International Database of Structures: Anzac Bridge

ANZAC Bridge (Pyrmont/Rozelle, 1995) | StructuraeANZAC Bridge is a motorway bridge / freeway bridge, cable-stayed bridge with semi-fan system and prestressed concrete bridge that was built from 1992 until 1995. The project is located in Pyrmont and Rozelle, Municipality of Leichhardt, Sydney, New South Wales,


ANZAC Bridge | Australia | Sixense Context. The ANZAC Bridge is an eight-lane cable-stayed bridge in the west of Sydney. The bridge is 32.2m wide and the main span is 345m long. The reinforced concrete pylons are 69m high and support the deck by two planes of stay cables.The bridge can carry a maximum of 180,000 cars per day and is a critical infrastructure of the global Sydney road

Project summary

Service provided:  ANZAC bridge monitoring

Location:  Sydney, Australia

Client:  Transport for NSW, Freyssinet Australia Period of the service:  2011Sixense solutions used:

Period of the service:  2004 – 2020
Duration of service:  16 years

Harsh environment

The Rion-Antirion bridge (Harilaos Trikoupis Bridge) links mainland Greece to Peloponnese at the west side of the Corinthe Gulf near Partas. It is 2.2 km long, supported by 4 diamond shaped pylons.

The environment in which the bridge was constructed combines a number of physical challenges and thus makes this project particularly complex: a strait of about 2,500m width, deep water (up to 65m) combined with deep soil strata of weak alluviums, possibility of strong seismic activity, tectonic movements and adverse high wind actions.

A Structural Health Monitoing (SHM) system was specially designed to survey the behaviour of the bridge subjected to this difficult environment.

Real-time and history

Installed in 2004, the monitoring sytem provides highly reliable and useful information about events occurring on the bridge and the response of the structure.

Real time alerts as well as a database of historical information allows the concessionnaire, Gefyra, to secure the daily service, optimise the periodic maintenance and ultimately asess and extend the design life of the structure.

In particular the SHM system provided:

  • alerts concerning exesssive stay cable vibration in 2006, resulting in an upgrade of the structure with cable dampers which reduced the amplitude of vibration by four
  • verification of the remaining fatigue design life of cable gussets using the historical database of cable loading
  • optimisation of data by using a smart algorithm which record high sampling data file during specific seismic events.

Structural Health Monitoring (or SHM) uses permanently installed sensors to generate continuous data. A specific software enables to display the data in smart graphics and generates alerts. It is used in conjunction with spot check inspections to enable relevant structural data analysis.
Its aim is to maintain infrastructures, extend their working lives, and detect and forecast their faults.

We monitor the structure and its environment (usage, weather, etc.) simultaneously by integrating a varied range of measurements, with the majority of data being gathered automatically, including satellite measurements.
The data is processed to provide relevant indicators that operators can reliably use to optimise the operation and maintenance of their structures.

Our experience allows us to conduct SHM under challenging conditions (in confined spaces, working at height, etc.) by offering durable instrumentation for a broad range of applications, including extreme environments, offshore structures and potentially explosive ATEX zones.

Structural Health Monitoring (SHM) | Sixense Structural Health Monitoring (or SHM) uses permanently installed sensors to generate continuous data. A specific software enables to display the data in smart graphics and generates

Sixense Monitoring
(Head office)
Parc de l’Ile – 21 rue du Port
92022 Nanterre CEDEX
Tel: +33 (0)1 41 44 85 00

Sixense Digital
280 av. Napoléon Bonaparte
92500 Rueil Malmaison
Tel: +33 (0)1 47 76 42 62

Millennium Bridge | United Kingdom | Sixense 330m above the Thames. The London Millennium Bridge is a 330 m pedestrian bridge, spanning the River Thames between St. Paul’s Cathedral and the new Tate

Monitoring of cable-stayed and prestressed structures

Sixense has specialist expertise, tools and methods that have been specifically developed for cable-stayed and prestressed concrete structures:

  • Substantial knowledge of the issues around structural ageing
  • Robust and proven measurement solutions
  • Acquisition and visualisation software incorporating alerts, indicators and analyses
  • Acoustic monitoring for real-time detection of cable strand failures as a result of corrosion or fatigue

These solutions provide key management information for operators of simple or complex structures.

Why you should use our services:

  • A team of civil engineering and monitoring experts available throughout the full project life cycle
    The members of our team are specialists in Civil Engineering, Metrology, Electronics and Computer Science.
    This broad skill set gives us a clear understanding of client needs on which to develop and recommend appropriate solutions
  • 25 years of experienceWe have a 25-year track record of assisting and supporting public- and private-sector contracting authorities from national governments and local authorities to industrial companies and concession holders in the management of their built heritage.
    We have more than 20,000 connected sensors worldwide installed on modest and major structures, including the Ile de Ré bridge in France, the Rion-Antirion bridge in Greece, the Russki bridge in Russia and the Bosphorus bridges in Turkey.
  • Our resources
    We can provide a complete turnkey project, from design right through to operation, including manufacturing, installation, software configuration and commissioning.

EverSense®: monitoring and analysis

A unique expertise in the instrumentation of stay-cabled and prestressed concrete structures

We offer turnkey systems worldwide, backed up by multi-year maintenance contracts. Installation durability has always been a core commitment at Sixense.
Systems that have been installed for more than 10 years show an operating rate in excess of 99 %.

The power of the EverSense® solution lies in its ability to integrate and process any type of automated measurement to provide relevant indicators and dashboards to a range of different stakeholders.

Our systems are deployed worldwide to inspect and monitor structures such as bridges, offshore platforms, wind turbines and nuclear facilities.

EverSense® | SixenseThe power of the EverSense® solution lies in its ability to integrate and process any type of automated measurement to provide relevant indicators and dashboards to a range of different stakeholders. Our systems are deployed worldwide to inspect and monitor structures such as bridges, offshore platforms, wind turbines and nuclear

Une expertise unique sur l’instrumentation des structures câblées et en béton précontraint

The competence of our teams gives us the ability to recommend solutions tailored to solving specific problems:

  • Corrosion and detection monitoring of reinforced and prestressed concrete structures
  • Crack monitoring
  • Fatigue risk monitoring
  • Early-stage detection of scouring
  • Risk of gantry structure collapse

EverSense® software

The members of our team are specialists in Civil Engineering, Metrology, Electronics and Computer Science.

