Re: [microsound] MIDI exoskeleton

From aleks vasic
Sent Wed, Feb 1st 2006, 03:12

Yeah, that is exactly what i meant.  Not a composer, but a  
conductor.  Sometimes my thoughts go a million miles an hour and i  
cant keep up.  So i screw up the meaning of my message.

The emotions any serious musician displays is what this technology  
would allow a performer to display, because it would allow him to  
interact in real time.  Guitar face would take on a whole new  
meaning.  Losing ones self in the creative process is a thing of  
beauty.  In the world of electronic music or what have you, that  
takes place in the studio, and still it is not in real time.  It has  
unlimited potential.  And for less then half the price of a Lemur(one  
arms worth) it is a bargain.


aLEKs

On Jan 31, 2006, at 9:59 PM, Graham Miller wrote:

> okay. you convinced me. i'm gonna download the vids. i need a good  
> laugh:)
>
> i'm reminded by your post of a conductor in an orchestra. is there  
> no better example of wild gesturing? but at the same time nuance  
> and subtlety.  i'm not an orchestral musician but i know several  
> and they swear by the importance of a good conductor, of the  
> musical information conveyed in not only their baton, but in their  
> facial expression, eye movement, ect... it can make or break a  
> performance. it makes me think that the baton, as simple as it is -  
> a glorified stick - is perhaps one of the first examples of a  
> 'motion control' interface for music.
>
> g.
>


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From ???@??? Wed Feb  1 02:59:30 2006
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okay. you convinced me. i'm gonna download the vids. i need a good laugh:)

i'm reminded by your post of a conductor in an orchestra. is there no 
better example of wild gesturing? but at the same time nuance and 
subtlety.  i'm not an orchestral musician but i know several and they 
swear by the importance of a good conductor, of the musical information 
conveyed in not only their baton, but in their facial expression, eye 
movement, ect... it can make or break a performance. it makes me think 
that the baton, as simple as it is - a glorified stick - is perhaps one 
of the first examples of a 'motion control' interface for music.

g.

aleks vasic wrote:

> Your right, but i was laughing at the videos, i mean seriously they  
> are fucking funny.  So are the models.  But in regards to your points  
> you are spot on.  I do not think that everyone should picture an  
> image of a laptop/electronic performer wildly gesturing in the air  
> like a maniac, it invokes an insecure feeling of embarrassment i  
> assume, but why should it.  A composer does so because he is  
> essentially doing the same thing, interacting with a set of  
> components in real time.  I think that if someone was to implement  
> the technology they would end up knocking the socks off of the  
> audience.  It would also allow the listener the same feeling they get  
> when they witness a traditional musical performance as opposed to a  
> hunched over laptop performer who more so resembles a troll hunched  
> over a rat he just caught.  Emotions would become part of the  
> performance, as would improvisation, on par with a guitar solo.   
> Something sorely lacking in most any laptop performance.
>
> The videos are still funny as shit tho...:)
>
>
> aLEKs
>
>
> On Jan 31, 2006, at 9:08 PM, Graham Miller wrote:
>
>> why is everybody bashing this idea? i can't believe the resistance,  
>> especially here, among so-called progressive musicians... sure the  
>> site may be cheesy (haven't bothered to download the videos -  
>> couldn't get past the blatant ableton design infringement), but the  
>> concept is solid - it's been tossed around for ages - and once it's  
>> refined a decade down the line (mostly likely less), they'll be  
>> selling them at radioshack. maybe not this company. probably not  
>> this company. but it'll happen. remember the nintendo game glove?   
>> great idea, ahead of it's time.
>>
>> motion capture is, without a doubt, the next big 'consumer' thing.  
>> and in the hands (body?) of the enlightened, it'll also be the next  
>> big 'art' thing as well.  it starts with the military (doesn't it  
>> always?)... then it'll trickle down from WETA and ILM into the  
>> gaming industry and eventually into interactive media, which means  
>> music and performance.  motion capture is the precursor to direct  
>> neural interfaces - the most immediate way of turning thought into  
>> media.
>>
>> just think of much communication is embedded in body language...  
>> what a simple hand gesture can communicate. all those tracking dots  
>> on andy serkis' face... supercomputers and laser scanners picking  up 
>> the slightest change in facial expression and converting that in  to 
>> control change information. it's fucking brilliant. motion  capture 
>> is now at the microscopic level of nuance and subtlety.  it  will 
>> bring the body back into electronic music. sorry kim.
>>
>> keep in mind, motion capture can mean even tracking something as  
>> minute and subtle and complex as an eyeball, where it looks, how it  
>> focuses, technology already in use for paralyzed people.  it  doesn't 
>> have to be these huge primitive basic movements. giant rave  filter 
>> sweeps, DJ arms flapping in the wind. no. i can be far more  
>> intricate. it will be far more intricate.
>>
>> it will, without a doubt, pave the way for an entirely new kind of  
>> hybrid performer... just look at the work andy serkis is doing in  
>> LOTR and kong... insanely futuristic.  ( also, for a more abstract  
>> look at the concept of motion capture and music, check out kodwo  
>> eshun writings: http://www.ccru.net/swarm1/1_motion.htm )
>>
>> i'm reminded of the temporal police interface in minority report...  
>> imagine hooking that up to ableton live or reaktor... now you've  got 
>> a proper MIDI interface:)
>>
>> best,
>>
>> graham
>>
>>
>>
>
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From ???@??? Wed Feb  1 02:48:13 2006
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Subject: Re: [microsound] MIDI exoskeleton
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Your right, but i was laughing at the videos, i mean seriously they  
are fucking funny.  So are the models.  But in regards to your points  
you are spot on.  I do not think that everyone should picture an  
image of a laptop/electronic performer wildly gesturing in the air  
like a maniac, it invokes an insecure feeling of embarrassment i  
assume, but why should it.  A composer does so because he is  
essentially doing the same thing, interacting with a set of  
components in real time.  I think that if someone was to implement  
the technology they would end up knocking the socks off of the  
audience.  It would also allow the listener the same feeling they get  
when they witness a traditional musical performance as opposed to a  
hunched over laptop performer who more so resembles a troll hunched  
over a rat he just caught.  Emotions would become part of the  
performance, as would improvisation, on par with a guitar solo.   
Something sorely lacking in most any laptop performance.

The videos are still funny as shit tho...:)


aLEKs


On Jan 31, 2006, at 9:08 PM, Graham Miller wrote:

> why is everybody bashing this idea? i can't believe the resistance,  
> especially here, among so-called progressive musicians... sure the  
> site may be cheesy (haven't bothered to download the videos -  
> couldn't get past the blatant ableton design infringement), but the  
> concept is solid - it's been tossed around for ages - and once it's  
> refined a decade down the line (mostly likely less), they'll be  
> selling them at radioshack. maybe not this company. probably not  
> this company. but it'll happen. remember the nintendo game glove?   
> great idea, ahead of it's time.
>
> motion capture is, without a doubt, the next big 'consumer' thing.  
> and in the hands (body?) of the enlightened, it'll also be the next  
> big 'art' thing as well.  it starts with the military (doesn't it  
> always?)... then it'll trickle down from WETA and ILM into the  
> gaming industry and eventually into interactive media, which means  
> music and performance.  motion capture is the precursor to direct  
> neural interfaces - the most immediate way of turning thought into  
> media.
>
> just think of much communication is embedded in body language...  
> what a simple hand gesture can communicate. all those tracking dots  
> on andy serkis' face... supercomputers and laser scanners picking  
> up the slightest change in facial expression and converting that in  
> to control change information. it's fucking brilliant. motion  
> capture is now at the microscopic level of nuance and subtlety.  it  
> will bring the body back into electronic music. sorry kim.
>
> keep in mind, motion capture can mean even tracking something as  
> minute and subtle and complex as an eyeball, where it looks, how it  
> focuses, technology already in use for paralyzed people.  it  
> doesn't have to be these huge primitive basic movements. giant rave  
> filter sweeps, DJ arms flapping in the wind. no. i can be far more  
> intricate. it will be far more intricate.
>
> it will, without a doubt, pave the way for an entirely new kind of  
> hybrid performer... just look at the work andy serkis is doing in  
> LOTR and kong... insanely futuristic.  ( also, for a more abstract  
> look at the concept of motion capture and music, check out kodwo  
> eshun writings: http://www.ccru.net/swarm1/1_motion.htm )
>
> i'm reminded of the temporal police interface in minority report...  
> imagine hooking that up to ableton live or reaktor... now you've  
> got a proper MIDI interface:)
>
> best,
>
> graham
>
>
>

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From ???@??? Wed Feb  1 02:34:59 2006
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Subject: Re: [microsound] MIDI exoskeleton
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why is everybody bashing this idea? i can't believe the resistance, 
especially here, among so-called progressive musicians... sure the site 
may be cheesy (haven't bothered to download the videos - couldn't get 
past the blatant ableton design infringement), but the concept is solid 
- it's been tossed around for ages - and once it's refined a decade down 
the line (mostly likely less), they'll be selling them at radioshack. 
 maybe not this company. probably not this company. but it'll happen. 
remember the nintendo game glove?  great idea, ahead of it's time.

motion capture is, without a doubt, the next big 'consumer' thing. and 
in the hands (body?) of the enlightened, it'll also be the next big 
'art' thing as well.  it starts with the military (doesn't it 
always?)... then it'll trickle down from WETA and ILM into the gaming 
industry and eventually into interactive media, which means music and 
performance.  motion capture is the precursor to direct neural 
interfaces - the most immediate way of turning thought into media.

just think of much communication is embedded in body language... what a 
simple hand gesture can communicate. all those tracking dots on andy 
serkis' face... supercomputers and laser scanners picking up the 
slightest change in facial expression and converting that in to control 
change information. it's fucking brilliant. motion capture is now at the 
microscopic level of nuance and subtlety.  it will bring the body back 
into electronic music. sorry kim.

keep in mind, motion capture can mean even tracking something as minute 
and subtle and complex as an eyeball, where it looks, how it focuses, 
technology already in use for paralyzed people.  it doesn't have to be 
these huge primitive basic movements. giant rave filter sweeps, DJ arms 
flapping in the wind. no. i can be far more intricate. it will be far 
more intricate.

it will, without a doubt, pave the way for an entirely new kind of 
hybrid performer... just look at the work andy serkis is doing in LOTR 
and kong... insanely futuristic.  ( also, for a more abstract look at 
the concept of motion capture and music, check out kodwo eshun writings: 
http://www.ccru.net/swarm1/1_motion.htm )

i'm reminded of the temporal police interface in minority report... 
 imagine hooking that up to ableton live or reaktor... now you've got a 
proper MIDI interface:)

best,

graham




aleks vasic wrote:

> Can it be used for motion capture tho?  I could read it on the site  
> because i was laughing so hard, but seriously if it could be used for  
> animation that would be sweet!  I guess ill read through the site...
>
>
>
> aLEKs
>
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From ???@??? Wed Feb  1 01:35:33 2006
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Can it be used for motion capture tho?  I could read it on the site  
because i was laughing so hard, but seriously if it could be used for  
animation that would be sweet!  I guess ill read through the site...



aLEKs

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From ???@??? Tue Jan 31 20:51:02 2006
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From: aymeric detapol <x_xxxxxxxx_x@xxxxxxx.xxx>
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hi phil
is it only for the canadian microsound list?
aymeric



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taking the piss i think; there was a thread on IHM about it:

http://ihatemusic.bagatellen.com/viewtopic.php?t=3368

On 1/31/06, Derek Mason <xxxxx.xxxxx@xxxxx.xxx> wrote:
> I came across this some time ago.  I wasn't sure if its satire or not.
>
> http://www.mothersagainstnoise.us/
>
> I accidentally typed in the *.org* and this came up.  Now I know.
>
>
> http://www.mothersagainstnoise.org/

--
v'

----------------------------------
http://tinyurl.com/d4cvc
http://www.oblast.net
http://yatswuestling.blogspot.com

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From ???@??? Tue Jan 31 19:21:44 2006
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From: Matt Davignon <xxxxxxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] Re: i know this has been said before but....
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I think for many people it's a combination of how the
music is made and the final result. Literally, the
instruments used for a piece aren't an indication of
its merit, but sometimes they let you peek into the
creative process of the musician. If you listen to a
disc modern bleepy bloopy music, then find out that it
was all generated acoustically with an oboe, I think
that's pretty frickin amazing. Then there's the other
side of it, which is making it something that's still
musically interesting once the surprise wears off.
Fortunately the oboe player I saw last night is good
at both. 
 
> that said right now i am real sick on the sound
> of the line 6 delay unit used live.
> 
> robert horton

Specifically the Line 6, or loopers in general? I
think looping units have been used rather
formulaically in most live contexts - build rhythm
loop, chord loop, solo over it, re-record chord loop
at half speed so its chipmunky at normal speed, etc. I
still see some amazing stuff done with these units,
usually by musicians who won't let the hardware limit
what they're able to do. I use a Line 6 myself, but
one of the most freeing aspects of it is that I can
simply decide ignore it. 

Or another response to your comment - sometimes I'm
ready to say the same thing about laptop computers
used in live improv contexts. They have such amazing
potential, but I see many of the musicians stuck in
the possibilities of what they can do that they turn
out entire sets of neat sound effects, with little
musical content. (An acoustic equivalent would be
someone who brings every instrument they can to a
performance, and then has the urge to interact with
each and every item, rather than focusing on a small
number of the available elements to reach a certain
point of musical depth.) Then there are the
exceptions, who are always a blast to watch or work
with. 

Matt Davignon
www.ribosomemusic.com

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the videos are hilarious, i particularly like the raised arm
filter sweep - can someone computer how many ergs of
energy difference between a full-up arm raise and the
tweak of a knob by two fingers.... anyone?     anyone?
cheers
bruce

On Jan 31, 2006, at 12:21 PM, Kim Cascone wrote:

> OK insert rude joke here: ________________________________________
> http://musicthing.blogspot.com/2006/01/midi-control-rave-exoskeletons- 
> for-all.html
> http://tinyurl.com/bnu6l
>
>
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bruce tovsky
www.skeletonhome.com

"The secret to creativity is knowing how to hide your sources."
Albert Einstein


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Subject: Re: [microsound] Mothers Against Noise
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I came across this some time ago.  I wasn't sure if its satire or not.  

http://www.mothersagainstnoise.us/

I accidentally typed in the *.org* and this came up.  Now I know.


http://www.mothersagainstnoise.org/

Derek

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OK insert rude joke here: ________________________________________
http://musicthing.blogspot.com/2006/01/midi-control-rave-exoskeletons- 
for-all.html
http://tinyurl.com/bnu6l


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From ???@??? Tue Jan 31 00:11:59 2006
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http://stasick.org/vid01161.mov

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Date: Mon, 30 Jan 2006 16:03:27 -0800
From: Phil Thomson <xxxxxxxxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] Calling all Canadian microsounders
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I have been charged with curating an online "gallery" of Canadian
microsound/glitch. It was on hold for quite a while, but now it seems
to be moving forward. I'd like to put another call for works. Sound
works are welcome, but there is also the possibility for video, images
and texts (either theoretical or creative in a "glitch" style; I'll
leave it to you to figure out what glitch text would be like). There
may also be a call for some "glitchy" or otherwise appropriate web
design. I'm also looking for more well-established Canadian
microsounders to approach about submitting work; feel free to suggest
Canadian microsounders whose work would be a welcome addition to this
gallery.

This call is for *Canadian* microsounders only. Sorry to be
chauvinistic, but... well, actually I'm not sorry...

Please email me *offlist* regarding this.

PT

--
===================
Phil Thomson, BFA, MFA
010100000110100001101001011011000010000001010100011010000110111101101101011100110110111101101110
xxxxxxxxxxxxxxxxx@xxxxx.xxx
http://www.philthomson.ca/
http://del.icio.us/hellomynameisphil

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From: Jason Hollis <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] i know this has been said before but....
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Amen to THAT. 
Worship the glitch, baby!
;)


> ah
> whether its acoustic free improv
> or electronic music using " the same process, tools, methodology and  
>> sometimes even source material "
> usually does mean it is the same sound
> most folks doing the above end up with mediocre shit.
> its the exceptions that happen that i am interested in
> when someone breaks through and even though they started with
> the same stuff, they break through into something jem like.
> 

!J!
http://www.endif.org
http://www.thirdwavecollective.com
 



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From ???@??? Mon Jan 30 21:59:12 2006
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Date: Mon, 30 Jan 2006 13:37:34 -0800
From: roberth <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] i know this has been said before but....
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ah
whether its acoustic free improv
or electronic music using " the same process, tools, methodology and  
> sometimes even source material "
usually does mean it is the same sound
most folks doing the above end up with mediocre shit.
its the exceptions that happen that i am interested in
when someone breaks through and even though they started with
the same stuff, they break through into something jem like.

that said right now i am real sick on the sound
of the line 6 delay unit used live.

robert horton

----- Original Message ----- 
From: "Mr.D" <xxxxxx@xxxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Friday, January 27, 2006 1:58 PM
Subject: Re: [microsound] i know this has been said before but....


> amen.
> 
> my guess is that there is a mythological aspect of this; some deep  
> misconception that having the same process, tools, methodology and  
> sometimes even source material will create likewise the same sound.
> 
> On Jan 27, 2006, at 10:20 AM, aleks vasic wrote:
> 
>> Why do many people focus soley on the process with which any type  
>> of electronic music is made?  The methodology?  What about the  
>> final result?  How many guitars are sold that function in basically  
>> the same way?  How  many traditional instrument period?  Its what  
>> you do with them, what you create that should garner ones attention.
> 
> 
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From ???@??? Mon Jan 30 22:14:04 2006
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Date: Mon, 30 Jan 2006 15:40:47 -0500
From: chris mcnamara <xxxxxxxx@xxxx.xxx>
Subject: Re: [microsound] [ot] Nam June Paik: RIP
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A pioneer with the Sony Porta-pak and somebody who believed, throughout 
his career, in the power of art and electronic media for political 
change. If you're ever in Detroit, see his American Flag made up of a 
wall of televisions. A gem.


On Jan 30, 2006, at 2:58 PM, Rod Stasick wrote:

> Got word this morning...
>
> He was a wonderful (and funny!) man.
> Unfortunately, he had a stroke in 96 that left him paralyzed on one 
> side
> and was confined to a wheelchair ever since.
> I worked with him and Charlotte Moorman back in '82.
> The Guggenheim show in spring of 2000 was amazing.
>
> miss you Paik...
>
>
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From ???@??? Mon Jan 30 20:01:34 2006
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Subject: Re: [microsound] [ot] Nam June Paik: RIP
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Got word this morning...

