digital residency concludes

gazell.io_screenshot2

My residency at Gazell.io (the online component of London's Gazelli Art House gallery) wrapped up this week.

Last post (page back through 20 drawings or use thumbnails)

First post and intro/bio

Archive with artists who have participated so far (Laura Brothers, Philip Colbert, Hyo Myoung Kim, Giovanna Olmos)

As noted earlier, the works aren't actually untitled; I left the captions blank on the pages where I posted content, to keep typography on the page to a minimum. But they might as well have been untitled since I stuck with the unmemorable sketch_x# scheme.

Many thanks to the gallery for the post-internet-while-remaining-on-the-internet show. I recycled/remade some recent Linux work and dropped in several new pieces. Sticking to a 640 x 640 pixel format and working in one style for four weeks was good for me -- like yoga, or working with a personal trainer called "the remorseless internet."

zombie imperium

John Robb, who advises the military on so-called fourth generation warfare issues and blogs at Global Guerrillas, has this to say about the Trump/Sanders applecart upset:

The American Imperium in Zombie Mode

The policy wonks are up in arms over the NYTimes and WaPo interviews with Trump on foreign policy and trade. They simply can't say enough about how uninformed Trump is on this topic.... but there's something wrong with this picture.

The same wonks who claim to "know" everything have gutted the US economy, gotten us into wars we can't win, and plunged entire regions of the world into chaos & terrorism.

Personally, I like that both Sanders and Trump are isolationists. People profoundly out of step with the demands of an "Imperial Presidency." In my view, the Imperial Presidency beloved by the policy wonks should have died with the end of the cold war.

Yet it's still here, eating our future, in Zombie mode.

Have fun,

John Robb

PS: What if, and this is a crazy notion, we simply focused on making the United States a success story, rather than a poorly run Imperium?

"Non-interventionist" is the preferred term over "isolationist" but Robb has nailed it here. It should have been swords-to-plowshares after the USSR broke up but too many (self-)important sinecures in the US were at stake to just end all the militarism. As a wise blogger said years ago, the US should be less like the Romans and more like the Swiss. But no.

curtis roads disclaimer re: computer music live performance

The passage below from Curtis Roads' recently-published book, Composing Electronic Music: A New Aesthetic (Oxford, 2015), explains why "live performance and improvisation" aren't among the topics covered:

Live performance has a long tradition and is an important domain of electronic music. Recent texts by Borgo (2005), Barbosa (2008), Jordà (2007), Collins (2007), Dean (2009a), Perkis (2009), Tanaka (2009), Lewis (2009), Oliveros (2009), and Pellegrino (2010), among many others, explore the issues that surround live performance, including extensions into network-based interaction.

In the bad old days of computer music, there was no live performance. Algorithmic composition, sound synthesis, and sound processing could not be realized in real time. Today real-time interactive performance is common. I frequently perform with synthesizers and sound transformation tools, even if it is in the studio and not live onstage. Continued technical research in support of live performance is essential. This involves the design of new electronic instruments and modalities of performance interaction.

The risks associated with improvisation onstage can instill a live performance with dramatic and emotional impact. A key to success in such performances is virtuosity, a combination of talent plus rigorous practice. We hear this in Earl Howard’s Strasser 60 (2009), a tour de force of sonic textures played live on a sampling synthesizer. Behind such a piece are months of sound design and rehearsal to prepare the 20-minute performance.

Richard Devine’s Disturbances (2013), which he performed live on a modular synthesizer at UCSB, is another impressive demonstration of virtuosic control.

When I project my music in a hall, another kind of live performance takes place: sound projection or diffusion. This consists of varying the dynamics, equalization, and spatialization of music that is already composed in order to take advantage of a particular space and its sound system. Virtuosity drives such performances, but this is based as much on intimate knowledge of the music being projected as it is on physical dexterity. The key is knowing precisely when and how to change the projection, keeping in mind the resources of a given hall and its sound system. (For a discussion of the aesthetic significance of sound projection as a performance interpretation, see Hoffman 2013.)

