Onyx, do you think that perhaps all these questions that were raised aboutwhat exactly you were doing would encourage you to perhaps make yourperformative "movements" and means more evident? Or do you think this is notimportant for your goals? well right now it is literally the task of creating a language to speak with. I have seen many gestural performances, thanks to youtube, and i have seen things done with dance troupes and sensors as well, but i want to find/create something that is more interesting than representative. i believe that the representative aspect will come from being close to the performer/performance. this type of thing has to be experiences up close to negate ones "bulls^&t" response ( ie, you see a guy fly during a concert, there is a part of your brain that screams "bulls%^t!", BUT, if he were to levitate in front of you, your mind would be blown). in the next 6-18 months, i'll have a more defined spatial language.
The thing is, nobody asks a violin player what he's playing (as somebody mentioned a few messages ago, sorry for the lack of proper quoting here), I believe, because these traditional instruments are already within our culture, so one knows, roughly speaking, how a violin should be played and how it might sound like. However, with gestural controllers/instruments of course it is a different matter...
but with electronic music, we're all a bunch of jilted lovers because were are all so used to hearing amazing music that was created in a very unexciting manner. what this project is, currently, is "ok" sounding music, done in an exciting manner (to me). thats why i looked so calm on the TED video even though my effects wouldnt latch (assigned to the extremes of the accelerometer range), because i had to concentrate of multiple variables at once and no longer have the distraction of "ease"...every performance is a strain and it is the best feeling EVER! when doing a DJ set or an ableton set, it is hard to suck because its all pre-recorded...you can even put on a song and go to the toilet. with this, you can definitely suck, which is very exciting to me because the harder you can suck, the higher the highs are.
When Onyx mentions playing at audience level, inside the club, I remembered of Dan Deacon and Girl Talk's performances which also often apply this idea, and it is interesting to observe how the audience is also curious to see what they're doing, so I guess it is a common behavior...
I love what girl talk does. he covers his laptop in saran wrap to keep drinks from killing it, and he just has everyone around him for the duration of his set. THAT is the future. i have discussed this with many other alternative controller artists and we agree that the way forward for musician alternative controller artists, is to swim in the soup of sound that you are creating with a stage being for brief moments and a conveininet place to keep ones gear;-)
On Wed, 22 Jun 2011, Onyx Ashanti wrote:
The thing is, nobody asks a violin player what he's playing (as somebody mentioned a few messages ago, sorry for the lack of proper quoting here), I believe, because these traditional instruments are already within our culture,
It's not just that, it's that the number of parameters is limited. With computer music there is no way we can learn to understand what's going on in the manner that we did with traditional instruments, simply because it doesn't take many variables at a same time to become confused, and with computer music there are always more variables that can be added to confuse the audience, and those variables can be added and removed at any time.
Every show is a potential opportunity to confuse the experts about what's going on, more than it ever was.
but with electronic music, we're all a bunch of jilted lovers because were are all so used to hearing amazing music that was created in a very unexciting manner. what this project is, currently, is "ok" sounding music, done in an exciting manner (to me). thats why i looked so calm on the TED video even though my effects wouldnt latch (assigned to the extremes of the accelerometer range), because i had to concentrate of multiple variables at once and no longer have the distraction of "ease"...every performance is a strain and it is the best feeling EVER!
The audience has no idea what you wanted it to sound like, so they have no way to measure your satisfaction other than looking at how you seem to feel like.
when doing a DJ set or an ableton set, it is hard to suck because its all pre-recorded...you can even put on a song and go to the toilet.
In the early days of the Pd Montréal users group (or actually, before), there was that joke that the performer could very well be checking his email while his music plays on its own. We were talking about Pd, because one can also use Pd in this manner. We were talking about the lack of proof of the « liveness » of a performance.
I love what girl talk does. he covers his laptop in saran wrap to keep drinks from killing it, and he just has everyone around him for the duration of his set. THAT is the future.
Doesn't that sound like the TopLap manifesto ?
| Mathieu Bouchard ---- tél: +1.514.383.3801 ---- Villeray, Montréal, QC
--- On Wed, 6/22/11, Mathieu Bouchard matju@artengine.ca wrote:
From: Mathieu Bouchard matju@artengine.ca Subject: Re: [PD] Pd performance at TED To: "Onyx Ashanti" onyxashanti@gmail.com Cc: pd-list@iem.at Date: Wednesday, June 22, 2011, 5:08 PM On Wed, 22 Jun 2011, Onyx Ashanti wrote:
The thing is, nobody asks a violin player what he's
playing (as somebody mentioned a few messages ago, sorry for the lack of proper quoting here), I believe, because these traditional instruments are already within our culture,
It's not just that, it's that the number of parameters is limited. With computer music there is no way we can learn to understand what's going on in the manner that we did with traditional instruments, simply because it doesn't take many variables at a same time to become confused, and with computer music there are always more variables that can be added to confuse the audience, and those variables can be added and removed at any time.
Every show is a potential opportunity to confuse the experts about what's going on, more than it ever was.
but with electronic music, we're all a bunch of jilted
lovers because were are all so used to hearing amazing music that was created in a very unexciting manner. what this project is, currently, is "ok" sounding music, done in an exciting manner (to me). thats why i looked so calm on the TED video even though my effects wouldnt latch (assigned to the extremes of the accelerometer range), because i had to concentrate of multiple variables at once and no longer have the distraction of "ease"...every performance is a strain and it is the best feeling EVER!
The audience has no idea what you wanted it to sound like, so they have no way to measure your satisfaction other than looking at how you seem to feel like.
when doing a DJ set or an ableton set, it is hard to
suck because its all pre-recorded...you can even put on a song and go to the toilet.