He was a wonderful (and funny!) man.
Unfortunately, he had a stroke in 96 that left him paralyzed on one side
and was confined to a wheelchair ever since.
I worked with him and Charlotte Moorman back in '82.
The Guggenheim show in spring of 2000 was amazing.

miss you Paik...


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From ???@??? Mon Jan 30 19:26:19 2006
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I am speachless also.   Is there any word on how he died?  

Another gifted artist that left an impact on us..........


> From: "Thaniel Lee" <xxxxxxxxxxxxx@xxxxx.xxx>

> 
> im speachless.......he was one of my faviorate artists
> 
> On 1/30/06, Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:
> >
> > http://www.paikstudios.com/
> >


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im speachless.......he was one of my faviorate artists

On 1/30/06, Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:
>
> http://www.paikstudios.com/
>
>
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>


--

thaniel ion lee photographer/electronic music maker

contact

xxxxxxxxxxxxx@xxxxx.xxx
http://thanielarts.blogspot.com/
--Boundary_(ID_Hs29P6K8eSfJediztrFZvw)--

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http://www.paikstudios.com/


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From ???@??? Mon Jan 30 15:22:45 2006
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From: "David @ Audiobulb" <xxxxxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] help required advice really. re getting cd's pressed
 up....
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http://www.rivieramultimedia.co.uk/

:)
----- Original Message ----- 
From: "guiver ben" <xxxxxxxxx@xxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, January 30, 2006 3:14 PM
Subject: Re: [microsound] help required advice really. re getting cd's 
pressed up....


>
> dear Microsounders,
>
> hi. i need to find out
>
> i. where in the uk i can get 3" cd's (or just normal
> size ones) burnt with my audio on them cheaply but
> reliably. any kind of gimmicks...like the 3" cd's
> being in the shape of business cards, etc, would be
> interesting....
>
> thats all for now. unless someone would recomend doing
> it yourself, in which case where do i get the
> blanks-reliability is the main one here.
>
> obviously i could do a web search but i need to find
> places that are recommended, as oppossed to hell on
> earth. so thanks for reading this.
>
> best
>
> ben guiver
>
> 07958 658569
>
> __________________________________________________
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>
>
> 


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dear Microsounders,

hi. i need to find out 

i. where in the uk i can get 3" cd's (or just normal
size ones) burnt with my audio on them cheaply but
reliably. any kind of gimmicks...like the 3" cd's
being in the shape of business cards, etc, would be
interesting....

thats all for now. unless someone would recomend doing
it yourself, in which case where do i get the
blanks-reliability is the main one here. 

obviously i could do a web search but i need to find
places that are recommended, as oppossed to hell on
earth. so thanks for reading this. 

best

ben guiver

07958 658569

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From ???@??? Sun Jan 29 17:21:34 2006
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                                .
                        e
                c
        i
n

julien.


Le 29 janv. 06 à 18:15, Rod Stasick a écrit :

> Just for the record...
> My comment was just
> that, at the time, I couldn't
> get more than a snippet of
> sound and, thus,was unable
> to actually tell whether I found
> it interesting or not. We all have
> our different ways of listening and
> for some it's the immediate matter of
> sound and for others, it's structure and
> yet others, it's the interesting combination
> of both of these elements. Plus, the "greatness"
> of a work often involves the social web that we find
> ourselves. Nine years from now, the tracks that we feel
> are "life-changing" moments may become rather ho-hum.
>
> Now,back outside to record hundreds of bees in my boxwood.
>
>
>
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From ???@??? Sun Jan 29 17:15:45 2006
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Just for the record...
My comment was just
that, at the time, I couldn't
get more than a snippet of
sound and, thus,was unable
to actually tell whether I found
it interesting or not. We all have
our different ways of listening and
for some it's the immediate matter of
sound and for others, it's structure and
yet others, it's the interesting combination
of both of these elements. Plus, the "greatness"
of a work often involves the social web that we find
ourselves. Nine years from now, the tracks that we feel
are "life-changing" moments may become rather ho-hum.

Now,back outside to record hundreds of bees in my boxwood.



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http://www.afrotechmods.com/cheap/hdspeakers/hdspeakers.htm



On 27/01/06, mik <xxxxx@xxx.xx> wrote:
>
> Kim Cascone schreef:
> > someone had to do it...
> > http://www.odeo.com/channel/60183/view
> >
>
> http://www.radiantslab.com/musiek/deadscsi/
>
>
> --
>
> http://www.mprims.tk
>
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Date: Fri, 27 Jan 2006 19:44:10 -0800
From: Scott Carver <xxxxxxx@x.xxxxxxxxxx.xxx>
Subject: Re: [microsound] wireless outdoor speakers
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I'm starting to experiment with these kinds of transmitters. I've had  
some friends who have been able to massively boost signals from  
802.11 wireless cards with not much more than a homemade antenna, so  
I suspect I could do the same with an fm transmitter. I'll post  
something here if I have any luck.

- Scott

On Jan 27, 2006, at 6:05 PM, xxxxxx@xxxxxxxxx.xxx wrote:

> These are pretty good too:
> http://www.radioshack.com/product/index.jsp? 
> productId=2102699&cp=&kw=fm+transmitter&parentPage=search
> although some of these cheap FM transmitters can have a short  
> distance.
>
> ...steve...
> Jason Hollis wrote:
>
>> Perhaps you could use an array of cheap thrift store boom boxes  
>> and one of these?
>>
>> http://www.progressive-concepts.com/info/item.html?id=288
>>
>> This is PCI, but surely someone has made a PCMCIA version..
>>
>> HTH,
>>
>> !J!
>> http://www.endif.org
>> http://www.thirdwavecollective.com
>>
>>
>>
>>
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>
>
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From ???@??? Sat Jan 28 03:01:52 2006
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Subject: Re: [microsound] wireless outdoor speakers
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These are pretty good too:
http://www.radioshack.com/product/index.jsp?productId=2102699&cp=&kw=fm+transmitter&parentPage=search
although some of these cheap FM transmitters can have a short distance.

....steve...
Jason Hollis wrote:

> Perhaps you could use an array of cheap thrift store boom boxes and 
> one of these?
>
> http://www.progressive-concepts.com/info/item.html?id=288
>
> This is PCI, but surely someone has made a PCMCIA version..
>
> HTH,
>
> !J!
> http://www.endif.org
> http://www.thirdwavecollective.com
>
>
>
>
> ---------------------------------------------------------------------
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From ???@??? Sat Jan 28 01:30:16 2006
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Date: Fri, 27 Jan 2006 19:32:37 -0600
From: Jason Hollis <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] wireless outdoor speakers
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>, xxxxxxxxxxxxxxx@xxxxx.xx.xx
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Perhaps you could use an array of cheap thrift store boom boxes and one of 
these?

http://www.progressive-concepts.com/info/item.html?id=288

This is PCI, but surely someone has made a PCMCIA version..

HTH,

!J!
http://www.endif.org
http://www.thirdwavecollective.com
 



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From ???@??? Sat Jan 28 01:26:32 2006
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From: Jason Hollis <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] i know this has been said before but....
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No verbage was inserted into mouth. 
You put it crystal clear.  =)

!J!
http://www.endif.org
http://www.thirdwavecollective.com
 



> 
> On Jan 27, 2006, at 10:20 AM, aleks vasic wrote:
> 
>> Why do many people focus soley on the process with which any type  
>> of electronic music is made?  The methodology?  What about the  
>> final result?  How many guitars are sold that function in basically  
>> the same way?  How  many traditional instrument period?  Its what  
>> you do with them, what you create that should garner ones attention.
> 
> I don't think any of the comments made were on the process at all,  
> per se, they were comments on the experiential / perceptual qualities  
> of the piece. It's not that the piece was made with a particular  
> process, so much as the fact that the process is immediately apparent  
> in 30 seconds of listening. Exposed, visible process is not  
> inherently bad, but I don't personally find the process or the  
> materials in question to be particularly poetic or engaging. Why  
> Ennio Morricone? Why backwards? Why leave the beginning undistorted?  
> In short, when you can /hear/ process, that process better be  
> interested/powerful/shocking/etc, otherwise why is it there?
> 
> (I don't want to put words in people's mouths: maybe the prior  
> comments about the piece /were/ simply criticisms of the process.)


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From ???@??? Sat Jan 28 01:24:11 2006
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Date: Fri, 27 Jan 2006 19:26:24 -0600
From: Jason Hollis <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] i know this has been said before but....
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While you certainly have some valid points, many of them are non relevant to 
my comment.

I listened to the _entirety_ of the piece in question despite the annoying 
30-second-at-a-time-chunk presentation available on the website.
(one highly lauded, mind you, by the original poster).  I even looked around 
for the whole piece elsewhere.

In short, I listened to it in detail hoping for something great.  And I made 
an effort to do so.

I'm _firmly_ of the opinion that output speaks for itself.
And this output did.
It told me in no uncertain terms -
'Hi, I'm a long mediocre track that, while others might like me, is not for 
you Mr. Hollis"

I first and foremost was not impressed with its aesthetics; originality, 
mood evoked, textures created, etc.

The technical laziness is secondary.
And I do feel that it was that.

Your mileage may vary.
Whatever.

!J!
http://www.endif.org
http://www.thirdwavecollective.com





----- Original Message ----- 
From: "aleks vasic" <xxxxxx@xxxxxxxx.xx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Friday, January 27, 2006 12:20 PM
Subject: Re: [microsound] i know this has been said before but....


> Why do many people focus soley on the process with which any type of 
> electronic music is made?  The methodology?  What about the final  result? 
> How many guitars are sold that function in basically the  same way?  How 
> many traditional instrument period?  Its what you do  with them, what you 
> create that should garner ones attention.
>
> A friend recently opened my ears to Konono No.1 "Congotronics" and  the 
> whole thing was done on street corners using everything from  guitars to 
> home made instruments.  Should i disparage this music  because the method 
> in which it was made is ho hum, recreated by  almost anyone who would want 
> to do so?  It makes no sense to me.  I  listen to a piece that is created 
> to appreciate it, not dissect the  process which was used to create said 
> piece.  Why stop at music, why  not slam modern painters because they are 
> using the same tired  mediums of generations past, using the same styles. 
> Yawn Yawn.;(  I  find that line of rationale so illogical.
>
> Art wether it be visual, sonic, kinetic, or whatever should be  enjoyed 
> for what it is in most cases, an expression of creativity.  A 
> communication of creativity, of ones self.  Dissect a motorcycle if  your 
> into that sort of thing, but even there you will find art and  beauty if 
> you so choose to look for it.   Zen and the art of  motorcycle maintenance 
> anyone?  Robert Persig wrote a great book on  this subject matter a long 
> time ago.  Anyhoo i do not know how people  who think in this fashion can 
> call themselves artist's.  Harsh i  know, but so is dismissing anyones 
> work because of the process with  which it was made.  I also find it funny 
> that someone could come to a  solid conclusion after listening to a piece 
> for 30 sec, or even ten  minuets for that matter, ADD and the MTV 
> generation anyone?
>
> Has anyone ever listened to something over a long period of time and  went 
> from a luke warm admiration of said piece to a serious respect  of it? 
> Art needs to be studied, not treated like a TV commercial or  MTV blurb.
>
>
> aLEKs
>
>
>
>
>
> On Jan 27, 2006, at 12:42 PM, Jason Hollis wrote:
>
>> Agreed. Not impressed.
>> - make floaty monotonous 10+ min guitar song
>> - run backward
>> - distort
>>
>> Easy peasy.
>> Thanks for sharing though. =)
>>
>> !J!
>> http://www.endif.org
>> http://www.thirdwavecollective.com
>>
>>
>> -------------------------
>>
>>> On Jan 27, 2006, at 8:55 AM, Edward George wrote:
>>>>
>>>> try http://www.bleep.com/current_item.php?selection=MEGO029_DM
>>> Thanks...interesting 30 seconds of backwards sound.
>>> One of the reviewers here wasn't too impressed:
>>> http://tinyurl.com/9fkxf
>>> anyway, thanks for the link.
>>> R~
>>
>>
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>
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> 



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From ???@??? Sat Jan 28 00:46:23 2006
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no expertise here but an idea at least....
a car stereo only needs a car battery to power it,  - you can get some 
pretty kicking volume out of them.

if you have any "friends" who might wanna help you out with say a brick 
and a window if you know what i mean (i don't condone this method in any 
way) but you could save a bit of cash that way, otherwise Costco for a 
new car battery and the junkyard for an amp/radio?

the wireless side woudl simply need to be some kinda cheap 
transmitter... i think you can get boards, schema, and components from 
maplin.

i'd say get creative with the housing,  a trash can could make a good 
disguise  especially if you intend to freak people out in public spaces....

good luck !

Scott Carver wrote:

> I'm fishing for advice/expertise with setting up speakers in an  
> outdoor, or at least impromptu location, wirelessly (both without  
> audio and power cables). This would need to involve some combination  
> of wireless transmitters, receivers, battery powered amps or  
> speakers, and possibly appropriate housings to keep all of this  
> equipment safe and portable. There are, of course, massively  
> expensive systems available out of the box, but I'm shooting for  
> something more modular and, well, cheap. Anyone have any experience  
> with this kind of setup?
>
> The wonderful portability of the laptop-as-instrument is somewhat  
> thwarted by the amount of extra shit that has to go into getting it  
> to make so much as a peep. Has anyone done any (un)successful  
> experiments with this kind of impromptu performance in an unprepared  
> location?
>
> - Scott Carver
>
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>


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From ???@??? Sat Jan 28 00:24:13 2006
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I'm fishing for advice/expertise with setting up speakers in an  
outdoor, or at least impromptu location, wirelessly (both without  
audio and power cables). This would need to involve some combination  
of wireless transmitters, receivers, battery powered amps or  
speakers, and possibly appropriate housings to keep all of this  
equipment safe and portable. There are, of course, massively  
expensive systems available out of the box, but I'm shooting for  
something more modular and, well, cheap. Anyone have any experience  
with this kind of setup?

The wonderful portability of the laptop-as-instrument is somewhat  
thwarted by the amount of extra shit that has to go into getting it  
to make so much as a peep. Has anyone done any (un)successful  
experiments with this kind of impromptu performance in an unprepared  
location?

- Scott Carver

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From ???@??? Sat Jan 28 00:09:45 2006
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>someone had to do it...
>http://www.odeo.com/channel/60183/view

Maybe you know August Black's project http://aug.ment.org/hdo/ ?


Cheers
John
-- 
-~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
tech-no-mad::hypnostatic:: with a shattered spine on a slow mend
domain: http://neoscenes.net
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new DVD: http://neoscenes.net/aud-vid/video/indeter.html
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On Jan 27, 2006, at 10:20 AM, aleks vasic wrote:

> Why do many people focus soley on the process with which any type  
> of electronic music is made?  The methodology?  What about the  
> final result?  How many guitars are sold that function in basically  
> the same way?  How  many traditional instrument period?  Its what  
> you do with them, what you create that should garner ones attention.

I don't think any of the comments made were on the process at all,  
per se, they were comments on the experiential / perceptual qualities  
of the piece. It's not that the piece was made with a particular  
process, so much as the fact that the process is immediately apparent  
in 30 seconds of listening. Exposed, visible process is not  
inherently bad, but I don't personally find the process or the  
materials in question to be particularly poetic or engaging. Why  
Ennio Morricone? Why backwards? Why leave the beginning undistorted?  
In short, when you can /hear/ process, that process better be  
interested/powerful/shocking/etc, otherwise why is it there?

(I don't want to put words in people's mouths: maybe the prior  
comments about the piece /were/ simply criticisms of the process.)

- Scott Carver


>
>
> aLEKs
>
>
>
>
>
> On Jan 27, 2006, at 12:42 PM, Jason Hollis wrote:
>
>> Agreed. Not impressed.
>> - make floaty monotonous 10+ min guitar song
>> - run backward
>> - distort
>>
>> Easy peasy.
>> Thanks for sharing though. =)
>>
>> !J!
>> http://www.endif.org
>> http://www.thirdwavecollective.com
>>
>>
>> -------------------------
>>
>>> On Jan 27, 2006, at 8:55 AM, Edward George wrote:
>>>>
>>>> try http://www.bleep.com/current_item.php?selection=MEGO029_DM
>>> Thanks...interesting 30 seconds of backwards sound.
>>> One of the reviewers here wasn't too impressed:
>>> http://tinyurl.com/9fkxf
>>> anyway, thanks for the link.
>>> R~
>>
>>
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
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>
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From ???@??? Sat Jan 28 00:05:35 2006
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Date: Sat, 28 Jan 2006 11:05:12 +1100
From: Simon Hampson <xxxxx@xxxxxxxxx.xxx.xx>
Subject: RE: [microsound] i know this has been said before but....
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Having seen Pita play that track live and having listened to it over many
years, I'm a big fan. It's a personal classic for me.. The breakdown into
sheer static is wonderful. Pita's use of dynamics and noise is what makes
his sounds interesting for me..

As for judging pieces by their source material or by the way they were
created.. I think many people on this list have an interest in the story
behind the sound. It's just part of listening to music for me. The challenge
is keeping that interest separate from the sounds..

Ta,

Simon.

-----Original Message-----
From: Thaniel Lee [mailto:xxxxxxxxxxxxx@xxxxx.xxx] 
Sent: Saturday, 28 January 2006 7:57 AM
To: microsound
Subject: Re: [microsound] i know this has been said before but....


i didnt think my comment would have started such an arguement, but im glad
it has. we should talk about these type of things more often.