The idea of combining acoustic instruments and electronic tape has a venerable tradition, dating back to the early concerts of the Groupe de Recherche de Musique Concrète, in which Pierre Schaeffer and Pierre Henry collaborated to make Orphée 51 for soprano and tape (Chion 1982). Extending this line, many composers, such as my colleague JoAnn Kuchera-Morin, write mixed pieces that combine a virtuoso instrumental score with electronic sound and interactive processing. Mixed pieces pose many aesthetic challenges, and I admire those who master that difficult medium. For more on live interactive electronic music with instruments, see, for example, Rowe (1993, 2001).

In contrast, my compositional practice is studio based. Playing an instrument in real time is central to my studio work, keeping in mind that “playing” and “instrument” go beyond traditional modalities to encompass interaction with software. I record these (sometimes improvised, sometimes planned) performances, and this is often how I generate the raw material for a composition. Due to the nature of my music, however, which is organized in detail on multiple timescales down to the microscale, it is impossible for me to generate it in real time onstage.

Studio practice affords the ultimate in flexibility and access to the entire field of time on multiple scales. The ability to zoom in and out from the micro to the macro and back, as well as move forward and backward in time (e.g., compose the end before the beginning, change the beginning without modifying the rest of the piece), are hallmarks of studio practice. Sounds can be reversed and their time support can be freely modified with varispeed and pitch-time changing or utterly scrambled by granulation. Once the macroform of a composition has been designed, I sometimes finish it by sprinkling it with a filigree of transients—like a dash of salt and pepper here and there in time.

These kinds of detailed studio practices take time. Indeed, a journalist emphasized the glacial timescale of my composition process, which to me is merely the natural pace of the work (Davis 2008). In order to construct an intricate sequence of sound events, I often listen at half speed or even slower. A passage of a few seconds may take a week to design. The process often begins as an improvisation. I try an experiment, listen to it, revise it, then perhaps backtrack and throw it away (deleting the past). I write notes and make a plan for the next improvisation. I reach a dead end and leave a piece for weeks in order to come back with a fresh perspective. My composition process takes place over months or years. Epicurus was composed over the period of 2000–2010. The original sound material in Always (2013) dates to 1999, and the piece was assembled over a period of three years.

Thus it makes no sense for me to pretend to have anything particularly interesting to say about onstage live performance of electronic music. I leave this for others.

self-inflicted apple hell

Some things I wanted to do with the modular synth required an Apple computer -- I didn't have enough pain in my life so I bought a Mac Mini. This is my first time I've been in the Steve Jobs environment since my Mac SE died around 2002. Spent a couple hours moving things around, getting that dumb "genie" off the dock, etc. The operating system assumes you are a permanent novice, incapable of learning. (And takes steps to keep you in that state, as we'll see below.) Rather than letting you just move files and folders around on your hard drive it has this elaborate, redundant "finder" system. Trying to ignore that and work directly in the hard drive folder tree, the first thing I discovered is the Mac doesn't want you to move files, only copy them. Way to bloat the system with unnecessary data! A quick web surf for a solution took me to a Mac forum page with this interchange:

fastmacbookpro
Apr 23, 2010 4:51 AM
I want to move files to, from and between computer, usb stick and usb hdd and I do not want to make duplicates. What do I need to do in order to simply move the file, not copy it?

Correct Answer -- Solved!
by a brody on Apr 23, 2010 5:22 AM

Caution: It is unwise to only have one copy of data at anytime. Media can fail at anytime without warning.

Patronize much? Or how about this forum page, which devolves into shouting over what should be a simple question. Am still working on this, just wanted to share a bit of existential agony.

expert sleepers setup notes

As discussed previously, I made some notes on how to configure several Expert Sleepers hardware and software modules for Ableton Live. [PDF]
The relevant modules are the ES-4 (out of production -- prematurely, IMHO), the ESX-8GT gate expander, and the ES-3.
This post is a message in a bottle for any lost soul who is trying to make the gear work as it does in the videos. The PDF is a work in process as I continue to pick up new info-scraps on the modular synth forums.