This broad skill set gives us a clear understanding of client needs on which to develop and recommend appropriate software solutions.

EverSense® comprises a series of modules, ranging from real-time data acquisition and alert management to data exploitation via a web server.

Sensors designed to meet your needs

Sixense offers a comprehensive range of structural, hydraulic, environmental and other measurement sensors to monitor:

  • cable-stayed and prestressed structures
  • structures at risk of corrosion
  • structures at risk of scouring
  • structures at risk of ageing by fatigue

As part of providing a comprehensive, efficient and effective monitoring service, we combine many different technologies, including: electrical, electromagnetic, fibre optic, vibrating string strain gauge, acoustic and ultrasonic sensors, radar and laser measurement solutions, fully equipped surveying solutions and InSAR satellite measurement.

Our services

  • Deployment: hardware and software supply and installation, with skills transfer-based technical support
  • Support: multi-year maintenance and measurement interpretation
  • Training provided in the use, maintenance and processing of data, as well as ongoing structure management

Acoustic monitoring

Acoustic monitoring is the only technology available with the ability to detect cable strand failures as a result of corrosion or fatigue.

Any loss of section as a result of a failed strand can be detected and located.

Why choose our SHM solutions?

Our solutions facilitate proactive decision-making so that you can:

  • View the status of your structures in real time
  • Predict and optimise maintenance needs
  • Ensure user safety
  • Extend the operating service life of your structures

You want to know more about our expertise? We provide you customized solutions.

Our experts in Engineering, Monitoring, Mapping and Platform solutions help you manage your infrastructures throughout their entire life cycle.Conformément au règlement nᵒ 2016/679, dit règlement général sur la protection des données personnelles, le candidat dispose d’un droit d’interrogation et d’accès aux données à caractère personnel le concernant, ainsi que d’un droit de rectification de ces données. Le candidat dispose également d’un droit d’opposition. Ces droits peuvent être exercés par courrier électronique ou postal, accompagné de la copie d’un titre d’identité signé, adressé à DPO Soletanche Freyssinet – 280 avenue Napoléon Bonaparte – 92500 Rueil Malmaison.

RTA Bridge No. 8535

Anzac Bridge | NSW Environment, Energy and Science SHR Criteria a) [Historical significance] Anzac Bridge has historical significance as it is a contemporary solution to the problem of conveying road traffic over Johnstons Bay, which was part of an important transport route from Sydney to the north shore and Parramatta since the mid nineteenth century, known as the five bridges

Lat: -33.86888888888889 Long: 151.18555555555557

The Anzac Bridge is a world standard bridge in scale, aesthetics and design features. The experience of crossing the bridge is cathedral-like, with its vaulted canopy of stay cables. The subtle sweep of the bridge’s cantilevered deck, which links into the arterial road network and is supported at either end by monumental reinforced concrete towers, forms a striking and integral part of the Sydney skyline. It has quickly become one of the iconic images of Sydney, particularly for those who have views of it, cross it to work by road or bike, or use its highly visible towers as an aid to urban navigation.
SHR Criteria f)
The Anzac Bridge is the largest cable stayed bridge in NSW, and indeed Australia (other examples of cable stayed bridges in NSW are mainly footbridges).
SHR Criteria g)
The Anzac Bridge is a representative example of a reinforced concrete cable stayed bridge in the state. It is currently the longest such bridge in Australia. Other, earlier examples of cable-stayed bridges are the Westgate Bridge in Victoria, and the Batman Bridge in Tasmania.
Assessment criteria:Items are assessed against the State Heritage Register (SHR) Criteria to determine the level of significance. Refer to the Listings below for the level of statutory protection.

Golden gate bridge sensor vibration materials overview

Golden Gate Bridge Accelerometers

Instrumentation plan for 56 nodes on main span of the Golden Gate Bridge 

Fig. 6. Instrumentation plan for 56 nodes on main span of the Golden…Download scientific diagram | Instrumentation plan for 56 nodes on main span of the Golden Gate Bridge  from publication: Design and Implementation of Scalable Wireless Sensor Network for Structural Monitoring | An integrated hardware and software system for a scalable wireless sensor network WSN is designed and developed for structural health monitoring. An accelerometer sensor node is designed, developed, and calibrated to meet the requirements for structural vibration monitoring… | Wireless Sensor Network, Monitoring and CE | ResearchGate, the professional network for

Senseable City Lab :.:: Massachusetts Institute of Technology

Crowdsensing Framework for Monitoring Bridge Vibrations Using Moving SmartphonesThis paper discusses new services that can be delivered to urban environments through big data generated by the public’s smartphones, enhancing the relationship between a city and its infrastructure.By Thomas J. maTarazzo, PaolosanTi, shamimn. Pakzad, krisToPher CarTer, CarloraTTi, BaBakmoaveni, Chrisosgood, andnigel JaCoB

Earthquake Sensors on Bridges

MIT senselab

Good Vibrations – MIT Senseable City Lab 188,000,000. trips occurred each day in 2016 across a structurally deficient


INSTRUMENTING THE GOLDEN GATE BRIDGE TO RECORD SEISMIC BEHAVIOR AND TO DEPLOY RAPID INSPECTION RESPONSE 1311 1 Senior Principal, T. Y. Lin International, San Francisco California, 415 291 3700, 2 Senior Principal, T. Y. Lin International, San Francisco California, 415 291 3700, INSTRUMENTING THE GOLDEN GATE BRIDGE TO RECORD SEISMIC BEHAVIOR AND TO DEPLOY RAPID INSPECTION RESPONSE Charles SEIM1 And Mervin G GIACOMINI2 SUMMARY The Golden Gate Bridge opened to …

(PDF) Design and Implementation of Scalable Wireless Sensor Network for Structural Monitoring – ResearchGateAn integrated hardware and software system for a scalable wireless sensor network WSN is designed and developed for structural health

