We had some pandemic-related challenges, but Eimear + I had a great time collaborating as part of a residency for IKLECTIK. Here’s a stream of Eimear + I jamming, with Eimear on voice + drum machine, and me live coding using their voice as source material, using TidalCycles+Superdirt with the live looper by Thomas Grund. Later in the video I introduce some Tidal features implemented during the residency.
Here’s the full info about our residency, including our project blog. Hopefully we’ll be able to perform in a live venue soon !
Very happy to be part of this compilation fundraiser in solidarity with Black Lives Matter, with many algorithmic greats from the more northerly parts of England:
It’s inspired by the first compassion through algorithms compilation, created by Algorave Tokyo.
Here’s my contribution, ‘prelock’:
I wrote this blurb describing how I made the track:
This track is mainly made by adding numbers together and messing with time, using the free/open source TidalCycles system I made. The main melody is made from the numbers 4, 3, 2, 1, 0 and -1, with the numbers 2, -2, 3, 5 and 7 played between them, set to the notes of a minor scale. Because there are six numbers in the first list, and five in the second, they rotate around each other to create a long melody. Then another ‘voice’ comes in which jumps up by 12 notes (an octave) and is shifted forward and backward in time. The whole thing is 5 beats to the bar, including a sliced up breakbeat which is going on its own journey. There’s also a dirty kick underneath with a steady timeline, changing to the 12 beat African standard pattern right at the end, which frees everything up as it slows down.
Here’s the mess of tranklements that I made it with:
The compilation is Pay As You Feel – all donations very appreciated by the Young Minds Together group of Black girls doing performing arts in Rotherham, looking to rebuild post-pandemic.
I gave a paper and performance for the New Interfaces for Musical Expression conferece last week. It was to be hosted in Birmingham UK, but went online. It seems to have been a big success and the organisers are talking about making future conferences online too, irrespective of pandemic emergencies, in the interests of making the conference more accessible and reducing damage to the planet.
My paper “Algorithmic Pattern” is here, and here is a 10 minute demo of some of the ideas in it:
Here’s my performance, demonstrating my prototype ‘feedforward’ editor. The NIME audience seemed to enjoy that I left a crash in..
Bluedot 2018 was a great time, here’s a nicely live edited film of it.. Catch Sam + me as CCAI from around the 2h1m mark.. As well as top stuff from Innocent, Digital Selves, TYPE and AlgoBabez.
The idea was to work with schoolchildren to explore pattern encoding through textiles and live coding. It’s been a rollercoaster, getting a lot done in a short amount of time, but was really rewarding.
I worked with sixty Y4s (8-9 year olds) at Wybourn Community Primary, first making a big quipu-inspired structure, the tangly thing above. I had half a day with each class (30 in each), teaching them how to self-ply yarn to make quipu-like strands (with a loop one end for cow hitching), teaching them to tie numbers as quipu knots, and then having a free-for-all where they tried hiding messages in string, starting with their age and then moving on to hiding letters and so on. This bit was far more difficult than teaching them to do live coding later on, quite a few weren’t confident with knot-tying to begin with, but they all managed to produce something in the end, with a wide variety of structures… and once I’d hitched them all onto a main strand I think they looked marvellous.
I also worked with the same year group on Algorithmic Drumming Circles, this time in groups of eight. I had just one hour with each group to introduce the concept of live coding, teach them enough Tidal to get them making music together, and capture a performance to be played back at the exhibition. The first couple of groups didn’t have parental permission for the filmed, so I had the opportunity to try some different things out. I had some playing cards prepared with fragments of code for the kids to put together and type in, but I decided not to use them after the first try. In fact, it seemed the more I constrained the task, the more creative the children would get. So in the end I only gave them two sounds each to play with (a high drum and a low drum – each computer with subtly different drums/tones), told them how to make sequences, and some functions for transforming them with some higher-order stuff. They responded to this really well and we actually managed to capture two performances with two of the groups and still be done by end of the hour!
I say ‘we’, it was actually my friend Jon Harrison who did the filming. It was a challenge to capture the circle, Jon managed to get a nice camera attached to the ceiling to film from the top-down, the results are excellent.
On the technical side, I had eight Pis tightly synced together (using ptpd), each running Tidal, Dirt and my new feedforward editor. I had all the keyboard events captured with accurate timing so that the live coding could be perfectly recorded and played back in the or the exhibition itself, the computers were set up in the same way, but without keyboards, and had the film projected down onto the floor. It works well I think, seeing these ghostly children type, and thanks to some network magic, you can look at the screen and see what they’re typing, as well as hearing their music come from their speaker. You can really see where the children hear something they like that one of their friends is making, run round to look at the code, then run back and try out their newly learned technique. Free software at work. With a different rhythm coming from each speaker, all nicely locked to the same tempo, the result is pretty cosmic, eight-channel rhythmic free-for-all that somehow gels at several points into some really nice techno grooves, and at other times breaks up into noisy experimentalism. The kids clearly enjoyed themselves a lot. We captured five different performances in the end that the installation cycles between.
Although we did have parental permission to film the children, we’re still not going to put the films online, as the children themselves might well not want films of themselves on the internet as they get older. But you can still see the work in the Playground exhibition at the Millennium Gallery in Sheffield for a few more days. I might put the music up at some point but the eight-channel nature of it is a bit problematic.
I’m left with a familiar feeling from this kind of short, intense project – the memory of a strong, uncertain feeling at the start of the project when there is a vague idea that seems impossible, mixing with the fleeting elation of somehow having managed to pull it off. I’m looking forward to taking this further, probably working with adults next to see how they can compete…
Anyway it’s not over yet – the exhibition goes on, and tomorrow (Friday) I work with three older kids from a different school – Crofton Academy in Wakefield – for a live performance in the gallery from midday.. Then celebrating with an (adult) Algorave in the evening..
As a result of this project I’m actually much closer to finally releasing my long overdue Spicule album. I put a lot of work into the feedforward editor to make it usable and robust to 8 year olds, and a lot of Raspberry Pi optimisation to make it all sing. More on all that soon..
Anyway thanks to the kids + teachers (esp Julian and Jane) for getting involved, Jon for filming, Kathy and Darren and the rest of the CMC crew, plus Rosie + Laura from Millennium Gallery for all the support! Plus Arts Council England for funding the whole endeavor.
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’ve had a busy summer of performances, this one last Friday went well, live coding at Sheffield algorave, here’s the desk recording (a collab with Miri Kat on visuals, although sadly you can’t really hear that here).
*Update* OK you can see some of Miri’s top visuals here: