His work consisted of both developing his own works and utilities and assist Notam in the daily technical and artistic tasks. The stay lasted from September 2014 to September 2015 and resulted in an impressive amount of projects, including:
The Infinite Sample Sampler
Sampler instrument based on the idea of sound collages which handle sounds and excerpts of all sizes.
Sound Stencil 0.1
Technology supported piece for eight percussionists playing on objects in an urban environment (performed as a part of Ultima).
Infinitely sustained sounds
Software that can reconstruct audio model based on recorded and granular sounds.
New iteration of the existing piece A piece for a table and some junk on it and then for heavily banging on that table performed by Håkon Stene.
Recordings of impulse responses in Jotunheimen and development of technology for Knut Olav Sunde project Comfort Music.
Piece percussionist with software and a sound bank that contain up to 5,000 words and phrases from YouTube videos.
Pressure-sensitive musical instrument, where one can draw control on paper.
Concert Piece for one musician who sonicated and visualizes musician heartbeat, brain waves and eye blinking.
Development of technology for Camille Norment’s Rapture.
Ping Pong Interfaces
Exploring options for triggering and control of various samplers and synthesizers with a single contact microphone.
The International Transducer Orchestra
Trio playing at everyday objects, made into sound objects using transducers.
Yet To Be Titled
Audiovisual sculpture created in collaboration with Bernt Isak Wærstad.
Investigations of the irreversibility of audio into vectors to manipulate sound, similar to an image that is converted to vector graphics.