Structural Health Monitoring of the Golden Gate BridgeSukun Kim, Shamim Pakzad, David Culler, James Demmel, Gregory Fenves, Steven Glaser, and Martin Turon

A Wireless Sensor Network (WSN) for Structural Health Monitoring (SHM) is designed, implemented, deployed and tested on the 4200ft long main span and the south tower of the Golden Gate Bridge (GGB). Ambient structural vibrations are reliably measured at a low cost and without interfering with the operation of the bridge. Requirements that SHM imposes on WSN are identified and new solutions to meet these requirements are proposed and implemented. In the GGB deployment, 64 nodes are distributed over the main span and the tower, collecting ambient vibrations synchronously at 1kHz rate, with less than 10us jitter, and with an accuracy of 30uG. The sampled data is collected reliably over a 46-hop network, with a bandwidth of 441B/s at the 46th hop. The collected data agrees with theoretical models and previous studies of the bridge. The deployment is the largest WSN for SHM.
* This work is supported by the National Science Foundation under Grant No. EIA-0122599 and by the Center for Information Technology Research in the Interest of Society (CITRIS).

Sentri – Structural Health Monitoring Toolkit

Last updated 30 November 2006

Information for Strong-Motion Station
San Francisco – Golden Gate Bridge
CGS – CSMIP Station 58700
Earthquakes recorded by this station
Latitude37.8198 N
Longitude122.4788 W
Elevation (m)
Site Geology 
Vs30 (m/sec) 
Site Class 
No. of Spans14. (1 Main span, 2 side spans, 6 spans at the North Viaduct, 5 spans at the South Viaduct).
Plan ShapeMostly straight with a curve at the South Viaduct.
Total Length9151′ (2789.2m). Main bridge spans are 1125′ (342.9m), 4200′ (1280.2m), and 1125′ (342.9m). North viaduct spans are approx. 200′ (61.0m) with a 347′ (105.8m) anchorage housing. South viaduct spans range from 71′ (21.6m) to 320′ (97.5m).
Width of Deck87.1′ (26.5m) to 90′ (27.4m).
Construction Date1937 (several upgrades since 1937).
Instrumentation1995. 69 accelerometers and 4 relative displacement sensors on the bridge, and a free-field station on the south side of the bridge.
Superstructure TypeMain span and side spans: suspended steel truss spans supported by braced steel towers. North and South Viaducts are mainly steel truss spans, with a steel arch span at the South Viaduct, supported by steel towers.
Substructure TypeSuspension spans: braced steel cellular shaft towers. 2 columns per tower. North and South Viaducts: braced steel towers and concrete pylons.
Foundation TypeReinforced concrete piers support the main span towers.
RemarksThe bridge was instrumented under the agreement between the Golden Gate Bridge, Highway and Transportation District and DOC.

SensorLand B&K Bill Fontana

Ambient Vibration Studies of Golden Gate Bridge: I. Suspended Structure

Ahmed M. Abdel‐Ghaffar and Robert H. Scanlan, Members, ASCE

Ambient Vibration Studies of Golden Gate Bridge: I. Suspended Structure | Journal of Engineering Mechanics | Vol 111, No 4 – ASCE Library Extensive experimental investigations were conducted on the Golden Gate Bridge in San Francisco, California, to determine, using ambient vibration data, parameters of major interest in both wind and earthquake problems, such as effective damping, the three‐dimensional mode shapes, and the associated frequencies of the bridge

Hear that ghostly hum on the Golden Gate Bridge? It’s here to stay – San Francisco Chronicle A ghostly, ear-rattling thrum emanating over the Golden Gate Bridge and throughout San Francisco’s Presidio neighborhood appears to be the result of high winds gusting through new slats on the …

Illinois Structural Health Monitoring

Structural Health Monitoring at the University of IllinoisAuthor Project Purpose Platform Sensor Node Energy Harvesting Nodes Accel. Strain Displ./ Crack Inclin. Wind Temp. Humid. Light CO2 Veloc. Total Sensing

Full-scale Applications

This webpage contains detailed information regarding full-scale applications of wireless sensors which can serve as a resource to the research and practitioner community. Reference papers/reports detailing the various deployments, URL for the deployments, pictures, and other information can be found here.

The detailed information regarding full-scale applications of wireless sensors is tabulated below: (click on author to access the paper, click on project to access the project URL)

Smartphone data streams for bridge health monitoring2 Thomas Matarazzo et al. / Procedia Engineering 199 (2017) 966–971 967 Available online at ScienceDirect Procedia Engineering 00 (2017) 000–

Development and deployment of large scale wireless sensor network on a long-span bridge

  • Pakzad, Shamim N. (Department of Civil and Environmental Engineering, Lehigh University)
  • Received : 2009.10.30
  • Accepted : 2010.02.20
  • Published : 2010.07.25


Testing and validation processes are critical tasks in developing a new hardware platform based on a new technology. This paper describes a series of experiments to evaluate the performance of a newly developed MEMS-based wireless sensor node as part of a wireless sensor network (WSN). The sensor node consists of a sensor board with four accelerometers, a thermometer and filtering and digitization units, and a MICAz mote for control, local computation and communication. The experiments include calibration and linearity tests for all sensor channels on the sensor boards, dynamic range tests to evaluate their performance when subjected to varying excitation, noise characteristic tests to quantify the noise floor of the sensor board, and temperature tests to study the behavior of the sensors under changing temperature profiles. The paper also describes a large-scale deployment of the WSN on a long-span suspension bridge, which lasted over three months and continuously collected ambient vibration and temperature data on the bridge. Statistical modal properties of a bridge tower are presented and compared with similar estimates from a previous deployment of sensors on the bridge and finite element models.


Every tab open on my screen in the quest to figure out how to write generative music… Some very useful tutorials (including an ableton live project with all the settings – just need to upload bridge samples) and one slightly concerning automatic music generator which seems to be based on avoiding paying copyright to artists. So not down with that, but curious about what it does. Also the station of endless compositions which I find quite soothing, some random plugins and synths.

Starting with a few examples from the beautiful composition by Loscil based on ghist ships, to an excellent visual presentation taking you through the genesis of generative music, a few nice images, uiges and software possibilities to explore.