On 1/27/06, xxxxxx@xxxxxxx.xxx <xxxxxx@xxxxxxx.xxx> wrote:
>
> thank you thank you thank you
>
>
> -------------- Original message ----------------------
> From: aleks vasic <xxxxxx@xxxxxxxx.xx.xxx>
> > Why do many people focus soley on the process with which any type of 
> > electronic music is made?  The methodology?  What about the final 
> > result?  How many guitars are sold that function in basically the 
> > same way?  How  many traditional instrument period?  Its what you do 
> > with them, what you create that should garner ones attention.
> >
> > A friend recently opened my ears to Konono No.1 "Congotronics" and 
> > the whole thing was done on street corners using everything from 
> > guitars to home made instruments.  Should i disparage this music 
> > because the method in which it was made is ho hum, recreated by 
> > almost anyone who would want to do so?  It makes no sense to me.  I 
> > listen to a piece that is created to appreciate it, not dissect the 
> > process which was used to create said piece.  Why stop at music, why 
> > not slam modern painters because they are using the same tired 
> > mediums of generations past, using the same styles.  Yawn Yawn.;(  I 
> > find that line of rationale so illogical.
> >
> > Art wether it be visual, sonic, kinetic, or whatever should be 
> > enjoyed for what it is in most cases, an expression of creativity.  
> > A communication of creativity, of ones self.  Dissect a motorcycle 
> > if your into that sort of thing, but even there you will find art and
> > beauty if you so choose to look for it.   Zen and the art of
> > motorcycle maintenance anyone?  Robert Persig wrote a great book on 
> > this subject matter a long time ago.  Anyhoo i do not know how 
> > people who think in this fashion can call themselves artist's.  
> > Harsh i know, but so is dismissing anyones work because of the 
> > process with which it was made.  I also find it funny that someone 
> > could come to a solid conclusion after listening to a piece for 30 
> > sec, or even ten minuets for that matter, ADD and the MTV generation 
> > anyone?
> >
> > Has anyone ever listened to something over a long period of time and 
> > went from a luke warm admiration of said piece to a serious respect 
> > of it?  Art needs to be studied, not treated like a TV commercial or 
> > MTV blurb.
> >
> >
> > aLEKs
> >
> >
> >
> >
> >
> > On Jan 27, 2006, at 12:42 PM, Jason Hollis wrote:
> >
> > > Agreed. Not impressed.
> > > - make floaty monotonous 10+ min guitar song
> > > - run backward
> > > - distort
> > >
> > > Easy peasy.
> > > Thanks for sharing though. =)
> > >
> > > !J!
> > > http://www.endif.org
> > > http://www.thirdwavecollective.com
> > >
> > >
> > > -------------------------
> > >
> > >> On Jan 27, 2006, at 8:55 AM, Edward George wrote:
> > >>>
> > >>> try http://www.bleep.com/current_item.php?selection=MEGO029_DM
> > >> Thanks...interesting 30 seconds of backwards sound.
> > >> One of the reviewers here wasn't too impressed: 
> > >> http://tinyurl.com/9fkxf anyway, thanks for the link.
> > >> R~
> > >
> > >
> > > ---------------------------------------------------------------------
> > > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > > website: http://www.microsound.org
> >
> >
> > ---------------------------------------------------------------------
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> > website: http://www.microsound.org
> >
>
>
>
> ---------------------------------------------------------------------
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>
>


--

thaniel ion lee photographer/electronic music maker

contact

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http://thanielarts.blogspot.com/

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From ???@??? Sat Jan 28 01:53:43 2006
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Kim Cascone schreef:
> someone had to do it...
> http://www.odeo.com/channel/60183/view
> 

http://www.radiantslab.com/musiek/deadscsi/


-- 

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From ???@??? Fri Jan 27 23:17:03 2006
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someone had to do it...
http://www.odeo.com/channel/60183/view


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From ???@??? Mon Jan 30 21:07:32 2006
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Date: Fri, 27 Jan 2006 13:58:50 -0800
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Subject: Re: [microsound] i know this has been said before but....
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amen.

my guess is that there is a mythological aspect of this; some deep  
misconception that having the same process, tools, methodology and  
sometimes even source material will create likewise the same sound.

On Jan 27, 2006, at 10:20 AM, aleks vasic wrote:

> Why do many people focus soley on the process with which any type  
> of electronic music is made?  The methodology?  What about the  
> final result?  How many guitars are sold that function in basically  
> the same way?  How  many traditional instrument period?  Its what  
> you do with them, what you create that should garner ones attention.


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From ???@??? Fri Jan 27 20:56:54 2006
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i didnt think my comment would have started such an arguement, but im glad
it has. we should talk about these type of things more often.

On 1/27/06, xxxxxx@xxxxxxx.xxx <xxxxxx@xxxxxxx.xxx> wrote:
>
> thank you thank you thank you
>
>
> -------------- Original message ----------------------
> From: aleks vasic <xxxxxx@xxxxxxxx.xx.xxx>
> > Why do many people focus soley on the process with which any type of
> > electronic music is made?  The methodology?  What about the final
> > result?  How many guitars are sold that function in basically the
> > same way?  How  many traditional instrument period?  Its what you do
> > with them, what you create that should garner ones attention.
> >
> > A friend recently opened my ears to Konono No.1 "Congotronics" and
> > the whole thing was done on street corners using everything from
> > guitars to home made instruments.  Should i disparage this music
> > because the method in which it was made is ho hum, recreated by
> > almost anyone who would want to do so?  It makes no sense to me.  I
> > listen to a piece that is created to appreciate it, not dissect the
> > process which was used to create said piece.  Why stop at music, why
> > not slam modern painters because they are using the same tired
> > mediums of generations past, using the same styles.  Yawn Yawn.;(  I
> > find that line of rationale so illogical.
> >
> > Art wether it be visual, sonic, kinetic, or whatever should be
> > enjoyed for what it is in most cases, an expression of creativity.  A
> > communication of creativity, of ones self.  Dissect a motorcycle if
> > your into that sort of thing, but even there you will find art and
> > beauty if you so choose to look for it.   Zen and the art of
> > motorcycle maintenance anyone?  Robert Persig wrote a great book on
> > this subject matter a long time ago.  Anyhoo i do not know how people
> > who think in this fashion can call themselves artist's.  Harsh i
> > know, but so is dismissing anyones work because of the process with
> > which it was made.  I also find it funny that someone could come to a
> > solid conclusion after listening to a piece for 30 sec, or even ten
> > minuets for that matter, ADD and the MTV generation anyone?
> >
> > Has anyone ever listened to something over a long period of time and
> > went from a luke warm admiration of said piece to a serious respect
> > of it?  Art needs to be studied, not treated like a TV commercial or
> > MTV blurb.
> >
> >
> > aLEKs
> >
> >
> >
> >
> >
> > On Jan 27, 2006, at 12:42 PM, Jason Hollis wrote:
> >
> > > Agreed. Not impressed.
> > > - make floaty monotonous 10+ min guitar song
> > > - run backward
> > > - distort
> > >
> > > Easy peasy.
> > > Thanks for sharing though. =)
> > >
> > > !J!
> > > http://www.endif.org
> > > http://www.thirdwavecollective.com
> > >
> > >
> > > -------------------------
> > >
> > >> On Jan 27, 2006, at 8:55 AM, Edward George wrote:
> > >>>
> > >>> try http://www.bleep.com/current_item.php?selection=MEGO029_DM
> > >> Thanks...interesting 30 seconds of backwards sound.
> > >> One of the reviewers here wasn't too impressed:
> > >> http://tinyurl.com/9fkxf
> > >> anyway, thanks for the link.
> > >> R~
> > >
> > >
> > > ---------------------------------------------------------------------
> > > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > > website: http://www.microsound.org
> >
> >
> > ---------------------------------------------------------------------
> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> >
>
>
>
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>


--

thaniel ion lee photographer/electronic music maker

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From ???@??? Fri Jan 27 20:29:15 2006
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thank you thank you thank you


 -------------- Original message ----------------------
From: aleks vasic <xxxxxx@xxxxxxxx.xx.xxx>
> Why do many people focus soley on the process with which any type of  
> electronic music is made?  The methodology?  What about the final  
> result?  How many guitars are sold that function in basically the  
> same way?  How  many traditional instrument period?  Its what you do  
> with them, what you create that should garner ones attention.
> 
> A friend recently opened my ears to Konono No.1 "Congotronics" and  
> the whole thing was done on street corners using everything from  
> guitars to home made instruments.  Should i disparage this music  
> because the method in which it was made is ho hum, recreated by  
> almost anyone who would want to do so?  It makes no sense to me.  I  
> listen to a piece that is created to appreciate it, not dissect the  
> process which was used to create said piece.  Why stop at music, why  
> not slam modern painters because they are using the same tired  
> mediums of generations past, using the same styles.  Yawn Yawn.;(  I  
> find that line of rationale so illogical.
> 
> Art wether it be visual, sonic, kinetic, or whatever should be  
> enjoyed for what it is in most cases, an expression of creativity.  A  
> communication of creativity, of ones self.  Dissect a motorcycle if  
> your into that sort of thing, but even there you will find art and  
> beauty if you so choose to look for it.   Zen and the art of  
> motorcycle maintenance anyone?  Robert Persig wrote a great book on  
> this subject matter a long time ago.  Anyhoo i do not know how people  
> who think in this fashion can call themselves artist's.  Harsh i  
> know, but so is dismissing anyones work because of the process with  
> which it was made.  I also find it funny that someone could come to a  
> solid conclusion after listening to a piece for 30 sec, or even ten  
> minuets for that matter, ADD and the MTV generation anyone?
> 
> Has anyone ever listened to something over a long period of time and  
> went from a luke warm admiration of said piece to a serious respect  
> of it?  Art needs to be studied, not treated like a TV commercial or  
> MTV blurb.
> 
> 
> aLEKs
> 
> 
> 
> 
> 
> On Jan 27, 2006, at 12:42 PM, Jason Hollis wrote:
> 
> > Agreed. Not impressed.
> > - make floaty monotonous 10+ min guitar song
> > - run backward
> > - distort
> >
> > Easy peasy.
> > Thanks for sharing though. =)
> >
> > !J!
> > http://www.endif.org
> > http://www.thirdwavecollective.com
> >
> >
> > -------------------------
> >
> >> On Jan 27, 2006, at 8:55 AM, Edward George wrote:
> >>>
> >>> try http://www.bleep.com/current_item.php?selection=MEGO029_DM
> >> Thanks...interesting 30 seconds of backwards sound.
> >> One of the reviewers here wasn't too impressed:
> >> http://tinyurl.com/9fkxf
> >> anyway, thanks for the link.
> >> R~
> >
> >
> > ---------------------------------------------------------------------
> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> 
> 
> ---------------------------------------------------------------------
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> 



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From ???@??? Fri Jan 27 19:03:48 2006
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Subject: Re: [microsound] i know this has been said before but....
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Why do many people focus soley on the process with which any type of  
electronic music is made?  The methodology?  What about the final  
result?  How many guitars are sold that function in basically the  
same way?  How  many traditional instrument period?  Its what you do  
with them, what you create that should garner ones attention.

A friend recently opened my ears to Konono No.1 "Congotronics" and  
the whole thing was done on street corners using everything from  
guitars to home made instruments.  Should i disparage this music  
because the method in which it was made is ho hum, recreated by  
almost anyone who would want to do so?  It makes no sense to me.  I  
listen to a piece that is created to appreciate it, not dissect the  
process which was used to create said piece.  Why stop at music, why  
not slam modern painters because they are using the same tired  
mediums of generations past, using the same styles.  Yawn Yawn.;(  I  
find that line of rationale so illogical.

Art wether it be visual, sonic, kinetic, or whatever should be  
enjoyed for what it is in most cases, an expression of creativity.  A  
communication of creativity, of ones self.  Dissect a motorcycle if  
your into that sort of thing, but even there you will find art and  
beauty if you so choose to look for it.   Zen and the art of  
motorcycle maintenance anyone?  Robert Persig wrote a great book on  
this subject matter a long time ago.  Anyhoo i do not know how people  
who think in this fashion can call themselves artist's.  Harsh i  
know, but so is dismissing anyones work because of the process with  
which it was made.  I also find it funny that someone could come to a  
solid conclusion after listening to a piece for 30 sec, or even ten  
minuets for that matter, ADD and the MTV generation anyone?

Has anyone ever listened to something over a long period of time and  
went from a luke warm admiration of said piece to a serious respect  
of it?  Art needs to be studied, not treated like a TV commercial or  
MTV blurb.


aLEKs





On Jan 27, 2006, at 12:42 PM, Jason Hollis wrote:

> Agreed. Not impressed.
> - make floaty monotonous 10+ min guitar song
> - run backward
> - distort
>
> Easy peasy.
> Thanks for sharing though. =)
>
> !J!
> http://www.endif.org
> http://www.thirdwavecollective.com
>
>
> -------------------------
>
>> On Jan 27, 2006, at 8:55 AM, Edward George wrote:
>>>
>>> try http://www.bleep.com/current_item.php?selection=MEGO029_DM
>> Thanks...interesting 30 seconds of backwards sound.
>> One of the reviewers here wasn't too impressed:
>> http://tinyurl.com/9fkxf
>> anyway, thanks for the link.
>> R~
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org


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From ???@??? Fri Jan 27 17:40:33 2006
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From: Jason Hollis <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] i know this has been said before but....
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Agreed. Not impressed. 

- make floaty monotonous 10+ min guitar song
- run backward
- distort

Easy peasy.  

Thanks for sharing though. =)

!J!
http://www.endif.org
http://www.thirdwavecollective.com
 


-------------------------

> 
> On Jan 27, 2006, at 8:55 AM, Edward George wrote:
>>
>> try http://www.bleep.com/current_item.php?selection=MEGO029_DM
> 
> Thanks...interesting 30 seconds of backwards sound.
> 
> One of the reviewers here wasn't too impressed:
> 
> http://tinyurl.com/9fkxf
> 
> anyway, thanks for the link.
> 
> R~


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On Jan 27, 2006, at 8:55 AM, Edward George wrote:
>
> try http://www.bleep.com/current_item.php?selection=MEGO029_DM

Thanks...interesting 30 seconds of backwards sound.

One of the reviewers here wasn't too impressed:

http://tinyurl.com/9fkxf

anyway, thanks for the link.

R~

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On 1/27/06, Rod Stasick <xxx@xxxxxxx.xxx> wrote:
> Well, it's morning and I'm sitting with tea in hand...and no mego/
> pita can be heard.
> Player comes up but it doesn't begin. Was just using Real One last
> night too,
> so I'm chalking it up to a mego temp breakdown.

try http://www.bleep.com/current_item.php?selection=MEGO029_DM

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From ???@??? Fri Jan 27 14:32:23 2006
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From: Rod Stasick <xxx@xxxxxxx.xxx>
Subject: Re: [microsound] i know this has been said before but....
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Well, it's morning and I'm sitting with tea in hand...and no mego/ 
pita can be heard.
Player comes up but it doesn't begin. Was just using Real One last  
night too,
so I'm chalking it up to a mego temp breakdown.

I like the reality prod corp works very much tho!

last.fm is wonderful. coupled with nicecast, it's added a lot to my  
life.


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that track can be streamed from the mego site, see link below.  i recently wrote a brief journal regarding my experience of/ love for that track on last.fm, see the first link...


http://www.last.fm/user/mhwrpc/journal/2006/01/21/62788/

http://www.mego.at/ram/mego029a.ram

anyone who has managed to avoid hearing this piece, is doing their brain a disservice.  a loop of ennio morricone i believe, put through ecstatic annihilation  processes.  reminds me of a company name i used to borrow periodically: phoenix systems solutions.
                                                Love, mhwrpc

P.S.  please check out the reality prod corp album: working titles archival series, now available track by track for full length preview on last.fm.  select tracks available for free download.  if you like untitled 3 by pita, you might like "the heavenses".  anyone not familiar with last.fm should definitely check it out.  great way to hear new music online.  check it out here:  http://www.last.fm/

http://www.last.fm/music/Reality%20Prod%20Corp/working%20titles%20archival%20series

http://www.myspace.com/mhwrpc





 -------------- Original message ----------------------
From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
> post a link?
> 
> Thaniel Lee wrote:
> 
> > the third track on pita's get out is one  of the most bueatiful slabs of
> > destroyed sound i have ever heard
> >
> > --
> >
> > thaniel ion lee photographer/electronic music maker
> >
> > contact
> >
> > xxxxxxxxxxxxx@xxxxx.xxx
> > http://thanielarts.blogspot.com/
> 
> 
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From ???@??? Thu Jan 26 18:02:58 2006
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post a link?

Thaniel Lee wrote:

> the third track on pita's get out is one  of the most bueatiful slabs of
> destroyed sound i have ever heard
>
> --
>
> thaniel ion lee photographer/electronic music maker
>
> contact
>
> xxxxxxxxxxxxx@xxxxx.xxx
> http://thanielarts.blogspot.com/


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From ???@??? Thu Jan 26 16:19:57 2006
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Subject: Re: [microsound] derek bailey
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It was announced and discussed someetime ago.  Thank you for the reminder.


> 
> 
> Derek Bailey, improvising guitarist, born January 29 1930; died 
> December 25 2005
> 
> http://www.guardian.co.uk/obituaries/story/0,3604,1674695,00.html
> 
>

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Derek Bailey, improvising guitarist, born January 29 1930; died December 
25 2005

http://www.guardian.co.uk/obituaries/story/0,3604,1674695,00.html








--
www.pirandelo.org
www.pirandelo.org/symbiosis
www.artificialia.com






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--Boundary_(ID_Bag5+sl0U2cTduRklenc/w)
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the third track on pita's get out is one  of the most bueatiful slabs of
destroyed sound i have ever heard

--

thaniel ion lee photographer/electronic music maker

contact

xxxxxxxxxxxxx@xxxxx.xxx
http://thanielarts.blogspot.com/
--Boundary_(ID_Bag5+sl0U2cTduRklenc/w)--

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http://www.tokyoplastic.com/musicbox.html

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the latest chrysler ad to air in the uk has a
soundtrack thats very like the cd 'Vienna' by
Fennesz......i'm starting to detect a pattern here. 

--- craque <xxxxxx@xxxxxx.xxx> wrote:

> only with significantly less accordion... ;)
> 
> Jorge Blank wrote:
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only with significantly less accordion... ;)

Jorge Blank wrote:

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its like Pauline Oliveros!

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From ???@??? Tue Jan 24 04:03:57 2006
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> On 1/23/06, Aaron Ximm <xxxxx@xxxx.xxx> wrote:
> > CD rot... perpetually dying drives... all is vanity... all is dust...!
>
> first noble truth: life is pain/suffering [dukkha]

Indeed:

 http://www.quietamerican.org/download/Dukka.mp3

 The unquiet mind. Source recorded at Thien Mu Monastary on the Perfume
 River in Hue, the oldest surviving Buddhist monastary in Vietnam. The
 quiet grounds were a welcome change from the predatory desperation of
 Hue. I was told the city residents are still punished financially for Hue's
 independent course during the War. Thien Mu houses as a relic the blue
 Austin that Thich Quang Duc drove to Saigon, where he immolated himself
 on June 2, 1963, to protest repression under the US-backed regime of
 President Diem. Dukka is a term from Buddhist philosophy often translated
 as "suffering," but a more accurate rendering would be"unsatisfactory-ness."

:)

though somehow signing off :) feels a little odd.

or maybe, just right.

:)

  xxxxx@xxxx.xxx
  http://www.quietamerican.org

  |  quod omne animal post   |
  |  cogitum est triste...   |


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hi

On 1/23/06, Aaron Ximm <xxxxx@xxxx.xxx> wrote:
> CD rot... perpetually dying drives... all is vanity... all is dust...!

first noble truth: life is pain/suffering [dukkha]

--
\js  [ http://or8.net/~johns/ ]

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From ???@??? Tue Jan 24 02:55:20 2006
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Here is a link to a field recording of the escalators at Union Station that I mentioned some time back.


http://syntax.epicaricacy.org/sound/misc/01-DC_Union_Station_Escalators.mp3

Feel free to de-texualize it or to re-vamp it.  I would love to the various ideas out there.

Derek




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Not to stoppeth one of three,

but in the let this be a warning to you al dept.,

last week one of my venerable 60 GB audio drives (all composition work)
died ten minutes after completing a full backup. G a c k. Or rather, clunk
clunk clunk...

I'd been hearing bearing-failing type noises for at least a month and was
sure it was a fan going (as it was last time). But when I opened the case,
I thought, that's funny, that noise really doesn't sound like it's coming
from the CPU or power supply... maybe I better back those old drives up.

CD rot... perpetually dying drives... all is vanity... all is dust...!

 aaron

  xxxxx@xxxx.xxx
  http://www.quietamerican.org

  |  quod omne animal post   |
  |  cogitum est triste...   |

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>
>or tinyurl
>http://tinyurl.com/34y47


OOOOWWWWWWCCCHHHHH!

only TOO familiar -- recalling traumatic stress syndrome...

Yes, Simon -- you SHOULD ask Kim about his secret data-mining techniques!!!

jh
-- 
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
indeterminacy: four works
a new neoscenes DVD featuring four new visual/sonic explorations
more info at http://www.neoscenes.net/aud-vid/video/indeter.html
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

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Very nice.. That first one sounds like a mini race car! Thanks Kim.. Should
I ask how you found it?!?! :)

Simon.

Symbiosis - Experimental Sound Textures and Rhythms

Wednesday nights / 10pm - 12am
102.7 FM / www.rrr.org.au
Melbourne / Australia
xxxxx@xxxxxxxxx.xxx.xx

-----Original Message-----
From: Kim Cascone [mailto:xxx@xxxxxxxxxxxxx.xxx] 
Sent: Tuesday, 24 January 2006 11:28 AM
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Subject: [microsound] aesthetics of hard drive failure


http://www.hitachigst.com/hddt/knowtree.nsf/ 
cffe836ed7c12018862565b000530c74/4b1a62a50f405d0d86256756006e340c? 
OpenDocument

scroll to bottom of page and there are some .wavs there

or tinyurl
http://tinyurl.com/34y47


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http://www.hitachigst.com/hddt/knowtree.nsf/ 
cffe836ed7c12018862565b000530c74/4b1a62a50f405d0d86256756006e340c? 
OpenDocument

scroll to bottom of page and there are some .wavs there

or tinyurl
http://tinyurl.com/34y47


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From ???@??? Mon Jan 23 06:25:31 2006
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Subject: RE: [microsound] CEAIT Festival 2006
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Sue Costabile:

http://www.orthlorng.com/sue/bio.html
 

> -----Original Message-----
> From: Bill Jarboe [mailto:xxxxxxxxxx@xxxxxxxxx.xxx] 
> Sent: Monday, January 23, 2006 1:06 AM
> To: microsound
> Subject: Re: [microsound] CEAIT Festival 2006
> 
> Is it 'Costabile' or 'Constabile' ? I've seen it printed both ways.
> 
> 
>                                        thanks
> 
>                                                 --b
> 
> 
> 
> 
> On Jan 22, 2006, at 7:36 PM, Kadet Kuhne wrote:
> 
> >  Subotnick collaborates in this world
> > premiere with composer-performer Miguel Frasconi and light 
> artist Sue 
> > Constabile.
> 
> 
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From ???@??? Mon Jan 23 06:05:57 2006
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Is it 'Costabile' or 'Constabile' ? I've seen it printed both ways.


                                       thanks

                                                --b




On Jan 22, 2006, at 7:36 PM, Kadet Kuhne wrote:

>  Subotnick collaborates in this world
> premiere with composer-performer Miguel Frasconi and light artist Sue
> Constabile. 


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From ???@??? Mon Jan 23 04:00:40 2006
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On Jan 22, 2006, at 9:01 PM, xxxxxxxxxx-xxxxxx-xxxx@xxxxxxxxx.xxx wrote:

>    unless your equipment happens to have
> switches, buttons, gates, Sample-and-hold, threshold triggering,
> compressors/limiters or pulse waveforms
> all of which use digital processes to work, the difference  
> sonically is
> the time-scale they operate on.
> patch-bays and mixers also involve a large amount of 'mapping'  
> ideology
> to make their interfaces seem
> intuitive and user-friendly.
>

Please take note of the last line of my quoted text

>> (nothing wrong if you need it but neither sine waves nor theremins  
>> are stepped to
>> begin with)


It seems to me that a Theremin has an interface that couldn't get  
much more intuitive as an interface.
Using it to control the pitch and amplitude of sine waves wouldn't  
involve involve switches, buttons, gates, Sample-and-hold, threshold  
triggering, or pulse waveforms. It's not so much my feeling the term  
mapping was misused, but I also saw so many suggested solutions  
dealing with pitch tracking, MIDI and digitizing controllers which  
all surely add layers of quantitization inaccuracy to a process that  
doesn't need any of it.

Had there been a different goal and or different interface then one  
might have a reason employ mapping and/or digital processes.
I should have used "inherent lack of maps" not "complete lack of  
maps" in my post. I guess I didn't want to use inherent twice in the  
same sentence ;-)

Though I don't see why you mention compressor/limiters, they aren't  
necessarily or even ideally digital.   Wouldn't the process be better  
described as a transfer function? (fwiw A friend is about to spend 5  
figures on a Fairchild)


> ndkent wrote:
>
>> For what it's worth the Doepfer the process doesn't involve "mapping"
>> - there is no map, that's a term better applied to MIDI data for
>> instance, simply put Doepfer makes some Theremin-like antenna modules
>> that output control voltages as you've mentioned. You can use that
>> voltage to control or be scaled to control anything that accepts
>> voltage control. Doepfer makes VCOs with sine waves.  I just paused
>> on the word "mapping" because I believe one of the main attractions
>> of un-digitally assisted analog technology is a complete lack of maps
>> and the inherently stepped/quantitized data involved (nothing wrong
>> if you need it but neither sine waves nor theremins are stepped to
>> begin with)

ndkent
http://technopop.info/ndkent/


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---------------------------------------------------------
CEAIT Festival 2006 @ REDCAT, Los Angeles

“An important contender in the international network of multimedia
experimental festivals.” Los Angeles Times

Jan 26, 27, 28 (Thursday, Friday, Saturday) 2006, 8:30pm, $10-18
http://redcat.org/season/0506/mus/ceait.php

The genre-bending annual fest from CEAIT, CalArts’ Center for 
Experiments in
Art, Information and Technology returns to REDCAT with an international
lineup of unabashedly experimental works in music, multimedia, and 
sound art.

-------
Thursday, Jan. 26, 8:30pm
Morton Subotnick: Until Spring Revisited

The electronic music icon reinvents his seminal 1975 soundscape Until
Spring, now reformulated for surround sound and video projection and
performed on three laptops. Applying a new set of artist tools with
masterful finesse and imagination, Subotnick collaborates in this world
premiere with composer-performer Miguel Frasconi and light artist Sue
Constabile. This will be Morton Subotnick’s farewell performance for
CalArts. An acknowledged pioneer in the field of electronic music and a
continuing innovator in works involving instruments and other media, he 
was
a founding faculty member of the Institute, and an important 
contributor to
the cultural life of Los Angeles. He retires from the School of Music
faculty this year.

“An electronic live wire.” Los Angeles Times

Links
Morton Subotnick: http://www.mortonsubotnick.com/
Miguel Frasconi: http://newalbion.com/artists/frasconim/
-------

Friday, Jan. 27, 8:30pm
Jon Rose, Maja Ratkje, and Eliane Radigue

The tirelessly inventive Australian violinist and sound artist Jon Rose
kicks off the evening with work from The Hyperstring Project, a body of
uncanny improvisations based on the use of a MIDI-controlled interactive
violin bow. He is followed by Maja Ratkje of the noise outfits Spunk and
Fe-Mail. She creates savagely beautiful improvised soundscapes out of
voice, acoustic instruments, field recordings and analog electronics. 
French
electro-acoustic pioneer Eliane Radigue then concludes the evening’s 
program
with Naldjorlak, performed by Charles Curtis on cello as a 
thought-provoking
reworking of technology. Created in close collaboration with Curtis,
Naldjorlak is the first entirely acoustic composition by a composer who 
has
pioneered pure electronic sound for over thirty years. Delicate in its
dynamic range, the work explores highly diffuse bowed textures that defy
perceptual focus; the hidden, untamed ur-sonority of the cello is 
revealed
as a deeply unstable and complex source. The Tibetan title refers to the
motion of all life toward unity; in a seamlessly interwoven three-part
structure, the audible shape mirrors the geography of the cello. 
Qualities
of intense concentration, focus and selflessness inform the 
spirituality of
all of Radigue’s work.

“Jon Rose doesn’t fit into any categories but all his albums create a
violin-shaped world that is all his own, shot through with wild 
humour.” The
Guardian

“Ratkje’s voice is gloriously possessed by the tongues of more split
personalities than there are angels on the head of a pin.” The Wire

“Radigue’s works induce in the listener an altered state of ecstatic
spirituality.” Kyle Gann      Radigue creates “A steady stream of sonic
activity taking place right at the edge of one’s perception.” New York 
Times

Funded in part by the French-American Fund for Contemporary Music, a 
program
of French American Cultural Exchange (FACE).

Links
Jon Rose: http://www.jonroseweb.com/index.html
Maja Ratkje: http://www.ratkje.com/main.php
Eliane Radigue: http://kalvos.org/radigue.html

-------
Saturday, Jan. 28, 8:30pm
Kadet Kuhne; David Dunn and James Crutchfield

Los Angeles media artist Kadet Kuhne premieres a new audiovisual work,
Holding Pattern III, in which captivating underwater imagery triggers a
breathtaking interactive soundscape. This immersive sensory experience 
is
accompanied by a live improvised score featuring Kadet on laptop and 
Mem1,
a collaborative venture between cellist Laura Thomas-Merino and laptop 
artist m.cera.
The CEAIT Festival then culminates with a mesmerizing multimedia work 
by Alpert
Award-winning composer and sound artist David Dunn and renowned chaos 
theorist
James Crutchfield. Playing on the innate human ability to recognize 
patterns in
space and time, the duo collate overlapping sonic textures with a 
dazzling array
of complimentary visualizations.

Funded in part by the Alpert Foundation

“Audio-visual surrealist Kadet concocts sounds that watch you ... Be 
aware:
This is music that takes notes on you ... Some moments reach near-total
abstraction, then pull back toward more repetitive structures, with 
backing
pads and gutted, howling synths.” XLR8R Magazine

“David Dunn is a visionary” Kenneth Gaburo

Links
Kadet Kuhne: http://www.tektonicshift.com/kadet_music.htm
David Dunn: http://artscilab.org/~david/
-------

REDCAT is located at 631 West 2nd Street, Los Angeles, CA 90012, at the
corner of 2nd and Hope Streets inside the Walt Disney Concert Hall 
complex.
Parking is available in the Walt Disney Concert Hall parking structure 
and
at adjacent lots.

Tickets can be purchased by phone at 213.237.2800, on line at
http://www.redcat.org, and in person at the box office at the corner of 
2nd
and Hope Streets in the Walt Disney Concert Hall complex, 
Tuesday-Saturday,
noon-6 p.m., and two hours prior to curtain.


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From ???@??? Sun Jan 22 16:19:32 2006
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On Jan 20, 2006, at 1:12 PM, John Hopkins wrote:

>> and i have try a theremin with a dancer an keep the sine wave in  
>> max msp
>> the number is too exessive,it s impossible to control it
>> aymeric de tapol
>
> Let's hear it for uncontrollable instruments!

I prefer non-controllable instruments.

- John

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Thanks Kim--
The Tensimount  looks like it could be a more 
flexible (and larger) suspension than the other 
ready-made shock-mount solutions and its less 
expensive.  Packaging it with the pole adapter 
and swivel at such a low cost makes its quite a 
find! Looking for the low cost zep next.  Rob D.


At 9:33 AM -0800 1/21/06, Kim Cascone wrote:
>http://www.tensimount.com
>
>found about about this on a DVX user site...also 
>check out their boom kits which can be made from 
>telescoping painter poles for cheap...
>
>
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-- 
Rob Danielson
Film Department
University of Wisconsin-Milwaukee
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http://www.tensimount.com

found about about this on a DVX user site...also check out their boom 
kits which can be made from telescoping painter poles for cheap...


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From ???@??? Sat Jan 21 15:47:13 2006
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there was one for a motorola (i think) mobile fone and
it seemed v likely that the sound people had just been
listening to insen by Carsten Nicolai and Ryuichi
Sakamoto. carbon f£^!£$ing copy. juast like the Moby
rippof by another car co. 








--- Christian Werthschulte <xxxxxxxxxxxxx@xxxxx.xx>
wrote:

> Momus wrote an interesting entry on that commercial:
>  http://imomus.livejournal.com/166093.html
>  
> 
> Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> schrieb:
> http://84.40.3.164/
> 
> 
>
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Welcome back to life on the other side of daddyhood...

Scarlett is still such a calm baby... I just can't work out how this happened... she loves sleep... so far she is happy to let me work away while she stares at a few black and white LP covers I have laid out for her eyes to enjoy.. she has also been enjoying my Donna Summer christmas CD.. jiggles along on my knees... The morning she was born I just opened the blinds and thought - hey, it's just another day and off we go... so life is just busier than ever obviously... and in due course I plan to become what I have termed a ManMum.... she also passed her first hearing test with flying colours.... so she will be able to enjoy the first event of the new year......


±
BBC World Service interview
21st to 27th jan
Mark Coles from 'The Ticket' invited me to come in and discuss my new album Migration and other recent projects including the Aliens exhibition, my Hidden Name CD with Stephan Mathieu and my In the last hour performance composition.

The show begins transmission this saturday night [21st Jan] from 8pm GMT... it airs to up to 40 million people in many different formats... and is repeated throughout the week.

The easiest way for you to tune in is to go to their website and listen online with Real Audio from the fantastic BBC 'listen again' service which you can find here for 7 days:
http://www.bbc.co.uk/worldservice/programmes/the_ticket.shtml

±
Cambridge University architecture workshop
26th and 27th Jan
I've been invited by Alex Haw's unit to run a 2 day workshop with the 3rd year architecture students exploring the boundaries of the gallery space in architectural thinking. I am reversing their roles by turning them into contemporary artists for 30 hours.


±
Songs for Europe
29th Jan in Amsterdam
I am performing my Songs for Europe duo with Philip Jeck at the new Muziekgebouw concert hall.
Part of the 1000Volt concert series along with Hildegard Westerkamp and Alison Isadora.
The concerts start at 3pm - bring a friend [I may have a mini guest list ?]
more info at: http://www.muziekgebouw.nl/uk/voorstelling.asp?PageID=2&EventID=8116


±
Wow 7"
http://www.audioh.com/releases/wow.html

Several copies of my revolutionary off-centre 7" release [2000] were recently unearthed from the Diskono cellars.
These have been repackaged in 12" matt black sleeves with an optical print inner sleeve in a signed edition of just 10. These archive copies are now up for sale at the audiOh! Kiosk.
The project also involved loads of Physical Remixes of the object with many crazy results. These results have been offline for a few years, so I am undertaking to get them back online shortly...

"We encourage you to physically remix this record yourself, along with all your other records, if you think it would improve them". its deadpan hint, that all this is playful rather than pretentious is a wry reminder, like "Wow" itself, that music, for all its ineffability, is at base just a specialised branch of physics." The Wire 2000


±
In the last hour report
http://www.audiOh.com/projects/inthelasthour.html

The last project that I did before the birth of Scarlett was a 'performance composition' at the Huddersfield Contemporary Music Festival in November. It was an installation concert for town hall organ, vinyl, field recordings and sound reactive light that transformed the ornate and decaying town hall.

This turned out to be what I consider to be my best ever concert composition to date. The audience were lying down on cushions as the sound was played to them from above and around them.. and I have to say they were a fantastic audience - so absorbed and silent. I used the sounds of ten instruments, many of them played by me and recomposed... I even invited my 15 year old neighbour to contribute his held clarinet tones that I've been hearing over the fence. The concert was the fulfillment of all my ambitions for a live sound experience... It is dedicated to Scarlett and is a tribute to the freedom that I have enjoyed before passing it on to her.

I managed to make a magical recording of it all with a mix of room microphones and mixing desk. This will be released in the summer on the wonderful Australian label ::Room40:: run by Lawrence English.
http://www.room40.org/

The Wire magazine described the concert as one of the highlights of the 2 week festival.
Another review commented "We really were all left quite speechless!"


±
Vacant Space
http://www.audioh.com/projects/vacantspace.html

My Sonic Arts Network installation commission will be premiering at the ICA in London later this year.

I am currently working with the video artist David Tinapple from New York: http://www.davidtinapple.com/ on the sound reactive video projections... Having collected over 50,000 360degree images of empty spaces from EHouse I have my work cut out in selecting what to use.... http://www.ehouse.co.uk/

My other collaborator Chris Watson has been collecting sounds for me on his globe trotting trips while working for David Attenborough etc.... and I just discovered this interesting radio programme he presented called 'A SMALL SLICE OF TRANQUILLITY' from 2003 that is an interesting listen: http://www.bbc.co.uk/radio4/science/tranquillity.shtml

If you would be interested in booking this project for later this year and next year then please do contact me now.


±
Top Tips

>
Interesting opportunity for all composers/musicians in the UK:
http://www.spnm.org.uk/?page=activities/callForWorks.html
Deadline 27th Jan...

>
Ever wanted to send big files to your friends - well I just discovered this fantastic free service
http://www.yousendit.com/

>
Finally I'd like to recommend the work of musician and artist Erik Bunger from Sweden.
I recently visited his web site and found two projects in particular that were very interesting.

