Among other things I had a fun couple of improv sessions with Shelly, in order to see whether Gemma could see differences in brain activity (via EEG) between solo and collaborative live coding. Here’s one of them:
When I got back home I did this stream, the start inspired by a strange noise that cropped up halfway through the above..
I gave the inaugural BSA Award Lecture for Digital Innovation at the British Science Festival in Bradford earlier this week. It’s a special honour because the award is given in the name of Daphne Oram, happily her niece came to the lecture, who told me she painted on the Oramics machine when she visited her Aunt. I was in too much of a pre-talk fluster to write down her name, sadly.
The talk itself was called “Live coding: creating languages for making music”. It wasn’t recorded, but here’s a nice interview which I think captures most of what I was trying to say very well.
It seems people still aren’t getting tired of the word ‘algorave’, now looking forward to
xCoAx 2015, in Glasgow. The third edition of this conference which really plugged a gap in my world.. I went to the first edition in Bergamo which was excellent, the very well conceived call for participation drew a wide range of thinkers and makers together. I couldn’t make the second one but am happy to be presenting a paper about live coding collaboration, and performing at the algorave with some greats.
Then thankfully things slow down for the summer, but looking forward to spending some time in Vancouver and playing the ISEA Algorave there together with fine algorave veterans both human and computational.
Then to Tilburg with Yee-King for the huge Incubate festival, which includes a little Algorave. It’ll be good to see Leafcutter do his first ‘official’ algorave, although he’s been bringing algorithms to actual raves for quite some time. Stalwarts Sam and Norah will also be there. It’ll be techno.
I’ve also got a load of collaborative alternative hackathons planned, including one at the ODI summit, as well as a public lecture to be announced very soon..
I’m collaborating with Alex Keegan on audio/visual performances drawing from research into beat perception. We’re starting by deliberately breaking the following rules in turn:
1. Any rhythm that follows a pulse formed of regular (isochronous) rhythms will itself, be regular.
2. Any section that has a regular pulse will progress to a following section which also has a regular pulse.
3. The progression of certain characteristic sections will follow each other in sequence, For example a ‘drop’ will always follow from a ‘build-up’.
The idea is to push against the edges of the perception of rhythm and meter, touching into the hallowed ground of frustration and annoyance, using two drum machines and four projectors controlled by Tidal..
Our first performance is tonight at this event at Theatre Deli in Sheffield, we’ll on be in the basement twice, around 9:40 and 11:40. There’ll also be some proper music upstairs, footwork and grime. Then we’ll try it again next week at Access Space, also in Sheffield, as part of the Sonic Pattern night programme.
Kind words on bleep, who have some of the remaining physical copies of Peak Cut:
“Restricted to just 100 copies, Yaxu’s debut EP comes from Computer Club on a very special USB credit card containing the 6 tracks as well as a collection of over 100 algorithmic Tidal patterns to reshape and enjoy as you wish. As well as challenging the conventional formats for releasing music, Yaxu’s polyrhythmic and hyperreal strand of techno is showcased on cuts like Public Life and Cyclic showing that he is not just testing the confines of how music can be consumed but also how genres can sound. A truly forward thinking influx of material from Yaxu and the Computer Club team.”