This presentation is about making music
by designing systems that make music.

For his 1965 composition “It’s Gonna Rain”, Steve Reich designed a generative mechanical system.

It was a system of two tape recorders.

Reich had made field recordings of speech on tape.

He made two short identical loops from his recordings. One for each tape recorder.

The tape recorders were set to slightly different speeds.
One would play a little faster than the other.

This started a phasing process. A continuously changing soundscape was generated from the short loops.

Though I may have the pleasure of discovering musical processes and composing the musical material to run through them, once the process is set up and loaded it runs by itself.

Steve Reich, Music as a Gradual Process, 1968.

On And On And On: A Guide to Generative Electronic Music

By Samuel Tornow · July 19, 2019



Nodal is generative software for composing music, interactive real-time improvisation, and a musical tool for experimentation and play. Nodal uses a new method for creating and exploring musical patterns, probably unlike anything you’ve used before. You can play sounds using Nodal’s built-in synthesiser or any MIDI compatible hardware or software instrument.

Nodal is based around the concept of a user-defined network. The network consists of nodes (musical events) and edges (connections between events). You interactively define the network, which is then automatically traversed by any number of virtual players. Players play their instruments according to the notes specified in each node. The time taken to travel from one node to another is based on the length of the edges that connect the nodes. Nodal allows you to create complex, changing sequences using just a few simple elements. Its unique visual representation allows you to edit and interact with the music generating system as the composition plays.

Nodal is compatible with DAW software such as Ableton Live, Logic Studio, Digital Performer and Garage Band. It can transmit and receive MIDI sync. You can edit a network using the mouse and keyboard, and optionally a MIDI keyboard. Nodal recognises and sends notes, sync, continuous controller and pitch bend information.

Nodal is developed at SensiLab, Monash University.

Melda Production VST Convolution

Modular Synth Sequencer

Generative Modular Music

How to Create Amazing Generative Music using Ableton Live and Max Devices – Tutorial

Fantastic Devices and how to use them.. to create surprising generative jams with hardware or soft synths, inside Ableton Live. I can just listen to this for hours! And it can be your best solution if you need to create a lot of musical content in a short span of time. The inspiration for this Jam/Tutorial came when i started using the Modular Sequencer, by Sound Manufacture. I find it a smart and useful device, as it easily allows to do things that would require tons of other devices, and a lot of time to make them work in Ableton Live. Plus it has its own unique features, a lot of them! And it can also communicate with other Sound Manufacture devices, to considerably expand the range of options. Here you can find the devices shown in this video. Modular Sequencer:…


Generative Music Techniques With Ableton Live

Here is the Template Project download link, you’ll find the project in the zip file contained in the Album download. Just set price as ZERO and download for free

As shown in the video, i prepared a streamlined version of my jam, with just stock and free devices. In this Ableton Template Project folder you can find: – An Ableton Live 10 Project containing everything – Instrument Racks with Midi effects to generate random notes and chords – A Drum Rack with Midi effects to generate random rhythms, plus a kit of custom analog drum samples made by me, using my analog synths – All the tracks used in my jams, featuring all the modulation i created, but without the third party devices and effects.


Generating Random Music In Ableton Live

Steve Angstrom: Generative Music Tutorial

Generative music in Live

Here is a brief tutorial on making generative music with Live. This tutorial first appeared on the Ableton Live Forum, in 2007 – so the examples were made using Live 6.07  and will work with any version of live later than that.

What is generative music?

Generative music is where you provide logical or programmatic ‘seeds’ and the computer grows you some music based on the parameters you set out, Brian Eno is probably the most famous practitioner.

Why make generative music, or get Live to make IT for you?

Generative music is a different beast from making a track of your own, it is more like planting a garden. In fact a generative piece is like a glorified wind chime, so we could equally ask ourselves “why do people have wind chimes rather than stand in the garden hitting aluminium themselves?”  The answer would be the same – the sounds which result may not be “music” but they can be good background noise and in that way quite beautiful and surprisingly interesting as ambience, furthermore the underlying generation can be tinkered with to deliver a wide range of what appears to be expression. A generative piece will sustain a low level of interest for hours!

Live is quite a good environment for creating generative music and I have two methods to do so, an audio based method and a midi method.

I will focus on the more midi-oriented method here.
There are limitations to how far you can go with Live and generative music, but what you can achieve is entertaining.

How it is achieved in Live

To make generative music we need to make Live play or do something whenever a condition is met, we get flexibility by giving the program some freedom. Instead of saying “EVERY time a bar starts play a C minor chord”, we want variation. An example might be “Sometimes play a chord (from a selection of chords) on either the first or third beat, and if you do then perhaps play one of these ralated chords after it, or perhaps think about playing this tune instead”

So now we have a random event which is constrained by a limited set of outcomes, it sounds passably like music.

Cascading The Variations

I set a ‘condition’ with two Velocity plugins, and how we can set two different outcomes using ‘if – else’. Now imagine dividing the random values up into many zones, this way you can create little themic areas.
You can start to go further down the fractal tree, each conditional zone can have a new random value generated to make new notes for itself. Each ‘conditional zone’ can be a different part of your song. The ‘riff’ , the ‘bassline’ , the ‘chords’ . Each of them can watch a zone and do some more complicated ‘riff’ or ‘chord’ related actions anytime that rack is triggered by the main condition.



The video takes inspiration from Brian Eno‘s concept of Generative Music. Eno has been creating systems for generating music since the 70’s.

While he initially applied this approach to ambient music, on albums like Music For Airports, his later work has explored creating systems for generating other types of music, too.

This video looks at exploring this concept, using a variety of hardware and software systems, ranging from iOS apps to desktop DAWs and modular synthesizers.

By Synthhead


Play eternally evolving ambient music on

How to Make Generative Music in the Browser

My personal process by Alex Bainter on MEDIUM

After making generative music systems on for the better part of a year now, I’ve received numerous requests for an explanation of how I create the systems featured on the site. Rather than replying to everyone individually, I thought it would be best to explain my process here for anyone interested.

Web Audio API

The Web Audio API is a relatively new browser API which is well supported. It enables web developers to play, synthesize, control, process, and record audio in the browser. As you can probably guess, this is the linchpin technology I use to create browser-based generative music systems. Boris Smus wrote an excellent, short book on the subject titled Web Audio API: Advanced Sound for Games and Interactive Apps which I recommend.


Tone.js is a JavaScript framework for using the Web Audio API. It offers an abstract layer on top of the Web Audio API which should be familiar to musicians and producers, with a vast array of synthesizers, effects, and filters, as well as related utility functions for things like converting scientifically notated pitches to their frequencies and back. Additionally, it greatly simplifies access to an accurate timing system. While this library is not strictly necessary for making generative music systems in the browser, I’ve never built one without it. It’s very rare that I find myself interacting directly with the Web Audio API rather than using this fantastic library.

I highly recommend “JavaScript Systems Music” by Tero Parviainen as an introduction to creating music in the browser with Tone.js and the Web Audio API.


It’s certainly possible to synthesize sounds with Tone.js and the Web Audio API, but it’s not something I’ve explored much (read: I suck at it). Instead, I prefer to use recorded audio samples which I play and manipulate.

There are plenty of libraries full of free or cheap audio samples out there, but the most significant ones I’ve used at the time of writing are the Community Edition of Versilian Studios Chamber Orchestra 2, the Versilian Community Sample Library, and the Sonatina Symphonic Orchestra. The generosity of the providers of these and other free libraries inspires me to release my work for free as well.

In addition to using sample libraries, sometimes I record my own audio samples for use on the site. I record with a Rhode NT1-A microphone or direct from my Line 6 POD HD500X into a Focusrite Scarlett 2i4. This is all relatively cheap gear which I purchased used. Occasionally when I record, I reconstruct my “recording booth” which I designed and made out of PVC pipe and movers’ blankets to dampen sound. Though, I usually can’t be bothered.


tonal is another JavaScript library providing utility functions related to music theory. While not every piece requires this library, it’s invaluable for the ones that do. The library contains all sorts of helpful functions which do things like returning all the notes or intervals in a given chord or scale, inverting chords, transposing notes and intervals up or down a given amount of semitones, and so much more.

Creative Commons License

For anyone and everyone

Music from is officially licensed under a Creative Commons Attribution 4.0 International License (CC BY 4.0). Generally, you are welcome to use or modify the music for any purpose, including commercially or publicly, provided you give appropriate credit.

It’s as easy as adding something like this to your work:

Or even just:

See “How to give attribution” from Creative Commons. Please pretend to read the official licensing terms before using music from this service.

You can show your appreciation by making a donation.

Other Licensing Arrangements

For special cases and people with fancy pants

If you prefer not to use the Creative Commons licensing, send an email with your offer to




Okay, let’s get this out of the way – no one should describe this as an “AI DJ.” There is no autonomous machine intelligence acting as a DJ. On the contrary, the mushy digital mash-up textures on offer here are unique, fresh, and distinctively sound like something that came from Moisés. Part analysis, part generative artwork, part creative remix, OÍR is simultaneously the intentional work of an artist and a machine reflection of a wide variety of streamed DJ sets.

Technically speaking, says Moisés, “the system is a compendium of OpenAI’s Jukebox, trained from scratch, StyleGAN2 for visuals.” “The mixing and DJ ‘transitions’ are done with a MIR [Music InformatioN Retrieval] ‘automatic mixing’ Python script,” he says.

But it’s worthwhile also understanding his artistic intention:

OÍR stems from my ongoing research on AI, sound synthesis, and electronic music.

Since starting my adventure into Deep Learning systems for music a couple of years ago, I’ve asked myself if Deep Learning (AI) is a tool or a medium?
Right now I’ve come to the conclusion that it can be both, and this is what
exactly I’m trying to explore with this project.

When we talk about Deep Learning as medium, there are three particular
processes engaged when working with generative systems: curation of the data, training and monitoring of the algorithm as it ‘learns,’ and generating new synthetic media. Rinse and repeat.

There are a couple of aspects that interest me from this process. Each time you train the AI algorithm, its weights and biases or what it has ‘learned’ change over time — depending on the data you are having it learn from. The algorithm generates patterns present in these vast amounts of images and music, as is the case of OÍR, and these can be changing as the ‘learning’ process continues.

So this quality of a constantly changing and morphing generative algorithm is exactly what I want to explore with OÍR, and what better way to do it than though electronic dance music and techno culture.

I chose a channel as the canvas for the first episode, or EPOCH, of OÍR with a selection from the archive from HÖR Berlin, because I feel this channel has done the amazing job of generating a collective culture, specifically within techno and electronic music. I wanted to explore which patterns are emerging from this culture – which patterns can be synthesized, both visual and sonic, from all these sets and different approximations of techno, over 1,400+ hours and counting.

My desire with this art project is not to automatize or replace DJ’s or
electronic musicians in any way, but rather have OÍR be a sort of ‘live generative archive’, as I did before with my album 𝕺𝖐𝖆𝖈𝖍𝖎𝖍𝖚𝖆𝖑𝖎 in relation to the Mexican 3ball electronic music genre, of certain cultural moments in electronic music which are increasingly existing on big tech platforms and the internet. By the way, OÍR means “to listen” in Spanish.



Notes from talk with Martinus about AI music neural nets.

Question: How do I train an AI to play experimental music with bridges?

Answer: You can use my algorithm!

Drilling down into the details, what file formats, where do I actually put them..

Does the AI need metadata? Apparently not as the system reads the sound files visually by spectogram. I have SO MUCH TO LEARN!!

Starting with the data compilation for now, listing resources for later review.



other links spiralling out from Martinus’ original conversation

Open AI
Attention is all you need

Music Transformer:


Open AI JukeBox neural net intro

Now You Can Generate Music From Scratch With OpenAI’s NN Model – Analytics India Magazine One of the popular AI research labs, OpenAI has been working tremendously in the domain of artificial intelligence, particularly on the grounds of neural networks, reinforcement learning, among others.Just a few days back, the AI lab introduced Microscope for AI enthusiasts who are interested in exploring how neural network work.. And now the audio team of OpenAI has introduced a new machine …

Deep Music Visualiser
GAN deep music sound and latent space

Timbre Latent Space

[2008.01370] Timbre latent space: exploration and creative aspects
Recent studies show the ability of unsupervised models to learn invertible audio representations using Auto-Encoders. They enable high-quality sound synthesis but a limited control since the latent spaces do not disentangle timbre properties. The emergence of disentangled representations was studied in Variational Auto-Encoders (VAEs), and has been applied to audio.

