Back in the glory days of slub I used to live code with Perl, and wrote a text editor (also in Perl) for it called ‘feedback.pl’. It was a strange thing, where you wrote self-modifying code to store data in the sourcecode for the music you were writing, and therefore visualise it. I’ve been intending to make something similar for tidal for ages, and took some time to finally start work. I’ve experimented with a weird visual editor for tidal before, and have been fiddling around with a web-based editor as well, but this time decided to write something that worked in the terminal, using the fantastic ncurses framework. This is partly so it’ll run nicely on the Pi Zero, for my ongoing Spicule project, but partly because it just makes sense for a text editor to work in text mode, and it’s good to start from basics without taking on the many assumptions of an existing ‘general purpose’ text editor. I’m just seeing where it takes me but I’m pretty happy with it so far, it has some structured editing around patterns already, some ascii VU meters going on, and every edit is automatically recorded + timestamped. It’s far from being in a usable state, but here’s a quick demo:
You can find it on github but I’m not inviting patches until it’s a bit more fully formed.
A couple of things to share:
1. Happy to be introducing live coding to the Off Me Nut records halloween special, a proper Sheffield warehouse party on 27th Oct 2017. They made me this months “five star spooky recommendation”, putting the pressure on..
2. I had a great time playing the Haptic Somatic night at Unsound Archives festival, and the following morning was interviewed by Elsa Ferreira for the french edition of Vice’s Noisey. You can read the results here if you know French, or otherwise enjoy the google translation.
3. Lastly, had fun times in a live code duet with Joanne at the No Bounds Algorave last weekend, here’s the video:
AlgoMech – the festival of Algorithmic and Mechanical Movement is back for its second year. At one point I had strong doubts about doing a second edition of the festival (would it be AlgoMeh?) but it’s come together into something that I’m really excited about.
It will have an exhibition, with a nice mixture of machinery, textiles, projections and software art. Putting an exhibition together is way out of my comfort zone but with the artists involved I’m not worried. There’ll also be Open Platform performance art event within the exhibition, always revelatory events with performances about technology, but without technology. More to be announced, including work from Ellen Harlizius-Klück and FoAM Kernow.
The least likely performances will be from two bands bridging the divide between guitar+drums and techno. Amazingly 65daysofstatic (a band from South Yorkshire who want you to be happy) are going to headline, performing brand new work Decomposition Theory, three times. It’s unclear what they’re up to but it looks like it’s going to involve algorithms and maybe live coding (they’ve been known to dabble with gibber and also Tidal already).
Two of the 65dos shows will have the strongest support I could imagine in this context – aggrobeat band Blood Sport teaming up with live coder Heavy Lifting aka Lucy Cheesman. Blood Sport already make a kind of repetitive post-punk techno, with Lucy involved (as Heavy Bleeding) it’s going to be intense.
Then there’ll be the Algorave. It shows how far this scene has come that last year there were 12 top notch acts, and that they’ll be around the same again this year (more TBA) without repeats. Graham Dunning’s mechanical techno went down really well last year, so I’ve mixed in some more mechanisms this year. Firstly Faubel and Schreiber making minimal techno-generating robots, projected using an overhead projector. Also goto80 + Remin, where goto80 will do live tracking on a commodore 64, and Remin will provide a robotic hand, typing music on a commodore 64. The live coders I’ve booked have been doing amazing stuff lately. If last year is anything to go by, this is going to go off.. As a resident I’m happy to be collaborating with Dave Griffiths and Alexandra Cardenas as Slub as well..
The final day will be more relaxed and reflective. A longer form kinetic sound art performance from Ryoko Akama and Anne F, I’m hoping to find a special venue for that.. Then in the evening a Sonic Pattern event with five amazing mechanical music acts packed in – Leafcutter John, Sarah Kenchington, Naomi Kashiwagi, Camilla Barratt-Due and Alexandra Cardenas, and Peter K. Rollings. I’m trying to put my finger on this feeling I get from this group of people. It reminds me of my days organising dorkbot, it’s not a case of artists being happy to step out of their comfort zone. They are totally comfortable, they just cheerfully disregard all technological boundaries on their search for sounds and ideas, and just make amazing stuff.
A really nice symposium line-up is starting to emerge too, but that won’t be announced for a few days. Plus some hands-on workshops. .. and probably some more to come..
Anyway my hope is that by bringing these human artists together, working with algorithms and mechanisms, we’ll have the opportunity to really feel the connections between physical and abstract systems, and get a richer, longer (into the past and future) + human-centric view of what technology can be.
I had a great chat with Jack Chuter of ATTN:Magazine aired on Resonance Extra a couple of days ago. The associated tracklist is here and the archive is on mixcloud, the interview starts about 45 mins in:
Had a great time at No Bounds festival yesterday, mostly succeeded in pushing through post-election tiredness although think it shows a little bit in the radio piece I recorded there.. A ‘3 minute epiphany‘ on Mary Anne Hobbs’s (extremely good) Radio 6 show.. Listen here
Had a fun time in Leeds last night, here’s the recording of my live code improv:
A recording of a stream I did to Algorave Montréal this morning
They’re using it in the first track, to control ebows on their guitars as well as triggering sample patterns. True to form, it’s a huge song. Here’s an article with a bit more info.