In the early days of the Pd Montréal users group (or actually, before), there was that joke that the performer could very well be checking his email while his music plays on its own. We were talking about Pd, because one can also use Pd in this manner. We were talking about the lack of proof of the « liveness » of a performance.
I'm assuming the music was interesting. I mean if it sucked, it's a moot point, isn't it? (Though still potentially a funny joke.)
Anyway, I think you're way off base. Checking email while interesting music plays isn't a joke-- it is a canary in a mine. And as artists, I hope we're smart enough to know the difference between trying to resuscitate a dead canary and getting the hell out of the mine.
-Jonathan
I love what girl talk does. he covers his laptop in
saran wrap to keep drinks from killing it, and he just has everyone around him for the duration of his set. THAT is the future.
Doesn't that sound like the TopLap manifesto ?
| Mathieu Bouchard ---- tél: +1.514.383.3801 ---- Villeray, Montréal, QC
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May I suggest. http://www.amazon.com/Liveness-Performance-Mediatized-Philip-Auslander/dp/0 415196906
pp
On 6/22/11 11:08 AM, "Mathieu Bouchard" matju@artengine.ca wrote:
On Wed, 22 Jun 2011, Onyx Ashanti wrote:
The thing is, nobody asks a violin player what he's playing (as somebody mentioned a few messages ago, sorry for the lack of proper quoting here), I believe, because these traditional instruments are already within our culture,
It's not just that, it's that the number of parameters is limited. With computer music there is no way we can learn to understand what's going on in the manner that we did with traditional instruments, simply because it doesn't take many variables at a same time to become confused, and with computer music there are always more variables that can be added to confuse the audience, and those variables can be added and removed at any time.
Every show is a potential opportunity to confuse the experts about what's going on, more than it ever was.
but with electronic music, we're all a bunch of jilted lovers because were are all so used to hearing amazing music that was created in a very unexciting manner. what this project is, currently, is "ok" sounding music, done in an exciting manner (to me). thats why i looked so calm on the TED video even though my effects wouldnt latch (assigned to the extremes of the accelerometer range), because i had to concentrate of multiple variables at once and no longer have the distraction of "ease"...every performance is a strain and it is the best feeling EVER!
The audience has no idea what you wanted it to sound like, so they have no way to measure your satisfaction other than looking at how you seem to feel like.
when doing a DJ set or an ableton set, it is hard to suck because its all pre-recorded...you can even put on a song and go to the toilet.
In the early days of the Pd Montréal users group (or actually, before), there was that joke that the performer could very well be checking his email while his music plays on its own. We were talking about Pd, because one can also use Pd in this manner. We were talking about the lack of proof of the « liveness » of a performance.
I love what girl talk does. he covers his laptop in saran wrap to keep drinks from killing it, and he just has everyone around him for the duration of his set. THAT is the future.
Doesn't that sound like the TopLap manifesto ?
| Mathieu Bouchard ---- tél: +1.514.383.3801 ---- Villeray, Montréal, QC
I second the suggestion. I'd also add this one: http://www.amazon.com/Living-Electronic-Music-Simon-Emmerson/dp/0754655482/r...
On Wed, Jun 22, 2011 at 9:53 PM, Pagano, Patrick pat@digitalworlds.ufl.eduwrote:
May I suggest. http://www.amazon.com/Liveness-Performance-Mediatized-Philip-Auslander/dp/0 415196906
pp
On 6/22/11 11:08 AM, "Mathieu Bouchard" matju@artengine.ca wrote:
On Wed, 22 Jun 2011, Onyx Ashanti wrote:
The thing is, nobody asks a violin player what he's playing (as somebody mentioned a few messages ago, sorry for the lack of proper quoting here), I believe, because these traditional instruments are already within our culture,
It's not just that, it's that the number of parameters is limited. With computer music there is no way we can learn to understand what's going on in the manner that we did with traditional instruments, simply because it doesn't take many variables at a same time to become confused, and with computer music there are always more variables that can be added to confuse the audience, and those variables can be added and removed at any time.
Every show is a potential opportunity to confuse the experts about what's going on, more than it ever was.
but with electronic music, we're all a bunch of jilted lovers because were are all so used to hearing amazing music that was created in a very unexciting manner. what this project is, currently, is "ok" sounding music, done in an exciting manner (to me). thats why i looked so calm on the TED video even though my effects wouldnt latch (assigned to the extremes of the accelerometer range), because i had to concentrate of multiple variables at once and no longer have the distraction of "ease"...every performance is a strain and it is the best feeling EVER!
The audience has no idea what you wanted it to sound like, so they have no way to measure your satisfaction other than looking at how you seem to feel like.
when doing a DJ set or an ableton set, it is hard to suck because its all pre-recorded...you can even put on a song and go to the toilet.
In the early days of the Pd Montréal users group (or actually, before), there was that joke that the performer could very well be checking his email while his music plays on its own. We were talking about Pd, because one can also use Pd in this manner. We were talking about the lack of proof of the « liveness » of a performance.
I love what girl talk does. he covers his laptop in saran wrap to keep drinks from killing it, and he just has everyone around him for the duration of his set. THAT is the future.
Doesn't that sound like the TopLap manifesto ?
| Mathieu Bouchard ---- tél: +1.514.383.3801 ---- Villeray, Montréal, QC
Pd-list@iem.at mailing list UNSUBSCRIBE and account-management -> http://lists.puredata.info/listinfo/pd-list
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Jonathan Wilkes -
Mathieu Bouchard -
Onyx Ashanti -
Pagano, Patrick -
Pedro Oliveira