'Aliens' is a video projection of Woody Allen talking in many different translation languages sourced from DVD menu options.
+
'Variations on a theme by Casey & Finch' is a live instrumental ensemble performance recreating a skipping CD composition...

have a looky at : http://www.erikbunger.com/




so that's it for the next few weeks of fun...
I hope the next year brings you much joy.

all the best
Janek

audiOh! Room
http://www.audiOh.com

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what is the fauxhawk experimentalist vocal movement?  unless that's a joke...

graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx> schrieb:  i'm a huge fan of the fauxhawk experimentalist vocal movement. thanks
for sharing!

g.



                
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From ???@??? Sat Jan 21 06:49:33 2006
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Date: Sat, 21 Jan 2006 01:46:56 -0500
From: yatra_arts <xxxxx_xxxx@xxxxxxx.xxx>
Subject: [microsound] Ryoji Ikeda / CYCLO / Dumb Type
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Hi,

if anyone has ANY printed matter / flyers etc.. concerning:

Ryoji Ikeda / CYCLO / Dumb Type

Please let me know - as I can pay $$ for them. Thanks & sorry for the off topic post.

-P
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i'm a huge fan of the fauxhawk experimentalist vocal movement. thanks
for sharing!

g.

Kim Cascone wrote:

> http://84.40.3.164/
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From ???@??? Sat Jan 21 03:39:07 2006
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Date: Sat, 21 Jan 2006 03:49:59 +0000
From: Bobby Whelan <xxxxx@xxxxxxxxxxxx.xx.xx>
Subject: Re: [microsound] Theremins with true sine output?
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    unless your equipment happens to have
switches, buttons, gates, Sample-and-hold, threshold triggering, 
compressors/limiters or pulse waveforms
all of which use digital processes to work, the difference sonically is 
the time-scale they operate on.
patch-bays and mixers also involve a large amount of 'mapping' ideology 
to make their interfaces seem
intuitive and user-friendly.

ndkent wrote:

> For what it's worth the Doepfer the process doesn't involve "mapping"  
> - there is no map, that's a term better applied to MIDI data for  
> instance, simply put Doepfer makes some Theremin-like antenna modules  
> that output control voltages as you've mentioned. You can use that  
> voltage to control or be scaled to control anything that accepts  
> voltage control. Doepfer makes VCOs with sine waves.  I just paused  
> on the word "mapping" because I believe one of the main attractions  
> of un-digitally assisted analog technology is a complete lack of maps  
> and the inherently stepped/quantitized data involved (nothing wrong  
> if you need it but neither sine waves nor theremins are stepped to  
> begin with)



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But you are a Totally asshole!


love

aLEKs




On Jan 20, 2006, at 3:40 PM, scott allison wrote:

> oh... didnt mean to sound like a totally asshole... I am good at  
> doing that sometimes. But dont fuck up your door bell, cause then  
> your friends wont be able to let you know that they are at your  
> door, pizeo elements are super cheap and you can hack fat heavy  
> ones from old rotarty telephones and stick bubble gum on them to  
> make them tacky and nasty. sometimes I find its cool to leave the  
> pizeo in the plastic and use the plastic as a resonation chamber.
>
>
>
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From ???@??? Sat Jan 21 00:05:45 2006
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> you could try the theremin CV source made by Doepfer (A-178 THER)
> http://www.doepfer.de
> which outputs just the control voltage, which you could map to yr  
> VCO's.
>
> Aaron Ximm wrote:
>
>
>>
>>
>> I'd like to be able to do this performatively but have been  
>> looking for
>> something more expressive than a signal generator interface (e.g.  
>> a knob
>> for frequency and a knob for amplitude). The gestural interface of a
>> theremin seemed ideal.
>>


For what it's worth the Doepfer the process doesn't involve "mapping"  
- there is no map, that's a term better applied to MIDI data for  
instance, simply put Doepfer makes some Theremin-like antenna modules  
that output control voltages as you've mentioned. You can use that  
voltage to control or be scaled to control anything that accepts  
voltage control. Doepfer makes VCOs with sine waves.  I just paused  
on the word "mapping" because I believe one of the main attractions  
of un-digitally assisted analog technology is a complete lack of maps  
and the inherently stepped/quantitized data involved (nothing wrong  
if you need it but neither sine waves nor theremins are stepped to  
begin with)

Now here's some personal experience. Deopfer basic A-110 VCO sine is  
misshaped enough for me to hear harmonics. I scoped it when I  
suspected and sure enough it has a bump.  Their A-111 VCO  has a  
clean enough sine wave that I can't hear harmonics but is rather  
pricey (made with an IC chip developed for synths back in the late  
1970s). You could save money with a self resonating filter. A voltage  
controlled filter that self resonates tends to produce very pure  
waves. Serge Transform Systems, a maker of fairly high end analog  
modular gear points out that their multimode filter's outputs (each  
with naturally occurring phase shifts) makes for an excellent source  
of low frequency sine waves in quadrature (four 90 degree phase  
offsets between the various outputs).

Serge for what it's worth has a Waveshaper that can shape a saw to a  
sine. I believe they originally marketed it because their earlier and  
less costly VCO did not include sine waves... but the great bonus is  
you can voltage control your waveshape between the two or run other  
waves through as an experiment. Not cheap though.


That's what I think is at the heart of the feature issue (Theremin  
with sine waves). Capability to produce good sine waves with analog  
circuitry isn't lacking, the capability to do it for cheap enough to  
build in a *commercial* Theremin where list price is any concern is.  
That's why you don't see it. It doesn't cost that much but way too  
much to just throw in an accurate implementation as a feature.

If you have a theremin with a control voltage output then you just  
need a suitable VCO with a sine output and probably a VCA to control  
it's output volume from the amplitude antenna. If you need it in one  
unit, someone who does custom analog enclosures could likely  
repackage and power the couple circuits(modules) you'd need. You'd  
then have your Theremin with a true sine output.

nick
http://technopop.info/ndkent/
http://www.technopop.info/panik/dct.jpg
(doepfer theremin setup)



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Survey for the professionals and artists who attended
MUTEK_INTERSECTION / the MUTEK Festival in 2005

Name of your organization:
    e/i magazine, the Upgrade Montreal, thisistheonlyart.com,
quadrantcrossing.org, emergency february party affiliates, deep space
exploration syndicate.

NONE OF THE FOLLOWING IS AN OFFICIAL RESPONSE FROM THE ABOVE
ORGANISATION(S). THE VIEWS EXPRESSED BELOW ARE SOLELY FROM THE INDIVIDUAL
KNOWN AS  (SEE BELOW)*

Name of the person who filled in the questionnaire:
ŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠtobias c. van Veen

Please help us to create an audience profile for MUTEK_INTERSECTION 2005.

If needed, please specify your degree of satisfaction, on a 1 to 5 scale
(0: capitalism - 1: not at all satisfied  ­ 5: very satisfied). 6 = thee
orgasm


Your company/organization is based in:
e/i - NYC ; me - MTL; Upgrade - global; art - interplanetary.

Number of employees in your company / organization:
e/i - 5 editorial staff, 30+ writers; Upgrade - 60 or so and more artists
(hundreds); art - bad infinity.

 What term(s) best describe(s) your company/organization?
Artist             THISTHEONLYART.COM
Record Label 
Producer 
Distributor / Publisher
Agent / Booking Agent
Management 
Festival Organizer __            theupgrade.sat.qc.ca
Government 
Media  ___              [ http://www.ei-mag.com ]
UNIVERSITY    [ McGill Philosophy & Art History and Communication Studies ]

Are you a freelance producer/ entrepreneur?
    COLLECTIVE ACTION
If so, how long have you been working as a CATALYST: 12 years

Approximately how long have you been planning/organizing your trip to MUTEK?
    WELL I GO EVERY YEAR

Which MUTEK pass did you have?
       MEDIA / PARTICIPANT ETC

Was it your first attendance to MUTEK festival?
    have attended SINCE 2001

Did you enter your contact details into the MUTEK_INTERSECTION online
database? 
Yes

Did you use this database to communicate with other professionals attending
MUTEK?
No

Did you set up business meeting by using this database?
No... 

What would you like to see on the MUTEK site to help you plan for your
conference participation?

FORUM .

How would you rate MUTEK_INTERSECTION on the following?

Physical Meeting Space                    1    2    3    4    5

On-Line Information and Access             1    2    3    4    5

Panels and Quality of Speakers                DID NOT ATTEND IN 05


MUTEK_INTERSECTION is important for your activities/company/organization to:

Learn about international market trends            YECH

Exchange on important issues with other professionals    YES ESPECIALLY THE
BRUNCH. THE MODEL FORM OF ANARCHISM STARTS FROM A DINNER. SO HOW ABOUT
BRUNCH? FOOD IS THE COMMON ELEMENT OF HUMANITY.

Identify potential new international business        I'D PREFER TO EMPHASIZE
THE DISCOVERY OF INVARIANT PEOPLE WHO DON'T SEE IT PURELY AS A BIZ.

Develop key contacts in the Canadian domestic market    C'MON EVERYONE KNOWS
EACH OTHER IN CANADA

Discover emerging markets                 LIKE THE THIRD WORLD ?

Facilitate international business networking        ARTISTIC SUBVERSIVE
NETWORKS

Contribute to positive international business results    TAKE DOWN THE
FAILING RECORD INDUSTRY MODEL

Develop your export knowledge and contacts        IMPORT UNCONSCIOUS REALITY
DEFILTERING.

If MUTEK_INTERSECTION brought you positive international business results,
please tell us more Š

ONCE AGAIN MUTEK HAS COME THROUGH WITH ARTISTIC NETWORKS. BUT IT FEELS
INCREASINGLY THAT THIS OCCURS DESPITE A CONTINUED AND MISPLACED OVEREMPHASIS
ON BUSINESS TO ITS "PROFESSIONALS" -- TO ENSURE GOV'T FUNDING FLOWS. WITH AN
INCOMING CONSERVATIVE (MINORITY) GOV'T AS OF 20TH JANUARY 2006, I GATHER THE
HEAT IS ON TO FURTHER TRANSFORM MUTEK INTO AN ALL BIZ ALL THE TIME SUIT
GET-DOWN FOR THE NEWLY THIRTYSOMETHING POSTRAVER CAPITALIST. ANGELA MCROBBY
WAS RIGHT.

How many business-to-business meetings did you have at MUTEK 2005?
I BECAME SEVERLY INTOXICATED SEVERAL TIMES IN THE ENTRAILS OF BEAT MONSTERS
WITH MANY FASCINATING MUSICIANS AND TECHNOLOGY ARTISTS AND WRITERS.. I
AVOIDED ANY SUITS OR "BUSINESS" NETWORKING AND TRIED TO STAY AWAY FROM THE
BLATHERING OF THE BAR WHICH SEVERLY DISRUPTED THE OPENING OF JOHN DUNCAN'S
OTHERWISE BRILLIANT PERFORMANCE. ALL HAIL BACCHUS BUT THE FACT THAT
INCREASINGLY MORE AND MORE HUMANS ARE THERE TO PIMP THAN TO MOVE
REEMPHASIZES ONLY THE SUPERFICILIATY OF THIS ELECTRONIC DANCE MUSIC
"CULTURE." THAT IT CONTINUES HAS LESS TO DO WITH THE PUPPETMASTERS AND MORE
TO DO WITH THE FINESSE OF FINDING ONESELF ATTUNED TO SONIC MASOCHISM.

Which regions are you most interested in developing international business?
ALIEN TRANSMISSIONS FROM THE UNDERGROUND RESISTANCE

Please name the countries that you are interested in developing business:
THE RED PLANET

Where you able to meet representatives from these regions at MUTEK 2005?
NO [SEE THE BLACK, THE WHITE AND THE MUTEK PUBLISHED 2003 I BELIEVE]

More details please
XXX

Do you think MUTEK_INTERSECTION could be improved in the future?
YES

Are you planning to attend MUTEK_INTERSECTION in 2006?
DON'T KNOW

Do you have themes or topics you¹d like to suggest for the panel and/or the
workshop series in 2006?
DEVELOPING THE FRINGE REALITIES OF SUBSONIC FREQUENCIES; TECHNOLOGY ARTS AND
THE POTENTIAL TO DEFRAGMENT CONSENSUS REALITY; BEATDOWN RESISTANCE; SONIC
WARFARE; HYPERDUB AND THE ACCUMULATION OF NONREPRESENTATIONAL SOUND;
AFROFUTURISM REWIND AND FFWD; ACCELERATION IN THE THEOCRATIC ERA; WRITING
THE EXCESS OF ASIGNIFYING SOUND; ALIEN SONOGRAPHIES IN CRITICAL MUSIC
WRITING

Please offer us any additional comments or feedback that will help us
increase MUTEK_INTERSECTION 2006 relevance to your development.

ART NOT BUSINESS DRIVES THE CREATION OF SONIC ATMOSPHERES - WITHOUT GOOD ART
THERE IS NOTHING TO SELL - OBVIOUSLY YOUR PROFESSIONALS AREN'T MICRO$OFT
EXECUTIVES - MUTEK COULD EXPAND INTO ENTIRELY NEW DIRECTIONS BY PUSHING
TOWARD ARTISTIC CREATIVE DOMAINS - AND NOT OVERDETERMINING AN ENTIRE SURVEY
IN TERMS THAT WOULD SATISFY STEPHEN HARPER - GIVEN THE DECLINE IN CD SALES
OF ELECTRONIC MUSIC ALBUMS, THE LACK OF AN INDUSTRY IN NORTH AMERICA AND THE
CONTINUING FAILURE OF HARD COPY MUSIC STORES, PERHAPS A RETURN TO ART RATHER
THAN BUSINESS IS NEEDED AS THE WORLD ECLIPSES THE GREGORIAN CALENDAR OF
2006?


Please return this survey fully completed before February 1st 2006

To: Audrey Powell (Tel: 1.514.392.9251)

By fax: +1 (514) 392-0579
By email: xxxxxxx@xxxxx.xx

Thank you for your participation
*INDIVIDUAL DEFINED FROM MARX:  "THE ENSEMBLE OF SOCIAL RELATIONS"




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From ???@??? Fri Jan 20 23:20:31 2006
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Date: Fri, 20 Jan 2006 17:57:11 -0500
From: bruce tovsky <xxxxx@xxxxxxxxxxxx.xxx>
Subject: Re: [microsound] [ot] not microsound but very cool
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now that's a choir i could relate to....

On Jan 20, 2006, at 4:29 PM, Kim Cascone wrote:

> http://84.40.3.164/
>
>
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>
bruce tovsky
www.skeletonhome.com

"Reality is whatever refuses to go away when I stop believing in it.."
Philip K. Dick


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From ???@??? Fri Jan 20 23:11:17 2006
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Momus wrote an interesting entry on that commercial:
 http://imomus.livejournal.com/166093.html
 

Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> schrieb: http://84.40.3.164/


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From ???@??? Fri Jan 20 21:36:04 2006
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From: aymeric detapol <x_xxxxxxxx_x@xxxxxxx.xxx>
Subject: Re: [microsound] Theremins with true sine output?
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 FILETIME=[78322910:01C61E09]

yep
that s true that theremin is hard when you play with it for a long time
I have try it with a dancer and keep the tru sine wave un max msp
to much probleme cause it give a lot number so it look random at the end or 
NIMPNAWAK
but it s a beautiful getsual interface,maybe the best a mean ,no cable 
,,just air and mouvement,,pure
aymeric de  tapol
  http://.www.nowaki-music.org

  http://.www.vibrofiles.com



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http://84.40.3.164/


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From ???@??? Fri Jan 20 21:24:37 2006
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 FILETIME=[8DD61620:01C61E07]


yep that s sright

pure instruments






oooooooooooooouuuuuuuuuuuuuuuuuuuuiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii



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From ???@??? Fri Jan 20 21:19:32 2006
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From: Jonathan Zorn <xxxxx@xxxxxxxx.xxx>
Subject: Re: [microsound] Re: contact mics
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If you want something pre-made you could use a transducer designed for 
a double-bass or any string instrument for that matter. Fishman is a 
nice brand but expensive, probably a little over $100, Underwood I 
think is maybe around $50. There are probably other brands as well.

jz


On Jan 20, 2006, at 3:59 PM, Thaniel Lee wrote:

> the problem is that im disabled.........so i cant build it with my own
> 2 clubbed hand....i need to buy it
> -t
>
> On 1/20/06, Craque <xxxxxx@xxxxxx.xxx> wrote:
>> i've used the method shown on this page countless times, it's a winner
>>
>> nacht wrote:
>>
>>> DIY Contact Mics for about :
>>>
>>> http://home.earthlink.net/~erinys/contactmic.html
>>>
>>>
>>
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the problem is that im disabled.........so i cant build it with my own
2 clubbed hand....i need to buy it
-t

On 1/20/06, Craque <xxxxxx@xxxxxx.xxx> wrote:
> i've used the method shown on this page countless times, it's a winner
>
> nacht wrote:
>
> >DIY Contact Mics for about :
> >
> >http://home.earthlink.net/~erinys/contactmic.html
> >
> >
>
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From ???@??? Fri Jan 20 20:43:12 2006
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 FILETIME=[C4FAA900:01C61E01]

oh... didnt mean to sound like a totally asshole... I am good at doing that 
sometimes. But dont fuck up your door bell, cause then your friends wont be 
able to let you know that they are at your door, pizeo elements are super 
cheap and you can hack fat heavy ones from old rotarty telephones and stick 
bubble gum on them to make them tacky and nasty. sometimes I find its cool 
to leave the pizeo in the plastic and use the plastic as a resonation 
chamber.



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 FILETIME=[E95A6800:01C61DFF]

contact mic = inverted speaker, if you want to fuck up your door bell, go 
for it, door bell prolly has a pizeo element in it, which I bet came from 
mouser or radioshack, unless the door bell is made of iron like the kind you 
manually knock with.



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From ???@??? Fri Jan 20 20:22:36 2006
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 FILETIME=[2D81DFF0:01C61DFF]

That link works well, but to shorten your work, dont waste getting a 1/4 
phone jack.... just take a mono mini-jack cable six feet in length, cut off 
one end... strip the leads, one lead will be ground (black) the other signal 
(red)... twist the red of the pizeo to the red of the cable and the same 
with the blacks, solder the wires... press record.

