Reading about the tactics of Luddites, a mysterious, unnamed, disorganised collective, spread out over a large geographical area, doing denial of service attacks on the technology of large corporations, with the government laughing at them while failing to keep up with them, all under the guise of a mysterious fictional character (“General Ludd”). Reminds me of Anonymous..
I’m running an EulerRoom event this Saturday, and have the tech about ready for it..
It’ll be a live event in Sheffield, streamed online, and I want the video stream to say who is playing when. A complication is that there will be four stacks of speakers, for multichannel sound..
For the scheduling, I’m using an old Perl script I wrote for a headphone event over ten years ago. It has.. evolved over this time. But it will display who is playing now and next for on the wall for the local people, and save that out to a file, for the streaming software (the excellent obs) to pick up and render on the video. OBS will take two webcam feeds which I’ll be able to switch between/blend on the night.
For the audio, I’m taking a feed from my mixer of the four outputs that are also going to the four speaker stacks (of the phenomenal dangernoise soundsystem) and bringing them into puredata (via a focusrite 6i6 sound module). I then have a simple puredata patch which uses the soundhack +binaural~ object to turn the quadrophonic audio into binaural stereo.. So those listening on headphones will still get the ‘3d’ (actually 2d, as opposed to the usual 1d.. Well I guess still 1d but trying to follow a circle around you instead of a line in front) audio.
This then gets fed into OBS (routed with jack audio, all running under linux mint), which then streams using the RTMP protocol up to my server (running nginx with RTMP), which then forwards the stream on to youtube live (which should take plenty of listeners) and watchpeoplecode.com (which will work for those who aren’t allowed to watch youtube live for licensing reasons, e.g. those in Germany).
That’s it! Oh and all the graphic design is by the awesome David Palmer.
Hopefully it all works. If so, you’ll be able to watch it on http://eulerroom.com/live/
A video recording of me performing with Rituals on pixels, camera mic quality audio:
One of my tracks “Lucky Chop” from Peak Cut has been featured on the Abstract Paradigms radio show, and so I now know that in Australian, “Yaxu” is pronounced “Yackoo”. Have a listen via their podcast.
Things coming up..
- Gravitational Waves in Sheffield, a new series of events planned with UoSheffield Sound Studios. The first one will be on this Friday 4th March, curated by Vanessa Massera and myself. It’ll be in celebration of the upcoming International Womens’ day.
- On the 10th March I’ll start my ODI sound art residency.. Looking forward to getting into that!
- Then going to FoAM Kernow in Penryn for the Tanglebots workshop on Sunday 20th March, a family workshop making robots to make tangles.
- While in Cornwall I’ll be performing with Dave as Slub on Friday 25th March, streaming live to the SuperCollider 20 year birthday party in New York City.
- Then back to Sheffield for EulerRoom on 9th April, another new series of events I’m doing, with focus on live stream. The first one will be multichannel, featuring the excellent Joanne Armitage and Calum Gunn, plus myself as resident live coder. It’ll be multichannel as well, with four stacks of dangernoise PA, bang.
- Further ahead I’ll be giving a talk at the excellently named AHEM conference on unravelling live coding on the 15th April, and a couple of weeks later joining an Algorave tour around Leeds, Newcastle and London..
I asked around the social media, “What are the good open access journals in digital arts, computer music etc?” Motivated by deciding that once I get some commitments out of the way, I’m not going to write for closed access publication any more, especially not with public funds. The results so far, in no particular order:
- Computational Culture: A Journal of Software Studies
- Dancecult: Journal of Electronic Dance Music Culture
- eContact! Online Journal for Electroacoustic Practices
http://econtact.ca/ (not peer reviewed)
- Interference: A Journal of Audio Culture
- Journal of Sonic Studies
http://www.fupress.net/index.php/mt (not peer reviewed)
- Journal for Research Cultures
- Emperical Musicology Review
- Music Theory Online
- Journal of Science and Technology of the Arts
- Leibniz International Proceedings in Informatics
- Journal of Artistic Research
I had an enjoyable, far-reaching chat with Emily Bick and the results are in the March issue of The Wire magazine. Emily has managed to fit in quite a lot about Algorave, Slub, Canute, Tidal, Weaving Codes and Susanne Palzer. The last time live coding was featured was March 2008, in a review of the first (and so far, last) TOPLAP CD including a track from Slub:
A prehistory of Live Coding TOPLAP CD
Four years ago, in a smoky bar in Hamburg, Toplap was formed — an organisation dedicated to promoting live algorithm programming. So far, so niche. Defying expectation however, it has since exploded into a fully functioning electronic music scene, with hundreds of practitioners improvising with live coding languages such as SuperCollider and ChucK. That is, writing, rewriting and modifying music software on the fly during performance (often with the rapidly changing code projected on a screen).
The cream of this scene’s live recorded output has now been collated on Toplap’s inaugural release. Despite superficially geeky origins — many performers are coders first, musicians second — the music here is stacked with depth, guts and soul. Opener “Water Surface” by Ron Kuivila is a featherlight study, shimmering with static broken by bursts of bee-like feedback. In contrast, The Hub’s “Hub x 6” is an
analogue-style fun fest of farty trumpet bursts and spaceship noise. RedFrik’s ticklish “Aug 19” is Luke Vibert-style acid, but with enough rhythmic aberrations to take it beyond twee. “20060401folded” by scene forerunners Slub is a compelling, edgy slice of rollercoaster Techno. In truth, it’s hard to believe much of the music here is essentially freewheeling software reined in by finger tapping humans. Live coding has so far flourished, but under a bushel. Perhaps it’s time the rest of us got a look in. Susanna Glaser
I think it’s a nice bushel, I hope we can stay there a bit longer.
Writing some code about arpeggio and reverb
I’ve always been impressed and a bit jealous of SuperCollider’s community, especially since taking the above photo after sneaking into the supercollider symposium in 2012. Such a strange mix of musicians, engineers, philosophers, artists and otherwise confused. It’s great then that the upcoming 0.7-dev release of Tidal has tight integration with supercollider, via SuperDirt, ultimately meaning an easier installation for everyone, more effects, and a healthy mix of sample-based and synthesis-based noises. Big thanks to Julian Rohrhuber for making superdirt, this is going to be fun..