SurgiVision, Inc. is a leader in the emerging field of MRI-guided interventions, creating innovative platforms for performing the next generation of minimally invasive surgical procedures in the brain and heart. In 2001 Ishai designed navigation and control sounds for one of their systems called “LO”.
Designing system sounds for a visionary mobile phone is an epic experience. It’s funny because after A long research you end up with 5 to 15 ultra short digital sounds. The Backbone of this type of work is how, when and if to integrate those tick and peep sounds with the visual graphics.
The first ELSE is a next generation mobile phone heavily inspired by sci-fi culture. A mobile phone that was created with user experience in mind. Ishai created those hardly heard, ultra bright sounds, typically assigned with these transparent interfaces that we see in Hollywood films these days. This artistic vision brought with it a challenge. things get complicated when aesthetics versus usability. It’s not a movie, it’s mobile phone and it still needs to be functional and efficient. Ishai ‘s compromise was between the semi mechanical approach (a “tick/click” sound for typing) to the cold digital blips.
In this Video there’s a lot of background noise so you can’t actually here the sounds. But, it’s a taste..
the mechanical versus the digital approach:
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The same issue with camera zoom tool:
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Two more examples of other elements:
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My debut album under the name Oosh (Meast Records, 2000) tends towards techno music, yet combines mys various musical origins: electro pop, industrial, and experimental music. Considered a breakthrough in Israeli electronic music, it is today greatly appreciated by many around the world. An EP released recently features cover versions for “Over G” (punch music 2010), a prominent track in the album. Ten years after its release, the original track still receives enthusiastic reviews.
Label: Meast Records
cover art and photogarphs by Zoya Cherkassky and Ruti Nemet
designed by sugapusher
Six months after the release of the film Beaufort, Adar released the soundtrack album which featured slightly different musical arrangements. The monotonous, claustrophobic music was described by many critics as “music for William Basinski fans”.
The soundtrack for Uri Katzenstein’s video art work presented in the 2001 Venice Biennale. Electro-acoustic experimental music by Ishai Adar and Binya Reches.
Label: Fact Records, 2001
In addition to the genuine show that featured live music during the screening of the silent movie, Sheer Sofer and Ishai Adar released the soundtrack, recorded in Ishai’s studio in 2002. Sheer plays here Tibetan bowls, gongs, percussion, and world string instruments, and sings overtones, with Ishai at the computer and the digital mixing console.
Soundtrack of the film Year Zero, including both songs from the film and Ishai’s original neo-classical music, performed by a string quartet, piano and bass clarinet (quartet arrangement by Yoni Silver).
Here’s another track from this soundtrack:
Video art work by Uri Katzenstein. Ishai created the music (co written by Uri Katzenstein) and designed the soundtrack, with squeaky violins that converse with a voyager robot – a moving platform that rolls and hovers among the characters that enter and exit the scene.
The film was also included in the exhibition Hunger in the Israeli Center for Digital Art.
Another video By Uri Katzenstein with continuous elements from “The Garden”. The music and sound design here are totally different. Busting heavy metal guitar, jumpy elements and lot’s of amusing distorted sound.
A sound installation by Uri Katzenstein & Ishai Adar. La La Major is a cacophonous sound installation that portrays a local landscape using music as its raw material. It features 24 speakers hung wall-to-wall resembling a loose rope bridge and playing 24 different pieces of music simultaneously. In order to put together a local musical landscape, Ishai and Uri Katzenstein used only Israeli music pieces. The spectators stood facing the bridge and listened to the humming it produced, while watching a video screening that showed diagrams of the sound waves. The result is a sound-and-sculptural-element installation that can be localized in various places around the world.
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Exhibited in Herzliya Museum, 2007.