you should be able to listen to to it here:
http://makeart.goto10.org/2008/?page=streaming&lang=en

In March earlier this year I went back to Birmingham to visit them again, and to work on a little video collobarative project involving using audio to control live video. While I was there we spent a couple of hours talking together about what the residency meant to all of us. They have just put up the video and audio from these conversations on their weblog over here.

Lovely.

I made two scenes for the album (paid download), Eargasm and Noia. You can see Eargasm in the following video, it’s the first scene they demo:

.. I really like how something I’ve made has got an American TV show host jumping around like a twit and blowing a party honker thing on national television… excellent.

I’m currently on a residency in the Austrian alps working on some new scenes. There’s a tribute to Iannis Xenakis in the form of an interactive, shakeable version of ‘Concret pH’, as well as something for being angry, and a new very-in-progress scene inspired by close listening to some Beaucoup Fish – era Underworld (in particular the tracks Skym, Winjer and Jumbo).

MP3

sociocultural meanings

What it does
————

Compresses digital audio signals, allowing them to be transmitted across computer networks with significantly reduced size and thus cost and technological requirements.

Lossy compression format: discards audio information considered ‘unnecessary’ to the faithful reproduction of the sound. Uses a combination of filtering systems and transforms to turn a time-domain signal (PCM waveform) into a frequency-domain signal.

How it is used
————–

digital broadcast

share files

How its function and use translates into sociocultural meaning and potential use in sound art
——————————

Reduced transmission cost radically lowers barriers to entry
- For free, anyone can share anything with anyone from anywhere on the world.
-> crude
-> defenders
-> anne westphalen?
-> sami abu shumays

Collaboration with people around the world
-> exquisite corpse

Complete shift in the relationship between distributors, publishers, and creators. Why go on to iTunes and download music for $1.99 when you can access piles of high-quality music for free?
-> westphalen
-> speakeasy

Access to vast archives
-> wax cylinders
-> intro inspection

Industry fear of this ->
Copyright strengthening, embedding of DRM into technology to support a dying industry
–> lessig
-> christina
-> intro inspection

in popular music, shift to single, unfocussed listening, loss of fan loyalty: complete commodification, further extension of capitalism into music on one hand;
on the other hand, massive democratisation: myspace

I’m currently working on 7 channel sound for a project called Tokyokyoto, by Rietveld Academy graduation year student Hrund Atladottir, who is friendly, talented, and awesome.

Next performances will be at the UM festival in Lisbon, 19-22 June 2008, solo as part of the N.I.P. collective, and with Chris Sugrue performing A Cable Plays.

Thanks :-)

Go looky.

[title] is an exploration of changes in chords, and of pedal points, in particular pieces of popular music. Conceived as an improvisatory piece to be performed live, it relies on the performer’s sensitivity to the development and release of the tension of conventional western classical harmony and the passing of time.

Music is fed into a series of PureData patches, best described as a live-sampling Mellotron-like instrument, manipulated in real time by the performer through a MIDI keyboard. The instrument separates out the music in time based on its underlying harmonic content, and maps sets of harmonically similar samples to separate keys on the MIDI keyboard. This process happens continuously and in real time, based on the guidance of the performer.

To generate sound the performer plays back the samples under each key on the MIDI keyboard in a way as to reconstruct the source harmonies or to find new sets of harmonic relationships. The performer has specific control over many parameters of the playback system, so that from a single sample a large range of sounds is possible.

The success or failure of the performance then depends on the performer’s abilities as a musician to perform the complete instrument, and to improvise an engaging composition for an audience. Since the process of live-sampling is somewhat indeterminate, the musician is required to listen very closely to what sounds are being produced, to identify potential points of musical departure within the sound stream, and be able to focus in on these points and explore them, taking themselves and the audience through the minutiae of what is ultimately just short fragments of already recorded music, crafting a unique musical journey for each performance.

[tag]electroacoustic[/tag] [tag]live[/tag] [tag]improvised[/tag] [tag]puredata[/tag]

I <3 NZ electronica :-)