-----------------------------------------
DIY Contact Mics for about :

http://home.earthlink.net/~erinys/contactmic.html

On Fri, 20 Jan 2006 11:35:47 -0800, Thaniel Lee wrote
>hey, everyone. i need a good contact mic, it needs to be light
>weight,be able to work w/ a laptop, and cost under 100 dollars.any
>suggestions
>
>-t



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From ???@??? Fri Jan 20 20:50:02 2006
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i've used the method shown on this page countless times, it's a winner

nacht wrote:

>DIY Contact Mics for about : 
>
>http://home.earthlink.net/~erinys/contactmic.html
>  
>

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From ???@??? Fri Jan 20 20:11:46 2006
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ummill look into that

On 1/20/06, tkrakowiak <xxxxxxxxxx@xxxxx.xxx> wrote:
>
> speakers that are out of old (isa) us robotics modem work very well
>
>
>
>
> On 20/01/06, nacht <xxxxx@xxxxxxxxxx.xxx> wrote:
> >
> > DIY Contact Mics for about :
> >
> > http://home.earthlink.net/~erinys/contactmic.html
> >
> > On Fri, 20 Jan 2006 11:35:47 -0800, Thaniel Lee wrote
> > > hey, everyone. i need a good contact mic, it needs to be light
> > > weight,be able to work w/ a laptop, and cost under 100 dollars.any
> > > suggestions
> > >
> > > -t
> >
> >
> > ---------------------------------------------------------------------
> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> >
> >
>
>
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From ???@??? Fri Jan 20 20:03:38 2006
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speakers that are out of old (isa) us robotics modem work very well




On 20/01/06, nacht <xxxxx@xxxxxxxxxx.xxx> wrote:
>
> DIY Contact Mics for about :
>
> http://home.earthlink.net/~erinys/contactmic.html
>
> On Fri, 20 Jan 2006 11:35:47 -0800, Thaniel Lee wrote
> > hey, everyone. i need a good contact mic, it needs to be light
> > weight,be able to work w/ a laptop, and cost under 100 dollars.any
> > suggestions
> >
> > -t
>
>
> ---------------------------------------------------------------------
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>
>
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From ???@??? Fri Jan 20 20:01:51 2006
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Subject: [microsound] Re: contact mics
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ITSNT there a way to make on out of a door bell

On 1/20/06, nacht <xxxxx@xxxxxxxxxx.xxx> wrote:
> DIY Contact Mics for about :
>
> http://home.earthlink.net/~erinys/contactmic.html
>
> On Fri, 20 Jan 2006 11:35:47 -0800, Thaniel Lee wrote
> > hey, everyone. i need a good contact mic, it needs to be light
> > weight,be able to work w/ a laptop, and cost under 100 dollars.any
> > suggestions
> >
> > -t
>
>
> ---------------------------------------------------------------------
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>
>

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From ???@??? Fri Jan 20 19:55:29 2006
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From: nacht <xxxxx@xxxxxxxxxx.xxx>
Subject: Re: [microsound] contact mics
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DIY Contact Mics for about : 

http://home.earthlink.net/~erinys/contactmic.html

On Fri, 20 Jan 2006 11:35:47 -0800, Thaniel Lee wrote
> hey, everyone. i need a good contact mic, it needs to be light
> weight,be able to work w/ a laptop, and cost under 100 dollars.any
> suggestions
> 
> -t


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From ???@??? Fri Jan 20 19:36:19 2006
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Date: Fri, 20 Jan 2006 11:35:47 -0800
From: Thaniel Lee <xxxxxxxxxxxxx@xxxxx.xxx>
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hey, everyone. i need a good contact mic, it needs to be light
weight,be able to work w/ a laptop, and cost under 100 dollars.any
suggestions

-t

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From ???@??? Fri Jan 20 19:05:57 2006
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Subject: Re: [microsound] Theremins with true sine output?
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hi

On 1/20/06, Aaron Ximm <xxxxx@xxxx.xxx> wrote:
> I grok that most people of course want that etherwave "vocal" quality for
> performance -- I would too -- but I'm surprised there isn't a way to just
> get the single resultant frequency out first!

i don't think there's a market for it. i have a theremin, and hang
around with other players [on the net] and they mostly perform songs
or violin transcriptions. electronic experimentation with this
instrument is a marginal pursuit among the small population of
thereminists [as i found out myself ...].

also, a lone sine wave is tiring to listen to for a long period

> Hmmmmmmmm.... sigh, and I was hoping to avoid soldering, too! :)

i think that's going to be your best bet!

--
\js  [ http://or8.net/~johns/ ]

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>and i have try a theremin with a dancer an keep the sine wave in max msp
>the number is too exessive,it s impossible to control it
>aymeric de tapol

Let's hear it for uncontrollable instruments!

hip, hip, hooorah!

JH
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On Jan 19, 2006, at 8:08 PM, Adam Young wrote:

> Is there any sort of tutorials or guides on the web anywhere for  
> someone who's never delved into pd or anything like it before?
> Someone popped the question and I didn't have an answer at all...

You may have better luck asking on the PD-list list:
http://lists.puredata.info/listinfo

For manuals, tutorials, FAQs, etc:
http://puredata.info/docs/

- John
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From ???@??? Fri Jan 20 15:46:51 2006
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Subject: Re: [microsound] Theremins with true sine output?
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you could try the theremin CV source made by Doepfer (A-178 THER)
http://www.doepfer.de
which outputs just the control voltage, which you could map to yr VCO's.

Aaron Ximm wrote:

>
>
>I'd like to be able to do this performatively but have been looking for
>something more expressive than a signal generator interface (e.g. a knob
>for frequency and a knob for amplitude). The gestural interface of a
>theremin seemed ideal.
>
>Naively I assumed that the default output of a cheap kit theremin would be
>a simple sine, it's still not clear to me why the heterodyned output at
>root would not just be a simple waveform -- or why I can't seem to find a
>theremin that will just give me that output without overtones.
>  
>

-- 
_____________________________________
S__O__U__N__D__I__N__G__B__O__D__Y
realtime collaboration |.....| web-computer music
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From ???@??? Fri Jan 20 16:16:51 2006
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i did say "unethical."
of course, there's always the midi theremin....
cheers
bruce

On Jan 20, 2006, at 1:35 AM, Aaron Ximm wrote:

> Erp. Welllllllll, the whole intent is to avoid a laptop etc. :)
>
bruce tovsky
www.skeletonhome.com

"Flying is learning how to throw yourself at the ground and miss."
Douglas Adams


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Not sure if u guys and girls will be able to help but....
I found an old Deep Dish hot mix from Radio 1 in Ibiza I think
2004....wondered if anyone knew where I could get a track list for it.....



-----Original Message-----
From: aymeric detapol [mailto:x_xxxxxxxx_x@xxxxxxx.xxx] 
Sent: 20 January 2006 10:14
To: xxxxxxxxxx@xxxxxxxxx.xxx
Subject: Re: [microsound] Theremins with true sine output?

yes
and i have try a theremin with a dancer an keep the sine wave in max msp the
number is too exessive,it s impossible to control it aymeric de tapol



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From ???@??? Fri Jan 20 10:16:09 2006
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 FILETIME=[30E09BF0:01C61DAA]

yes
and i have try a theremin with a dancer an keep the sine wave in max msp
the number is too exessive,it s impossible to control it
aymeric de tapol



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From ???@??? Fri Jan 20 07:27:35 2006
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Hallo,
Doran Massey hat gesagt: // Doran Massey wrote:

> Did you see the "manual" here:  
> http://crca.ucsd.edu/~msp/Pd_documentation/index.htm 
> 
> Also some study patches:  http://crca.ucsd.edu/~msp/pdrp/latest/doc/

The PDRP patches are offline for "some IP questions".

> >Is there any sort of tutorials or guides on the web anywhere for  
> >someone who's never delved into pd or anything like it before?
> >Someone popped the question and I didn't have an answer at all...

Pd comes with very fine tutorials available through its help-menu.

Ciao
-- 
 Frank Barknecht                 _ ______footils.org_ __goto10.org__

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From: Aaron Ximm <xxxxx@xxxx.xxx>
Subject: Re: [microsound] Theremins with true sine output?
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> a really unethical way would be to run a theremin through antares'
> "kantos" plugin - a monophonic pitchtracking synth/sample player -

Erp. Welllllllll, the whole intent is to avoid a laptop etc. :)

The reason I'm interested is, I've been playing a lot with dense tone
clusters produced by analog sine wave generators.

I have a nice flock of them now and when you get at least six -- better,
ten or more :D -- tones stacked, grouped with close tones beating against
one other... sometimes with the beat frequency itself being harmonized
against...

....and then sweep a single tone across the cluster, it's a really hypnotic
ear excercise!

I'd like to be able to do this performatively but have been looking for
something more expressive than a signal generator interface (e.g. a knob
for frequency and a knob for amplitude). The gestural interface of a
theremin seemed ideal.

Naively I assumed that the default output of a cheap kit theremin would be
a simple sine, it's still not clear to me why the heterodyned output at
root would not just be a simple waveform -- or why I can't seem to find a
theremin that will just give me that output without overtones.

I grok that most people of course want that etherwave "vocal" quality for
performance -- I would too -- but I'm surprised there isn't a way to just
get the single resultant frequency out first!

Hmmmmmmmm.... sigh, and I was hoping to avoid soldering, too! :)

 best,
 aaron

  xxxxx@xxxx.xxx
  http://www.quietamerican.org

  |  quod omne animal post   |
  |  cogitum est triste...   |

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From ???@??? Fri Jan 20 05:15:20 2006
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a really unethical way would be to run a theremin through antares'
"kantos" plugin - a monophonic pitchtracking synth/sample player -
and give it a sine sample. it has the added trick of being able to
quantize the pitch to user-defined scales.
cheers
bruce

On Jan 19, 2006, at 9:20 PM, Aaron Ximm wrote:

> Random gear question...
>
> ...does anyone know of any commercially available theremin that will
> produce an unmodulated/processed sine wave output?
>
>  thanks!
>
>   aaron
>
>   xxxxx@xxxx.xxx
>   http://www.quietamerican.org
>
>   |  quod omne animal post   |
>   |  cogitum est triste...   |
>
>
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>
bruce tovsky
www.skeletonhome.com

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You might be able to take the control voltage (or other sort of output) and
modulate the frequency of a Wien Bridge circuit, the Wien Bridge giving you
pretty much as clean of an analog sine wave as possible.

nick


On 1/19/06, Aaron Ximm <xxxxx@xxxx.xxx> wrote:
>
> Random gear question...
>
> ...does anyone know of any commercially available theremin that will
> produce an unmodulated/processed sine wave output?
>
> thanks!
>
>   aaron
>
>   xxxxx@xxxx.xxx
>   http://www.quietamerican.org
>
>   |  quod omne animal post   |
>   |  cogitum est triste...   |
>
>
> ---------------------------------------------------------------------
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Yes, i don't think that you will get a "theremin" that will produce a sine wave like that.  but i think that there are digital theremins that have kinda the same range and sound, but not played like a really theremin.  so it's more just moving things around on yr computer.
   
  s.
     
   
  >Random gear question...
>
>...does anyone know of any commercially available theremin that will
>produce an unmodulated/processed sine wave output?

 By nature it's a 'dirty' analog device like a violin and 
with variations in air resistivity alone between the device and the 
hand, the interference outcome will always be full of noise 
superimposed on harmonically-stacked sines...

cheers
jh



                
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>Random gear question...
>
>...does anyone know of any commercially available theremin that will
>produce an unmodulated/processed sine wave output?

Hmmm, Aaron  I'm thinking that you will never get a clean sine wave 
out of a theremin -- at least nothing on the order of a digitally 
generated wave (plug in the frequency, and the wave comes out)... 
But maybe there are folks out there that know more about the 
theremin.  By nature it's a 'dirty' analog device like a violin and 
with variations in air resistivity alone between the device and the 
hand, the interference outcome will always be full of noise 
superimposed on harmonically-stacked sines...

cheers
jh

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From: Aaron Ximm <xxxxx@xxxx.xxx>
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Random gear question...

....does anyone know of any commercially available theremin that will
produce an unmodulated/processed sine wave output?

 thanks!

  aaron

  xxxxx@xxxx.xxx
  http://www.quietamerican.org

  |  quod omne animal post   |
  |  cogitum est triste...   |


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From ???@??? Fri Jan 20 01:25:05 2006
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Did you see the "manual" here:  
http://crca.ucsd.edu/~msp/Pd_documentation/index.htm 

Also some study patches:  http://crca.ucsd.edu/~msp/pdrp/latest/doc/

Lot's of links:  http://puredata.org/docs/ 

Adam Young wrote:

> Is there any sort of tutorials or guides on the web anywhere for  
> someone who's never delved into pd or anything like it before?
> Someone popped the question and I didn't have an answer at all...
>
>
>
>
>
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Is there any sort of tutorials or guides on the web anywhere for  
someone who's never delved into pd or anything like it before?
Someone popped the question and I didn't have an answer at all...






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From ???@??? Wed Jan 18 23:02:31 2006
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a filmmaker I know posted this to his wonderful DVGuru site...
it's a great idea for anyone recording vocals, foley or whatever in a 
closed space...
check it out:
http://www.dvguru.com/2006/01/17/creating-the-cheapest-sound-booth/


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Date: Wed, 18 Jan 2006 14:47:15 +0100
From: Trond Lossius <xxxxxxx@xxx.xx>
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 FILETIME=[EBCCF4C0:01C61C35]

> Anyone interested in surround sound for web or divX\xVid should  
> check out
> http://www.aud-x.com/index.php

Seems to be Windows only at the time being, or am I missing something?

Trond


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From ???@??? Tue Jan 17 22:42:10 2006
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Call for works: (multi channel environments + video)

Throughout Spring/Summer 2006 artmafia.org (Chicago,
USA) will host a
series of soundscape installations hosted in a NEW
sound diffusion-
video projection gallery space.

We are now excepting works for Sound
Diffusion/Projection + Video.

Works are to be:

-ALL/ANY multi channel environments all the way up to
10.2

- DVD (AC3 and/or DTS format.)

- Computer data/file (For Nuendo/Quicktime
(Preferred), Wavelab ,
SCPlay, MaxPlay, Kyma etc.)

-Multi-track TAPE works will be on ADAT/DA88.

//Sampling frequency and start of the work are clearly
indicated.

//A plan of the layout of the speakers and the
allocation of the
tracks is to be enclosed.

//The multi-track master is to be accompanied by a
stereo master of
the work, which will be used for screening.

artmafia
Digital Arts and Experimental Media
845 west fulton market
suite 304
chicago, illinois 60607


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Anyone interested in surround sound for web or divX\xVid should check out
http://www.aud-x.com/index.php
m_north


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From ???@??? Tue Jan 17 19:23:12 2006
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wow this is actually a really fantastic archive with tons of k-rad
ASCII art banners + text designs.

see also textfiles.com

4rcHive iT!
jake

On 1/17/06, Jason Hollis <xxxxxxx@xxxxx.xxx> wrote:
> As the URL implies, and their mission states, NFODB is a database of .nfo
> files from bootleg/cracked releases.
> They distribute NO actual material, these are just the .nfo files.  The site
> is purely archival in nature.
>
> My own release "Meld - Endif vs. Caustic" is listed there as well:
> http://nfodb.net/get_92675_Endif.Vs..Caustic-Meld-CDR-Limited.Edition-2005_wav_free_album_midi_download.html
>
> So yeah, you're barking up the wrong tree, my friend.  =)
>
> !J!
> http://www.endif.org
> http://www.thirdwavecollective.com
>
>
>
> ----- Original Message -----
> From: <xxxxx@xxxx.xxx>
> To: <xxxxxxxxxx@xxxxxxxxx.xxx>
> Sent: Monday, January 16, 2006 9:53 PM
> Subject: [microsound] NfoDB.net/com/org?
>
>
> > Hello everyone,
> >
> > I just ran across what looks like a crack/shareware/illegal mp3 site
> > called
> > NfoDB.net/com/org and they have at least a couple and/OAR releases listed
> > with the
> > word "mp3" next to them. http://www.nfodb.com
> >
> > Of course, being that I run the label and the releases are far from out
> > of print,
> > and they did not ask permission to post the mp3s (or whatever they're
> > posting),
> > I would like to know if anyone knows anything about this operation and
> > how to
> > get in contact with them?
> >
> > Apart from and/OAR, I see releases by NonVisualObjects, Headz, Lucky
> > Kitchen,
> > 1.8 sec recordings, Spekk, Alluvial Recordings, to name just a few.
> >
> >
> > Thanks, Dale
> >
> > Dale Lloyd:  http://www.and-oar.org/dalelloyd.html
> > and/OAR:  http://www.and-oar.org/
> >
> > ---------------------------------------------------------------------
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> > website: http://www.microsound.org
> >
> >
>
>
>
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Date: Tue, 17 Jan 2006 08:10:00 -0600
From: Jason Hollis <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] electroplankton
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"It's supposed to be experienced not be used"

All the more reason to use it.
Every permutation should be tried.
=)

!J!
http://www.endif.org
http://www.thirdwavecollective.com

----- Original Message ----- 
From: "eretsua" <xxxxxxxxx_xxxxxx@xxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Tuesday, January 17, 2006 4:51 AM
Subject: Re: [microsound] electroplankton


> haven't done anything with it in ages. got it when it was first released 
> in Japan. It's a bit of an over-used tool/instrument/gimmick nowadays in 
> my opinion. I love the concept and I do think it's Iwai Toshio's finest 
> work. Actually I think it's Iwai's art and not a creative tool for us the 
> public. It's good to get inspired by it and use it as a source to make 
> something new which is partially formed by Electroplankton. But the lack 
> of creative  / innovative control of the "game" is preventing it from 
> being a tool, I think. It's supposed to be experienced not be used. and 
> it's a pretty nice experience.
>
> vincent.
>
>
>
> Adam Young <xxxx_xxxxx@xxxxxx.xx> wrote: Has anyone been experimenting 
> with the electroplankton title on the
> nintendo ds?
>
> It's pretty silly, but neat to see something like this being released
> in a small way in a mainstream market. I've been multitracking some
> compositions using only it's generated audio as a source.. anyone
> else doing anything with it?
>
>
>
> adam young
> www.adyo.info
> www.direwires.com | www.tractile.net
>
>
>
>
>
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>
>
>
>
> ---------------------------------
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As the URL implies, and their mission states, NFODB is a database of .nfo 
files from bootleg/cracked releases.
They distribute NO actual material, these are just the .nfo files.  The site 
is purely archival in nature.

My own release "Meld - Endif vs. Caustic" is listed there as well:
http://nfodb.net/get_92675_Endif.Vs..Caustic-Meld-CDR-Limited.Edition-2005_wav_free_album_midi_download.html

So yeah, you're barking up the wrong tree, my friend.  =)

!J!
http://www.endif.org
http://www.thirdwavecollective.com



----- Original Message ----- 
From: <xxxxx@xxxx.xxx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, January 16, 2006 9:53 PM
Subject: [microsound] NfoDB.net/com/org?