GANsynth Magenta making music with GANs

GANSynth: Making music with GANs How does it work? GANSynth uses a Progressive GAN architecture to incrementally upsample with convolution from a single vector to the full sound. Similar to previous work we found it difficult to directly generate coherent waveforms because upsampling convolution struggles with phase alignment for highly periodic signals. Consider the figure below: The red-yellow curve is a periodic signal …

GanSynth Demo

Maestro dataSet

Music Transformer – generating music with longterm structure

Music Transformer article

Kaggle data bridges not walls

The MAESTRO Dataset and Wave2Midi2Wave
MAESTRO (MIDI and Audio Edited for Synchronous TRacks and Organization) is a dataset composed of over 172 hours of virtuosic piano performances captured with fine alignment (~3 ms) between note labels and audio waveforms. This new dataset enables us to train a suite of models capable of transcribing, composing, and synthesizing audio waveforms with coherent musical structure on timescales …
The Deep Music Visualizer: Using sound to explore the latent space of BigGAN | by Matt Siegelman | Towards Data Science
A deep music video. Want to make a deep music video? Wrap your mind around BigGAN. Developed at Google by Brock et al. (2018)¹, BigGAN is a recent chapter in a brief history of generative adversarial networks (GANs). GANs are AI models trained by two competing neural networks: a generator creates new images based on statistical patterns learned from a set of example images, and a discriminator …

These are some of the resources I will be exploring in the course of my research:


AI Music, Algorithmic Composition, Data Sonification, Machine Creativity

  • Tutorials, guides and how-to courses
  • Examples of Algorithmic Composition
  • Projects using Machine learning + creativity / AI Music



Make music and art with machine intelligence

MIMIC is a web platform for the artistic exploration of musical machine learning and machine listening. We have designed this collaborative platform as an interactive online coding environment, engineered to bring new technologies in AI and signal processing to artists, composers, musicians and performers all over the world.

The MIMIC platform has a built-in audio engine, machine learning and machine listening tools that makes it easy for creative coders to get started using these techniques in their own artistic projects. The platform also includes various examples of how to integrate external machine learning systems for sound, music and art making. These examples can be forked and further developed by the users of the platform.

puredata tutorials

Pd Tutorials and HOWTOs?

Here is collection of howtos and tutorials in many different languages covering a number of different topics. The following topics has been suggested to merge in to the below list: basic audio, audio synths, audio filters, video effects, video synths, 3D graphics, interfacing with the physical world (HID, arduino, etc), network programming.

Programming electronic music in pd

by Johannes Kreidler

Algorithmic Composition RealTime Environment

PD library collection

github repository pd-acre


SodaLib: a data sonification framework for creative coding environments Agoston Nagy


In the ever-growing area of data driven interfaces (embedded systems, social activities), it becomes more important to have effective methods to analyze complex data sets, observing them from different perspectives, understanding their features and dimensions, accessing, interpreting and mapping them in meaningful ways. With SodaLib, it is easy to map live data (sensors, web apis, etc), large, prerecorded datasets (tables, logs, excel les), or even unusual sources (images, 3D environments) to recognizable audible patterns through a set of sonifcation methods, including parameter mapping and event based sonification.

SodaLib is an open source, cross platform, multipurpose sonification tool for designers, programmers and creative practitioners.


Algorithmic composer: Sonification

Sonification can be used to hear information in a set of data that might be otherwise difficult to perceive, common examples include Geiger counters, sonar and medical monitoring [ECG]. When creating sonification algorithmic compositions we are interested in creating interesting or aesthetically pleasing sounds and music by mapping non-musical data directly to musical parameters.

Algorithmic CompOSITION // CATARINA

by Mike Moreno

Youtube Video:
Get the recording here:

A 100% synthesized algorithmic composition made using Pure Data Vanilla 0.49-1. Made for the upcoming Muff Wiggler Discord Collective Album.

Instruments and sounds used are part of my library: pd-mkmr


Algorithmic Composition // JOI

by Mike Moreno

puredata patch joi

Youtube Video:
Get the recording here:

An algorithmic composition made using Pure Data Vanilla 0.47-1

The Visuals were made in GEM using primarily the [scopeXYZ~] and [pix_sig2pix~] objects.

I also relied on heavylib (a library of vanilla abstractions):


puredata patch from the algorithmic composer


Jodi Rose is a nomadic writer, artist, producer and creative director of Singing Bridges, an urban sonic sculpture using the cables of bridges as musical instruments on a global scale. She is currently an Artistic Research MFA researcher at Trondheim Art Academy, Norway in the field of Art & Technology.

She embraces the philosophies of Fluxus and a lived experiential practice; collaborating with chance, playfulness and simplicity in her life, art and writing. During her travels to create music from the sound of bridges around the world, she has found herself recording in the snow under a bridge in Ljubljana; dangling from a crane on a bridge in Bangkok; initiating and mediating T.R.A.C.E.S and wearing a beard while immersed in an artists colony in Lithuania. Life is art and sometimes there is no ‘everyday’.

Originally from Australia, Rose has traversed the globe from Helsinki to the Mekong Delta, New York to Singapore in her quest for bridge music. Made with field-recordings, on-site interventions and site responsive improvisations, her fascination with the sounds and secret language of bridges has led to collaborations with artists around the world.

Her work explores the philosophical and musical aspects of cable vibrations through global transmissions and installations; hosting on-site sonic interventions, and dreams of linking bridges around the world in a Global Bridge Symphony.

Listen to Singing Bridges Music

Listening to the sound of bridge cables, the voice of each bridge is heard as an instrument for an expanded urban musical experience. Every bridge is connected to all other bridges through the vibrations in their structure. Echoing the telecommunications wires circling the earth, transmitting and receiving messages, codes and signals to stretch the boundaries of art and technology across geographical and architectural borders into a new acoustic form. Opening a space between where we live and where we dream, suspended across the threshold into another state…

‘The city is our temple, electronic networks our religion and the sound of the bridge cables is the voice of the divine.’

The culmination of Singing Bridges is the Global Bridge Symphony, linking the music of bridges in a live performance taking place in and from locations around the world.

Welcome to Bridgeland! is an art-research project in the fields of cultural acoustics, media arts /theory, site-specific intervention, oral history and alternative ethnographic memoir.

A global “Mythology of Bridges” includes performative happenings, subtle interventions, video/audio composition and poetic cultural essays. The interdisciplinary process is evident in the production of artworks, lectures, theoretical texts and archive-documentary materials. Welcome to Bridgeland! highlights the bridge as a place of transformative potential, the locus for metaphorical meanings and mythological experiences.

Artist Potrait by Foto-di-Matti

Headphones by Critical Senses

Archive websites include:

VR Worlds for Pixel Practice, Trondheim Open Digital Exhibition 

Art Bacchanale & Diamond Galaxy

Art Bacchanale is a universe of inter-species harmony. The lone human figure is an astronaut who offers a celebratory drink to the animals. Their speech is transfigured by the dynamics of social relations composed for a cargo ship to an imagined island tropical Utopia.

In the second VR world, Diamond Galaxy, the audience are invited to collect symbols of magical powers and through their touch, uplift both the animals and the angel to a new state.

Living in a universe of signs. Trying to decipher the sibylline codes for their meaning. Dreaming of the North and finding ways to open the door into parallel dimensions.  Searching for a viable creative Utopia. And remembering how to play!

Expanding the format of creative practice. We all contain universes, multiplicity of identities. Learning to accept messiness and creative play as part of artistic practice. 

Letting space for the unknown to take form within the work. Or shape it. Or inform. This is my first experiment in building virtual worlds. How to navigate the terrain, create emotional connection and adventure?


Jodi Rose & Liz Dom

Process based remote collaborative networking digital exhibition team

2020, when the world went www… The plan was to start the fall semester together, the plan was to meet and create, to grow and connect… the plan… did not go according to plan.

Pixel Practice: Follow the Link explores the relativity of space, seemingly unconnected works and remote, collaboration; the link between all three areas. What links us together is this virtual exhibition space. Many of us have never met in person, except in this virtual world we have created. Join our adventure in creative, online, remote and networked collaboration. Join the collaborative conversation, and play with us!

By developing multiple pulls of gravitation such as a collaborative virtual reality platform, a curatorial thread and weekly online communication, the artists were able to increase their general relativity, the culmination of a meeting of minds, instead of bodies.

Mapping out a plan with multiple entry points allows us to guide the viewer through their experience of our combined worlds. The doors of perception open, and the portals between our separate realities converge. We invite you to explore this stream of consciousness as it continues to evolve.

You care for each other, exchange gifts, find the secret cave and unlock the mysterious codes of the universe to open the portal into the next dimension.

Jodi Rose

Not knowing. Letting go of the outcome. Making a plan then ignoring it. Riding a new kind of creative surge that moves through her, surfing the waves of elemental energy. Inspired by conversation with friends, colleagues and classmates. Each reveals a new fragment of knowledge, a shift in perspective, a deeper layer of understanding. Her desire is to embed these experiences of connection and bring them into her world.

I’m fascinated to receive an invitation from Artsy about helping to share the work of John Cage. Of course, I’d be delighted! It turns out I learned something – I had no idea that Mr Cage, in addition to being one of the most inspirational and experimental musician/composers also made works on paper and in other forms.

“Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration” said Cage. This concept was a particular inspiration for my 20 year work Singing Bridges, making music with the vibrations of bridge cables. It’s curious to see the plexigram pieces dedicated to Marcel Duchamp, who famously said “The only works of art America has given the world are her plumbing and her bridges.”

There does seem to be a curious synergy between M. Cage, M. Duchamp and the music of bridges.

I’m already a fan of Artsy for their excellent contemporary take on collecting video art and selling art work on instagram, although I have yet to reach these exalted heights in terms of becoming collectable, it’s good to see someone make a living from their work – being a posthumous success as an artist is seriously overrated.

Here’s to vibrations, spirit and new ideas!

“I can’t understand why people are frightened of new ideas. I’m frightened of the old ones.”
-John Cage

Here is the Artsy listing, I’ll be curious to see more of these intriguing works.

“We strive to make all of the world’s art accessible to anyone online. John Cage was not only a revolutionary composer but also an innovative artist, and Artsy aspires to be a leading resource for learning about Cage’s art. Our John Cage page provides visitors with Cage’s bio, over 20 of his artworks, as well as up-to-date Cage exhibition listings. The page even includes related artist & category tags, plus suggested contemporary artists, allowing viewers to continue exploring art beyond our Cage page.”


One of the most influential composers of the 20th century and a leading figure in the post-war avant-garde, John Cage was a music theorist, writer, and artist, as well as a composer. His most famous piece,4’33” (1952), consisted of musicians doing nothing but listening to the sounds in a room for the duration of 4 minutes and 33 seconds. For Cartridge Music (1960), he amplified small household objects in a live performance. Influenced by Indian philosophy, Zen Buddhism, and Duchamp’s readymades, Cage championed chance procedures in music, incorporating found sounds, noise, and alternative instruments into his compositions. Two important early collaborators were the painter Robert Rauschenberg and the dancer Merce Cunningham, who was also his romantic partner for most of their lives. Cage published his first book, Silence, in 1961 and, in the 1970s, began to transform literary works, including those of Joyce and Thoreau, into music.

If you can’t make it to Venice for the Biennale, you can still experience the floating radio – listen as you read this personal essay about the political highlights by Maura Reilly. Alternatively, J J Charlesworth tears apart the moral contradictions of the jet set global art world in this article Playing Politics.

