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We live in a silent century. Though no less powerful than their pre-millennial ancestors, our post-millennial innovations are mostly intangible; even when they do occupy physical space, they but wobble neighboring air particles and scarcely make a sound.

Compiling the "Sounds of the 21st Century" is a steep challenge, therefore, but one that legendary beatboxer Beardyman didn't shy from.

"There's an absence of sound rather than a defining sound," he tells Pay attention to the objects around you—the ones that are truly 21st century make next to no noise when we interact with them. The clatter of keyboards? 20th century. The din of car engines? 20th century. The cacophony of the city? Choose whichever century BC you like.

To create a track that begins to "encapsulate the mood of living in the future," as Beardyman puts it, you have to amplify the silent touches we make to interact with modern society. First and foremost, the tapping of fingers on smartphones. "That's all everyone does these days. That's [partly] the point of the video," he says.

In the song, Beardyman meshes beatboxing, phone-tapping, key-bashing, and other sounds in a glitchy track, which will be performed live on September 2 at the O2 Campus Party Europe opening party.

Beardyman presents "the sounds of the 21st century"

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Disturb – Alexandra Roozen Alexandra Roozen’s monochromatic drawings mimic bitmap processes, corrupted signals, transmission noise and spatial distributions generated by computer algorithms. The Disturb series suggests a simulation of screen static, interference and (white) noise. Perhaps these drawings reveal more about the glitch aesthetic than their digital counterparts do. Here the ‘essence’ of corruption had [...]

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Hear the idea of creating a car sound, and you might imagine a sound designer working on a video game or film. Imagining that person producing a sound for an actual car could sound like a joke. But as today’s vehicles go silent – whisper-quiet electric cars to human-powered bicycles – the problem of imagining noises for them to make becomes deadly serious.

Our brains are wired to respond quickly to sound, so when cars suddenly don’t make any noise, alerting us to their presence is a serious issue. Audi’s engineers are working on that problem in the video here (thanks to reader Vadim Nuniyants for the tip!):

Audi’s future e-tron models will cover long distances powered by practically silent electric motors. To ensure that pedestrians in urban settings will hear them, the brand has developed a synthetic solution: Audi e-sound.

Audi’s not alone, either; it’s a safe assumption that many electric makers are working on this problem. Cyclists may want to consider it, too, though mechanical solutions (letting the wheels produce a click) and the old-fashioned bell aren’t a bad start. Before the TV show Portlandia poked fun at Portland, readers chuckled at an open source synth out of PDX that produces sounds for a bike – but now, automaker Audi is basically doing just that with real cars. The video of that solution (which isn’t really such a bad idea – now we just need extra lights):


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Being able to create geometry on-the-fly is a really cool Unity feature. And Unity's scripting engine is fast enough that you can even do it from JavaScript. This project contains 10 examples, as well as 2 useful base functionality providers you can drop into your existing projects.

Base Functionality

These are located in the Plugins folder of the project and they are used extensively in these examples. They are read for easy inclusion within your existing projects.

Extrude arbitrary meshes thorugh a range of transformations
A useful base class for generating Perlin noise


This project contains 10 procedural examples in all.

Perlin Noise

Here are the procedural examples involving Perlin noise:

Perlin Noise
Perlin noise is incredibly useful when you want to have randomness that is smoothed as you 'zoom' in.
Fractal Textures
Generates a hybrid Perlin multifractal texture on the fly.
Lightning Bolt
Generates a lightning bolt particle system connecting points. Each particle is offset from the direct line using Perlin noise.





Here are the procedural examples involving mesh manipulation:

Crumple mesh modifier
A mesh deformed by Perlin Noise
Sinus curve modifier
A mesh deformed by Sinus functions
Shows how to use the extrusion script by etxtruding two objects along a physics-defined path
Sculpt Vertices
Sculpt a sphere using the mouse.
Tron Trail
An example of how to generate meshes that looks like the racing trails from Tron.
Implements a procedural twist deformation in runtime.
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Melissa Cha, director of the video for "Wildlife" by Austin-based band Single Lash, has managed to create and utilise visuals that perfectly suit the band's claustrophobic, dark-noise sound and vibe, despite using the much-overused "paint dripping over face" shot. Watch the video below.

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Soul Swords from Rubber City Noise on Vimeo.

Enjoy the ride and get your mind off the fact there’s still three days of work to do before fun time again.

“From the laserdisc Odyssey” – crystalsculpture3

“We were honored to have a song from an upcoming cassette featured on the popular television program, Soul Train.” – Rubber City Noise

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In this tutorial we show how to use two important methods of the BitmapData class,
perlinNoise and ColorMatrixFilter. By combining the two, we obtain a realistic
dynamic cloud effect. The color schemes of the sky and the clouds can easily be changed.

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