> Hello everyone,
>
> I just ran across what looks like a crack/shareware/illegal mp3 site
> called
> NfoDB.net/com/org and they have at least a couple and/OAR releases listed
> with the
> word "mp3" next to them. http://www.nfodb.com
>
> Of course, being that I run the label and the releases are far from out
> of print,
> and they did not ask permission to post the mp3s (or whatever they're
> posting),
> I would like to know if anyone knows anything about this operation and
> how to
> get in contact with them?
>
> Apart from and/OAR, I see releases by NonVisualObjects, Headz, Lucky
> Kitchen,
> 1.8 sec recordings, Spekk, Alluvial Recordings, to name just a few.
>
>
> Thanks, Dale
>
> Dale Lloyd:  http://www.and-oar.org/dalelloyd.html
> and/OAR:  http://www.and-oar.org/
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
> 



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From ???@??? Tue Jan 17 10:58:47 2006
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From: eretsua <xxxxxxxxx_xxxxxx@xxxxx.xxx>
Subject: Re: [microsound] electroplankton
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haven't done anything with it in ages. got it when it was first released in Japan. It's a bit of an over-used tool/instrument/gimmick nowadays in my opinion. I love the concept and I do think it's Iwai Toshio's finest work. Actually I think it's Iwai's art and not a creative tool for us the public. It's good to get inspired by it and use it as a source to make something new which is partially formed by Electroplankton. But the lack of creative  / innovative control of the "game" is preventing it from being a tool, I think. It's supposed to be experienced not be used. and it's a pretty nice experience.

vincent. 



Adam Young <xxxx_xxxxx@xxxxxx.xx> wrote: Has anyone been experimenting with the electroplankton title on the  
nintendo ds?

It's pretty silly, but neat to see something like this being released  
in a small way in a mainstream market. I've been multitracking some  
compositions using only it's generated audio as a source.. anyone  
else doing anything with it?



adam young
www.adyo.info
www.direwires.com | www.tractile.net





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---------------------------------
Yahoo! Photos
 Got holiday prints? See all the ways to get quality prints in your hands ASAP.
--Boundary_(ID_XS5iOysCn1rh5Tld5kjQ2A)--

From ???@??? Tue Jan 17 10:00:01 2006
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Has anyone been experimenting with the electroplankton title on the  
nintendo ds?

It's pretty silly, but neat to see something like this being released  
in a small way in a mainstream market. I've been multitracking some  
compositions using only it's generated audio as a source.. anyone  
else doing anything with it?



adam young
www.adyo.info
www.direwires.com | www.tractile.net





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From ???@??? Tue Jan 17 07:58:12 2006
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Date: Mon, 16 Jan 2006 22:35:21 -0800
From: Scott Carver <xxxxxxx@x.xxxxxxxxxx.xxx>
Subject: Re: [microsound] NfoDB.net/com/org?
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Looks like it's just a database of nfo files (which usually come  
included with files distributed by l33t hax0rs like these), but not  
any real files. Which means that, at some point, someone ripped those  
releases and posted them on an ftp site or hotline server or  
something with that nfo file, not that they are necessarily available  
anywhere right now. Most of the things you mentioned were released by  
hit2000 or bcc. There's not much you could say to whoever runs  
nfodb.org, the files they're hosting are pretty much publicly  
available and harmless, hit2000 and bcc, whoever they are, are doing  
the real damage. You might try some googling to see if you can find  
out who they are.

- Scott Carver

On Jan 16, 2006, at 7:53 PM, xxxxx@xxxx.xxx wrote:

> Hello everyone,
>
> I just ran across what looks like a crack/shareware/illegal mp3 site
> called
> NfoDB.net/com/org and they have at least a couple and/OAR releases  
> listed
> with the
> word "mp3" next to them. http://www.nfodb.com
>
> Of course, being that I run the label and the releases are far from  
> out
> of print,
> and they did not ask permission to post the mp3s (or whatever they're
> posting),
> I would like to know if anyone knows anything about this operation and
> how to
> get in contact with them?
>
> Apart from and/OAR, I see releases by NonVisualObjects, Headz, Lucky
> Kitchen,
> 1.8 sec recordings, Spekk, Alluvial Recordings, to name just a few.
>
>
> Thanks, Dale
>
> Dale Lloyd:  http://www.and-oar.org/dalelloyd.html
> and/OAR:  http://www.and-oar.org/
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>


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From ???@??? Tue Jan 17 04:01:45 2006
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Hello everyone,

I just ran across what looks like a crack/shareware/illegal mp3 site
called
NfoDB.net/com/org and they have at least a couple and/OAR releases listed
with the 
word "mp3" next to them. http://www.nfodb.com 

Of course, being that I run the label and the releases are far from out
of print,
and they did not ask permission to post the mp3s (or whatever they're
posting), 
I would like to know if anyone knows anything about this operation and
how to 
get in contact with them?

Apart from and/OAR, I see releases by NonVisualObjects, Headz, Lucky
Kitchen,
1.8 sec recordings, Spekk, Alluvial Recordings, to name just a few.


Thanks, Dale

Dale Lloyd:  http://www.and-oar.org/dalelloyd.html
and/OAR:  http://www.and-oar.org/

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Date: Mon, 16 Jan 2006 09:23:22 +0000
From: Valery Carpentier <xxxxxx_xxxxxxxxxx@xxx.xxxxxxxx.xxx>
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Return Receipt
                                                                           
    Your      [microsound] Farmers Manual thread: web site navigation      
    document  issues                                                       
    :                                                                      
                                                                           
    was       Valery Carpentier/UK/CLE/Creative                            
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From ???@??? Mon Jan 16 06:11:35 2006
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Has anyone managed to find any photos of FM live or Press photos?

On 1/15/06, Jair-Rohm <xxx@xxxxxx.xx> wrote:
>
> Excellent! Thanks for all of the alternative links and re-directs. Very
> much appreciated. Cool music too.
>
> JPW
>
> On Jan 15, 2006, at 21:45, xxxxxxxxxx-xxxxxx-xxxx@xxxxxxxxx.xxx wrote:
>
> > Re: [microsound] Farmers Manual
> ----------------------------------------------------------------------
> Experience and buy "Exquisite Noise"
> http://www.cdbaby.com/cd/jairrohmpw
> and don't forget to check out Decision Dream at:
> http://www.soundclick.com/decisiondream
>
>
> ---------------------------------------------------------------------
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>
>
--Boundary_(ID_PeZPacUa+VUxOOfk7OXr1g)--

From ???@??? Sun Jan 15 23:46:12 2006
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On 1/15/06 3:06 PM, "Skip Acuff" <xxxxxx@xxxxxx.xxx> wrote:

> Folks,
> 
> I agree with the complaint about this particular website.  For those of
> us who would like to listen to Farmers Manual's music but can't locate
> the downloads, please explain where they are locate on http://rla.web.fm
> <http://rla.web.fm/>

look at the bottom of that page, revisions:
http://rla.web.fm/twiki-bin/view/Rla/EventIndex

also real audio files at Mego:
http://mego.at/releases.html

best,
phil




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From: =?iso-8859-1?Q?Bj=F6rn_Eriksson?= <xxxxxxx@xxxxxxx.xx>
Subject: Re: [microsound] Farmers Manual thread: web site navigation issues
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Took some time to find out. Following the "index" link to the left you come 
to this page:
http://rla.web.fm/twiki-bin/view/Rla/WebIndex
There you follow links and are directed to ogg and mp3 files or other 
documents.

/Björn E


----- Original Message ----- 
From: "Skip Acuff" <xxxxxx@xxxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, January 16, 2006 12:06 AM
Subject: [microsound] Farmers Manual thread: web site navigation issues


Folks,

I agree with the complaint about this particular website.  For those of
us who would like to listen to Farmers Manual's music but can't locate
the downloads, please explain where they are locate on http://rla.web.fm
<http://rla.web.fm/>



Danke!

Skip





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Folks,

I agree with the complaint about this particular website.  For those of
us who would like to listen to Farmers Manual's music but can't locate
the downloads, please explain where they are locate on http://rla.web.fm
<http://rla.web.fm/> 

 

Danke!

Skip 

 

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Excellent! Thanks for all of the alternative links and re-directs. Very 
much appreciated. Cool music too.

JPW

On Jan 15, 2006, at 21:45, xxxxxxxxxx-xxxxxx-xxxx@xxxxxxxxx.xxx wrote:

> Re: [microsound] Farmers Manual
----------------------------------------------------------------------
Experience and buy "Exquisite Noise"
http://www.cdbaby.com/cd/jairrohmpw
and don't forget to check out Decision Dream at:
http://www.soundclick.com/decisiondream


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Subject: [microsound] Farmer Manual
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          Renchenzentrum reminds me of FM in a big way,
          musically, and also in their audio/video
          performance.





if you allow me, one huge difference is that Rechenzentrum always
attached more importance to melodies and humanity than to abstraction,
I'm not saying that one is better than another in term of choice,
musical ethics or directions, just stressing that point which is of
importance, I think.
In their early days I used to enjoy FM a lot, and years later I do not
listen that much to their music anymore whereas I come back to
Rechenzentrum from time to time, and really have pleasure to watch the
DVD on MP. Anyway that is my opinion and has no importance. Good night.
philippe

| 0000 \\\\.. \\\\ __  http://www.bip-hop.com  _---| 0000 \\\\..\\\\
contemporary electronic musics challenging the ears and the mind

--Boundary_(ID_Cchco5ooCjSOUbRyh9ujKA)--

From ???@??? Fri Jan 13 23:02:28 2006
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From: =?iso-8859-1?Q?Bj=F6rn_Eriksson?= <xxxxxxx@xxxxxxx.xx>
Subject: Re: [microsound] Farmers Manual
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Google gave me this as fourth hit:
http://www.mp3.com/farmers-manual/artists/182846/summary.html
(Gee, remember mp3.com?) Click on albums, then on album graphics and there 
is plenty of excerpts to listen to.

My remark on their site was more on comparing on our own TWiki layout to be 
found here:
http://microsound.nexthop.net/bin/view.cgi/Main/WebHome
The http://web.fm is very hard to follow where to find specific things but 
it has some interesting layout aspects that I think is lacking at our 
..microsound TWiki.

Yours,
Björn

----- Original Message ----- 
From: "Jair-Rohm" <xxx@xxxxxx.xx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Friday, January 13, 2006 10:08 PM
Subject: Re: [microsound] Farmers Manual


>> site: http://web.fm
>
> Yo! That site sucks. Like, where's the info? I'm really getting tired of 
> this "i'm too clever to communicate effectively" alternative web site 
> design nonsense. It's like: ok, i'm curious, who are these people...so i 
> go to the web site and it's like a pitiful attempt at a labyrinth. Really. 
> All i wanted was a page with a bio and an MP3 or two. I mean, is that too 
> much too ask?
>
> JPW


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Why a site should be informative? Graphical works are not. Music isn't
neither. I don't see any reason why their site should be. It's just another
media.

Julien.


le 13/01/06 22:08, Jair-Rohm à xxx@xxxxxx.xx a écrit :

>> site: http://web.fm
> 
> Yo! That site sucks. Like, where's the info? I'm really getting tired
> of this "i'm too clever to communicate effectively" alternative web
> site design nonsense. It's like: ok, i'm curious, who are these
> people...so i go to the web site and it's like a pitiful attempt at a
> labyrinth. Really. All i wanted was a page with a bio and an MP3 or
> two. I mean, is that too much too ask?
> 
> JPW
> ----------------------------------------------------------------------
> Experience and buy "Exquisite Noise"
> http://www.cdbaby.com/cd/jairrohmpw
> and don't forget to check out Decision Dream at:
> http://www.soundclick.com/decisiondream
> 
> 
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> 






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Jair-Rohm schreef:
>> site: http://web.fm
> 
> 
> Yo! That site sucks. Like, where's the info? I'm really getting tired of 
> this "i'm too clever to communicate effectively" alternative web site 
> design nonsense. It's like: ok, i'm curious, who are these people...so i 
> go to the web site and it's like a pitiful attempt at a labyrinth. 
> Really. All i wanted was a page with a bio and an MP3 or two. I mean, is 
> that too much too ask?
> 

you want mp3's: http://rla.web.fm

there are some oggs too though. i hope you don't mind.

you should have seen their previous site. very nice use of simple code 
(no flash, all html & javascript), but you would have freaked out.


m
-- 

http://www.mprims.tk

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From ???@??? Fri Jan 13 23:36:11 2006
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From: Mike Rosenthal <xxxx@xxxxxxxxxx.xxx>
Subject: [microsound] Open Call - Bent 2006 Circuit Bending Festival
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(hopefully of some relevance to members of the microsound community...)
--

BENT 2006 CIRCUIT BENDING FESTIVAL OPEN CALL

 The Tank is currently accepting proposals for:
 Bent 2006 : The Third Annual Circuit Bending Festival
 April 19-23, 2006
 Proposal Deadline: February 10, 2006

 Each year the festival features daily workshops, art installations,
 and evening concerts from a wide variety of international
 performers and artists. This year we are working in collaboration
 with Harvestworks as part of their “Benders and Coders” series to
 co-produce the festival.

 We are looking for proposals for the following:

 Workshop Leaders: each year we offer general circuit bending
 workshops for beginners and more advanced workshops on specialty
 topics for more seasoned circuit benders. If you feel you have a
 subject you would like to lead a workshop on, please provide us
 with a one-page description of that workshop, as well as links or
 examples of your current and past work in the field.

 Installation Artists: We are looking for up to three artists who
 can commit to spending at least 15 hours in our gallery space over
 the course of the festival creating site-specific pieces of art
 that somehow incorporate circuit bending. We will provide space and
 as much materials and electronic equipment and tools as we are
 able. Please send a one-page proposal of what you would like to do
 and examples of your past work. Also, please be able to commit to
 spending time in the gallery during the festival and be prepared
 for a shared and at times hectic work environment…no white walls
 here…

 Artwork: in addition to installation artists we are also interested
 in having artwork up on the walls that fit into the spirit of the
 festival from people who might not be able to join us in person or
 who can’t commit to working in the space during the festival.  Artists are
responsible for shipping/transportation costs, and should include special
instructions for mounting and maintenance. Please submit digital images of
your
work and a brief description.

 Performers: we will be having 4 nights of performances during the
 festival. Please submit a brief description of your work, an mp3 or
 link to audio online, and any visual documentation of your
 performance.

 STIPENDS:
 Those of you who have attended in previous years know that we are a
 homebrew, volunteer run organization fighting to maintain a
 foothold of experimental arts in new york city. Last year we were
 able to provide $20 stipends to performers and a few travel grants.
 This year we hope to be able to offer much larger stipends and more
 travel grants, but we will not know until late February when we
 hear back from our granting organization. Please keep this in mind
 when applying.

 Applications should be emailed to:
 xxxxxxxxxx@xxxxxxxxxx.xxx
 Or mailed to:
 Mike Rosenthal
 The Tank
 P.O. Box 2026
 New York, NY 10013

 Relevant Links:
 http://www.thetanknyc.org
 http://www.bentfestival.org


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Subject: Re: [microsound] Farmers Manual
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Did you miss something there? I think that site is great!
  ----- Original Message ----- 
  From: Jair-Rohm<mailto:xxx@xxxxxx.xx> 
  To: microsound<mailto:xxxxxxxxxx@xxxxxxxxx.xxx> 
  Sent: Friday, January 13, 2006 4:08 PM
  Subject: Re: [microsound] Farmers Manual


  > site: http://web.fm<http://web.fm/>

  Yo! That site sucks. Like, where's the info? I'm really getting tired 
  of this "i'm too clever to communicate effectively" alternative web 
  site design nonsense. It's like: ok, i'm curious, who are these 
  people...so i go to the web site and it's like a pitiful attempt at a 
  labyrinth. Really. All i wanted was a page with a bio and an MP3 or 
  two. I mean, is that too much too ask?

  JPW

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Subject: Re: [microsound] Farmer Manual
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I like FSCK. Farmers Manual had a really interesting multimedia approach to their work, and I always associated them with things like jodi.org etc. Renchenzentrum reminds me of FM in a big way, musically, and also in their audio/video performance.

plug: joel tammik - eemal, just came across this guys work, not much info online about him. very nice lp of dubby, textural, techno. keywords: glitch, chain reaction, lo fi, microsound.

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> site: http://web.fm

Yo! That site sucks. Like, where's the info? I'm really getting tired 
of this "i'm too clever to communicate effectively" alternative web 
site design nonsense. It's like: ok, i'm curious, who are these 
people...so i go to the web site and it's like a pitiful attempt at a 
labyrinth. Really. All i wanted was a page with a bio and an MP3 or 
two. I mean, is that too much too ask?

JPW
----------------------------------------------------------------------
Experience and buy "Exquisite Noise"
http://www.cdbaby.com/cd/jairrohmpw
and don't forget to check out Decision Dream at:
http://www.soundclick.com/decisiondream


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Notice they use TWiki for their site?
> 
> site: http://web.fm
> 


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>>(called simply "Five" 
>> from '97), called "ulan bator".

That one was released on fine (then) Austrian label Sabotage records,
before sabotage went on to focus on art-happenings only...

The cd and lp versions differ completely, but both of them are worth
checking out...