Venice Radio! Safina Radio Project is an itinerant space, a boat transformed into a recording studio navigating the Venetian waterways and transporting passengers from one place to another whilst serving as a platform for exploration and exchange. The project creates transitory and transient communities with each journey, bringing focus to collective experience and targeting an investigation into how we locate ourselves and how we mediate our human and historic commonality. Safina_Radio_f0626_may6_alserkal_img The online portal includes the full program in Venice from May 6 to 8, presented alongside a range of content commissioned only for the site itself, from written interviews to audio projects, playlists and sets. Contributors of online-specific content include: British artist Scanner (Robin Rimbaud) whose work experiments with sound, space, image and form; Emirati conceptual artist and writer Hassan Sharif; Wael Hattar in conversation with artist Sadik Kwaish Alfraji; Rahel Aima and Ahmad Makia from The State; artists Lawrence Abu Hamdan and Karim Sultan; music contributions from UAE based Analog Room and Kamal Rasool (Flamingods); and MENASA music specialist Neil van der Linden. The Safina Radio Project builds on Alserkal Avenue’s expanding homegrown programme which aims to support performance, social practice and public-forms of art, by providing a unifying public forum amidst the Venice Biennale to engage with questions and concerns important to the region. The project is realised through the kind support of Abdelmonem Bin Eisa Alserkal, Founder of Alserkal Avenue. A broad spectrum of artists, writers and curators, whose practices draw from a variety of contexts, will participate in Venice through conversations and happenings on the boat, including: Raqs Media Collective, comprised of media practitioners Jeebesh Bagchi, Monica Narula, and Shuddhabrata Sengupta from New Delhi; British artist, writer and film director John Akomfrah with writer Coline Milliard; artists Mohammed Kazem and Cristiana de Marchi; artist Rabab Ghazoul in conversation with her father; artists Haig Aivazian, Rene Gabri, Ayreen Anastas, Hrair Sarkissian and filmmakers Yervant Gianikian and Angela Ricci Lucchi with curator Adelina Cüberyan von Fürstenberg; collaborative artists Joana Hadjithomas and Khalil Joreige; artists Wafaa Bilal and Sara Raza; and performance artist Alex Baczynski Jenkins with curators Louise O’Kelly (Block University), Ben Roberts (Modern Art Oxford), Rose Lejeune and Fatos Ustek. An audio recording of each live event will be uploaded to the website within 24 hours of it taking place, opening up experiences and events in Venice to a wider audience.

Afterall Issue 36 Summer 2014
Afterall Issue 36 Summer 2014

Laboratoire AGIT’art and Tenq
K.P. Krishnakumar
Nilbar Güreș
Carla Zaccagnini
Andrea Büttner
Enquiry on the/our outside

Afterall is pleased to present issue 36, summer 2014, which features artists and artistic collectives that question the borders of the art world or exploit other possibilities within it. Within a homogenizing art world, how do you find a ‘without’ or a productive point of difference?

Clémentine Deliss looks at the collectives Laboratoire AGIT’art and Tenq that emerged in Dakar, Senegal in the 1990s, and which undermined common assumptions about the distribution of cultural capital and knowledge between perceived centers and peripheries. Writing a subjective history of these activities, she asks how groups who wanted to be only partially known can be fully historicized.

K.P. Krishnakumar was the lead artist in the Indian Radical Painters and Sculptors Association, a collective which tried to marry art and politics and look for a way for Indian artists to be part of the global art world without having to represent their national or regional identity. Anita Dube, who was a member of the group, writes on the tragic hero that Krishnakumar became, while Shanay Jhaveri discusses the collective’s impact within Indian art history.

Often showing Turkish women in elaborate camouflage, Nilbar Güreș‘s photographs, drawings, collages and videos also reflect upon questions of cultural identity. Mihnea Mircan argues that she is one of a number of artists who are shifting the notion of identity to one that exists between the margins, blurred in transit, while Lara Fresko considers the artist’s representation of identity within a globalized framework.

Louise O’Hare discusses Andrea Büttner‘s appropriated images of mentally handicapped boys looking at HAP Grieshaber’s woodcuts to elaborate a theory of embarrassment as integral to the condition of viewing art. The social and political uses of art are also examined in Emma Hedditch‘s study of Carla Zaccagnini‘s artist’s book, which explores the Suffragette’s campaign to destroy paintings and art objects.

This notion of an internal hostility to art systems and classic standards of aesthetic criteria is picked up in Alejandra Riera‘s collective projects, for which she renounces any authorship. Her ongoing investigation Enquête sure le/notre dehors (Enquiry on the/our outside), as Peter Pál Pelbart and Muriel Combes write, explores what constitutes the borders of our society—what we relegate, for example, to the peripheries of city centres or outside of sanity.

Already occupying a comfortable position in contemporary art history, Panamarenko defied the parameters within which the art world operates when he decided to retire from artmaking in 2005. As Hans Theys and Jeremy Millar remind us, working mostly in the solitude of his studio in Antwerp, Panamarenko has queried authoritative forms of knowledge through the building of impossible machines.

Finally, in their discussion of the actual experience of living and working in the art world, Zachary Cahill and Philip von Zweck address how artists—whom they dub ‘double agents’—live between structures, seeking to put their day jobs in art institutions at the service of their artistic ‘night job.’

This summer Afterall Books will present the fifth publication in its “Exhibition Histories” series, Exhibition as Social Intervention: ‘Culture in Action’ 1993, as well as the “One Work” title  Thomas Hirschhorn: Deleuze Monument by Anna Dezeuze. On 18 October, Hirschhorn will be in conversation with Dezeuze at the Platform Theatre, Central Saint Martins, to launch the book. The next guest in our “Exhibition Histories” Talks series, co-organised with the Whitechapel Gallery, London, is curator Helmut Draxler, who will be in conversation with Helena Vilalta on 18 September.

Afterall journal is published by Central Saint Martins, London, in editorial partnership with M HKA, Antwerp, and the Smart Museum of Art and DOVA OPC, University of Chicago, in collaboration with UNIA arteypensamiento, Seville, and in association with the University of Chicago Press.

To subscribe to Afterall journal, please click here. If you are already a subscriber, you can download the e-book edition of the journal here.

Follow us on Facebook / Twitter