So much for related info...

hidari
 
°~°
love me for my weirdness, or leave me for your boredom
 
http://www.tomoroh.com/
>Music<
~°~

-----Ursprüngliche Nachricht-----
Von: Craque [mailto:xxxxxx@xxxxxx.xxx] 
Gesendet: Donnerstag, 12. Januar 2006 16:17
An: microsound
Betreff: Re: [microsound] Farmer Manual

very cool, thanks for the link!

there's a compilation in iTMS with a track on it (called simply "Five" 
from '97), called "ulan bator".

that's one cool thing about iTMS... a lot of experimental folk have one 
or two tracks up there because they're on a comp or something, makes for

great trolling.

matt

mik wrote:

> bryan garcia wrote:
>
>> no doubt.  what's up with farmer manual ?   i just got
>> tape beatles.   jesus.  this shit is awesome/.
>>
>>
>> b >G<
>> --- Craque <xxxxxx@xxxxxx.xxx> wrote:
>>
>>
>>> what is Farmer Manual all about?
>>>
>>> m
>>>
>
> it's farmerssss manual and i think their best is fsck
>
> nerd glitchtop pioneers
>
>
> site: http://web.fm
>
>
> m
>


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very cool, thanks for the link!

there's a compilation in iTMS with a track on it (called simply "Five" 
from '97), called "ulan bator".

that's one cool thing about iTMS... a lot of experimental folk have one 
or two tracks up there because they're on a comp or something, makes for 
great trolling.

matt

mik wrote:

> bryan garcia wrote:
>
>> no doubt.  what's up with farmer manual ?   i just got
>> tape beatles.   jesus.  this shit is awesome/.
>>
>>
>> b >G<
>> --- Craque <xxxxxx@xxxxxx.xxx> wrote:
>>
>>
>>> what is Farmer Manual all about?
>>>
>>> m
>>>
>
> it's farmerssss manual and i think their best is fsck
>
> nerd glitchtop pioneers
>
>
> site: http://web.fm
>
>
> m
>


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From ???@??? Thu Jan 12 10:39:14 2006
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Subject: RE: [microsound] Fripp makes sound for windows Vista
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 FILETIME=[6A6F10F0:01C61764]

They probably paid $100 for each piece.  I mean Eno and Fripp probably paid 
that to MS :}

Has anyone tried Vista beta for music/sound production?  I'm expecting 
hardware & software compatibility problems will far exceed what we saw when 
XP shipped.


>From: jake elliott <xxxxxx@xxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: [microsound] Fripp makes sound for windows Vista
>Date: Fri, 6 Jan 2006 02:24:59 -0600
>
>http://channel9.msdn.com/showpost.aspx?postid=151853
>
>hey kim - now that MS has gone through Brian Eno and Robert Fripp,
>maybe they can use some PGR stuff?
>
>;)
>jake
>
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At least, I'm glad we'll have another release from you. Really nice!
Merci d'avance pour ça.

Julien.


Le 11 janv. 06 à 21:43, hervé boghossian a écrit :

> Hi,
> It's not necessary to send me mails about this, i received a lot, i've
> already found someone .
> Thanks to all the persons who answered me.
> All the best
> Rv
>
>
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Hi, 
It's not necessary to send me mails about this, i received a lot, i've
already found someone .
Thanks to all the persons who answered me.
All the best 
Rv 



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bryan garcia wrote:
> no doubt.  what's up with farmer manual ?   i just got
> tape beatles.   jesus.  this shit is awesome/.
> 
> 
> b >G< 
> 
> --- Craque <xxxxxx@xxxxxx.xxx> wrote:
> 
> 
>>what is Farmer Manual all about?
>>
>>m
>>

it's farmerssss manual and i think their best is fsck

nerd glitchtop pioneers


site: http://web.fm


m

-- 

http://www.mprims.tk

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no doubt.  what's up with farmer manual ?   i just got
tape beatles.   jesus.  this shit is awesome/.


b >G< 

--- Craque <xxxxxx@xxxxxx.xxx> wrote:

> what is Farmer Manual all about?
> 
> m
> 
> 
>
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what is Farmer Manual all about?

m


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I really like their first album.

Cordell / DOCTSECT


--- "David @ Audiobulb" <xxxxxxxx@xxxxx.xx.xx>
wrote:

> Hi List
> 
> If you were to own one album by Farmers Manual
> which one would it be?
> 
> I'm looking to buy a CD by them.... and I do
> not want the dvd RLA as i 
> prefer to concentrate on listening.
> 
> Thanks
> 
> David 
> 
> 
>
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Cordell Klier  
www.doctsect.com  
drone, lowercase, glitch, experimental, noise, click, and soundart.


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a tie btwn nobackup and explorerswe

"David @ Audiobulb" <xxxxxxxx@xxxxx.xx.xx> wrote:  Hi List

If you were to own one album by Farmers Manual which one would it be?

I'm looking to buy a CD by them.... and I do not want the dvd RLA as i 
prefer to concentrate on listening.

Thanks

David 


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---------------------------------
Yahoo! Photos – Showcase holiday pictures in hardcover
 Photo Books. You design it and we’ll bind it!
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No Backup

"David @ Audiobulb" <xxxxxxxx@xxxxx.xx.xx> wrote:  Hi List

If you were to own one album by Farmers Manual which one would it be?

I'm looking to buy a CD by them.... and I do not want the dvd RLA as i 
prefer to concentrate on listening.

Thanks

David 


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Yahoo! Photos – Showcase holiday pictures in hardcover
 Photo Books. You design it and we’ll bind it!
--Boundary_(ID_v3syiwND8UVItFd6tgIrfQ)--

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Explorers We_ does it for me.  Particularly enjoy the extra live cd
which comes with some packs.  Are they still a going concern?



On 11/01/06, W.C Schrimshaw <x.x.xxxxxxxxxx@xxxxxxxxx.xx.xx> wrote:
>
>
> RLA is almost all audio, and a months worth of fun scanning through it all.
>
>
>
>
>
> > Hi List
> >
> > If you were to own one album by Farmers Manual which one would it be?
> >
> > I'm looking to buy a CD by them.... and I do not want the dvd RLA as i
> > prefer to concentrate on listening.
> >
> > Thanks
> >
> > David
> >
> >
> > ---------------------------------------------------------------------
> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> >
> >
>
>
> http://www.altho.org
> arts community
>
>
> ---------------------------------------------------------------------
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RLA is almost all audio, and a months worth of fun scanning through it all.





> Hi List
>
> If you were to own one album by Farmers Manual which one would it be?
>
> I'm looking to buy a CD by them.... and I do not want the dvd RLA as i
> prefer to concentrate on listening.
>
> Thanks
>
> David
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>


http://www.altho.org
arts community


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FSCK
and second choice
we explorers...


On Wed, 11 Jan 2006, David @ Audiobulb wrote:

> Hi List
>
> If you were to own one album by Farmers Manual which one would it be?
>
> I'm looking to buy a CD by them.... and I do not want the dvd RLA as i prefer 
> to concentrate on listening.
>
> Thanks
>
> David 
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>

================================
naw/neil wiernik
artist site:
www.naw.phoniq.net
releases available on:
www.noisefactoryrecords.com
www.pertin-nce.com
projects:
www.vagueterrain.net
www.phoniq.net

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Hi List

If you were to own one album by Farmers Manual which one would it be?

I'm looking to buy a CD by them.... and I do not want the dvd RLA as i 
prefer to concentrate on listening.

Thanks

David 


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Date: Wed, 11 Jan 2006 07:19:30 -0700
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Subject: [microsound] Poetics of Forward Scatter
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( Microsound list relevance :  Pertains to home-built poetic reception 
and sound recording instruments )


January 11, 2005


There is a method of radio reception that employs incoming meteors from 
outer space called "forward scatter" to bounce in far-off radio 
transmitters. Essentially, a meteor or "shooting star" creates a 
momentary ionized plasma trail in the upper ionosphere and this plasma 
trail has the ability to reflect in far-off radio transmitters hundreds 
and even  a thousand miles distant.  It is a slightly complicated radio 
method to explain and I will refer you to links for detailed information 
as to how it is done.

My radio astronomy interests over the years have been primarily data and 
energy oriented and I personally have been suppressive of esthetic 
content.  But I have always recognized that my forward scatter 
observations did indeed have an esthetic and poetic component because as 
a meteor refected in distant radio stations a sort of "automatic" 
poetics would often be revealed.

Hear a couple of specimens of forward scatter reception that I captured 
using re-entering space shuttles as the meteric reflecting phenomena.at 
the page below.

http://www.heliotown.com/Radio_Fireball_Observatory_SpaceShuttle_reentries.html 


Thomas Ashcraft
Radio Fireball Observatory
www.heliotown.com

For info on forward scatter see :

http://www.imo.net/radio/
http://www.amsmeteors.org/radmet.html
:
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Hi all, 
Anyone would be interested to make the updates of the LIST Website
http://www.list-en.com ?
I will trade this with all LIST catalogue cds still available (4 releases)
and personal future releases (next one Plateformes cd on (1.8)sec.records in
february) for little updates  (mainly updating concert dates in the next
months) .
Please answer me offlist .
Thanks. 
All the best 
Hervé 



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From ???@??? Wed Jan 11 08:00:37 2006
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From: bil bo <xxxxxxxxxxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] Fungus music
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 FILETIME=[C8F40FD0:01C61684]


I think in this instance the term "academic" is being used to describe a 
mode of art which is rooted in (or based on) a conceptual as opposed to an 
aesthetic worth.

Personally, I feel that conceptuality in music is best employed subtly; as a 
device to generate aesthetically tangible value. In my own work I prefer to 
keep the concepts obscured from the conscious mind of the audience.


>From: Craque <xxxxxx@xxxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] Fungus music
>Date: Tue, 10 Jan 2006 07:12:33 -0800
>
>If played side-by-side, could you tell the difference? "Academic" music 
>used to mean something (uptown/downtown), but does it really mean anything 
>now?
>
>Ritchie wrote:
>
>>Thought it might be of interest to some.  From memory it's not the first 
>>time this type of thing has been done.  The project I'm thinking of was 
>>made from graphing growing plants in some form.  Interesting concept but 
>>the outcome wasn't that musical which happens with 'academic' music every 
>>now and then.
>
>
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From ???@??? Tue Jan 10 16:43:29 2006
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If played side-by-side, could you tell the difference? "Academic" music 
used to mean something (uptown/downtown), but does it really mean 
anything now?

Ritchie wrote:

> Thought it might be of interest to some.  From memory it's not the 
> first time this type of thing has been done.  The project I'm thinking 
> of was made from graphing growing plants in some form.  Interesting 
> concept but the outcome wasn't that musical which happens with 
> 'academic' music every now and then.


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From ???@??? Tue Jan 10 09:13:51 2006
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Subject: [microsound] Fungus music
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 FILETIME=[D77F90C0:01C615C5]

http://www.abc.net.au/science/news/stories/s210368.htm
"An Australian husband and wife team have been making music by recording 
growth patterns of microbes."


Thought it might be of interest to some.  From memory it's not the first 
time this type of thing has been done.  The project I'm thinking of was made 
from graphing growing plants in some form.  Interesting concept but the 
outcome wasn't that musical which happens with 'academic' music every now 
and then.

Ritchie
http://murdergrin.blogspot.com

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From ???@??? Tue Jan 10 07:43:05 2006
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Date: Mon, 09 Jan 2006 23:35:15 -0800
From: roberth <xxxxxxx@xxxxxx.xxx>
Subject: [microsound] no microsound 2005 best of lists?
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heres mine
ROBERT HORTON
Not in any order. not all microsound but some are

- VARIOUS ARTISTS: Maan Matoset (POK) CD
- VARIOUS ARTISTS: Gold Leaf Brances (Digitalis) CD
- KEMIALLISET YSTAVAT: Kellari Juniversumi (Fonal) CD
- BROTHERS OF THE OCCULT SISTERHOOD: Animal Speak (MYMWLY) CDR
- ANDREW DEUTSCH:  The Sun (and/OAR) CDR
- YELLOW SWANS / AXOXTOL / GERRITS: Live On MLK (Jyrk)
- GROUPER (Free Porcupine Society)
- KEIJO: Palla, Blown From Here (Digitalis)
- MIKE TAMBURO: Beating Of The Rewound Son (Music Fellowship)
- ZAIKA:  tour cdr (Wholly Other)
- HOTOTOGISU: Floating Japanese Gardens Of The  21st Century  (DeStijl)
- VIBRACATHEDRAL ORCHESTRA: Tuning To The Rooster (Important)
- FUTURE EARS: Free Jazz Copy? Noise (Jyrk)
- HENRY KUNTZ:  The Magic Of Mystery (Foxglove)
- DALE LLOYD & VARIOUS ARTISTS:: Amalgam (Conv) CDR
- CHARALAMBIDES: Our Bed Is Green (Kranky) CD x2
- NORTH SEA AND RAMESES III: Night Of Ankou
- CORSICAN PAINTBRUSH: Twilight Blue Skies (musicyourmindwillloveyou) CDR
- BIRCHVILLE CAT MOTEL: Chi Vampires (Celebrate Psi-Phenomenon) CD
- VARIOUS ARTISTS: You Shall Know The Roots By The Fruits (Timelag / 
Eclipse) LP x3
- HORTICULTURAL COMPASS: Apparition Of Bees (Jeweled Antler) 


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From ???@??? Tue Jan 10 06:51:05 2006
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Date: Mon, 09 Jan 2006 22:33:16 -0800
From: roberth <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] Re: autodigest / ubquitous and laughing
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that is sometimes the working m.o. for thuja.
r
----- Original Message ----- 
From: <xxxxxxxx@xxxxxxxxx.xx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, January 09, 2006 6:39 AM
Subject: [microsound] Re: autodigest / ubquitous and laughing


> re: audience noise
> Not really the same idea but it reminded me of the Bruce Russell/Flying 
> Saucer
> Attack cd (Corpus Hermeticum), "In Search of Spaces" where Bruce collaged 
> all of
> the in between guitar squall recorded at fsa concerts.
>
> re: Graham Miller's laugh track comment
> There was a sitcom a couple years back called Sports Night. It was really 
> well
> written, acted, subtle, fairly sophisticated story lines and the
> writers/producers refused to use a laugh track. it was nice to see such a 
> bold
> little experiment on mainstream U.S. tv. sadly, it only lasted a couple 
> seasons.
> but it was interesting to watch as the show definitely had humourous 
> moments
> mixed with social commentary and it wasn't always obvious when one was
> 'supposed' to laugh.
>
> happy new year y'all.
>
> steve
>
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> 


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From ???@??? Mon Jan  9 17:38:08 2006
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Date: Mon, 09 Jan 2006 09:11:29 -0800
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] reminder
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folks,
a reminder: there is no cross-posting or announcements allowed on this 
main list...if you have something you want to promote please post it to 
the announcements list...see the microsound website for info on how to 
sub...
thanks
KIM 


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From ???@??? Mon Jan  9 14:39:12 2006
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Subject: [microsound] Re: autodigest / ubquitous and laughing
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re: audience noise
Not really the same idea but it reminded me of the Bruce Russell/Flying Saucer
Attack cd (Corpus Hermeticum), "In Search of Spaces" where Bruce collaged all of
the in between guitar squall recorded at fsa concerts. 

re: Graham Miller's laugh track comment
There was a sitcom a couple years back called Sports Night. It was really well
written, acted, subtle, fairly sophisticated story lines and the
writers/producers refused to use a laugh track. it was nice to see such a bold
little experiment on mainstream U.S. tv. sadly, it only lasted a couple seasons.
but it was interesting to watch as the show definitely had humourous moments
mixed with social commentary and it wasn't always obvious when one was
'supposed' to laugh. 

happy new year y'all.

steve

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>dear microsirens,
>
>i just bought a really exciting+beautiful cd by 'autodigest' called
>'ubiquitous eternal live,' composed of audience crowd noises
>(ostensibly 'every audience ever').  does anyone know more about this
>group/artist?  i think they are from portugal (cronicaelectronica.org)
>but information seems pretty scarce.
>
>also the gentleman at the record store (hard-boiled in chicago) told
>me that there is another record along these lines by the melvins; does
>anyone know about that?
>
>thanks!
>jake
>

hi jake,
some press releases concernining autodigest...
cheers.
nic


AUTODIGEST - A Compressed History of Everything Ever Recorded, Vol. 1 (CD
Cronica 006)

Autodigest is a simulation of processes of cultural implosion. As such, it
has no birth date nor does it have particular geographical references.
Rather, it aspires to a viral, everpresent omnipresence. A possible
conceptual reference could be David Harvey's coining of the term
"time-space compression". To this, one might add Baudrillardís theory of
hyperconformism, a distancing from obsolete modes of cultural antagonism as
the only means of transcending contemporary cultural manifestations of the
hyper-real. In other words, watch out for the new "orthodoxies of
rebelliousness".
If it werenít for aesthetic concerns and a desire to reestablish a balance
towards the ëauthenticí, Autodigest would simply become an extreme form of
digital compression, ultimately expressed in the audio equivalent of a
Black Hole. As it is, Autodigest arrives in the form of an encyclopedia, an
archeological sound document time-travelling out of a post-digital-meltdown
landscape.

AUTODIGEST - A Compressed History of Everything Ever Recorded, Vol. 2:
Ubiquitous Eternal Live (CD Ash International 6.1 + Crónica 016)

"Ubiquitous Eternal Live" is the second chapter of Autodigest's "A
Compressed History of Everything Ever Recorded" series.
Volume 1, from 2003, proposed an aural illustration of current syndromes in
digital compression which abandon fidelity, subtlety and complexity in
favour of speed, efficiency and endless storage capabilities.
Volume 2, now released, approaches the History of Recorded Sound under a
considerably different perspective: it brings together all the audiences
ever recorded and has them share one hour of hysterical, progressively
apocalyptic applause. This is presented as less of an archive and more of a
critical eye loaded with a few conceptual cards as foundations, from Debord
to Baudrillard, from Harvey to Adorno.
The aim of Autodigest's statements is to illustrate the collapse of music as
we know it - codified, copied, digitised, burned, compressed, freely and
readily available, all of this at a time when we can download music much
faster than we can listen to it, all of this at a time when a soda drink
offers one hundred million songs for free.
Ultimately the song remains the same, but our relationship with it has
changed beyond recognition and redemption. Just try to imagine what a
concert would mean to an audience before sound could be recorded... yes,
we've come a long way, baby - and maybe, just maybe, deserve to end up with
those one hundred million songs in our pocket. The choice, it seems, is
pretty much down to the cute colour, pattern or ringtone of the week.
"Ubiquitous Eternal Live" is a joint release by Ash International (UK) and
Crónica Electrónica (Portugal). The audio track was assembled and composed
in Portugal in early 2004, and was mastered by Denis Blackham in April 2004.
The design work is by Jon Wozencroft, over photography work by Heitor
Alvelos.


+  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +  +

"i discovered the secret of the sea in meditation upon the dewdrop."
kahlil gibran



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From ???@??? Mon Jan  9 05:02:07 2006
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audience noise? that sounds really cool.  i must admit, i use to do
'fake' live techno albums just for fun, mixing in insane stadium rock
crowd samples... riding the faders to simulate the crowd 'going nuts'
after particularly gleeful and wanking synth solos and over-the-top
build-ups... total artistic masturbation, granted.  in all seriousness
though, it's fascinating to see how such a simple addition - basically
the 'white noise' of thousands of people - can recontextualize a
recording or performance and change it's meaning from the good to the
sublime.  i'm reminded of the way laugh tracks or canned laughter have
the very real ability make something seem funnier than it actually is,
especially in the tv sitcom genre (one of my great pet peeves)... it's a
shame that more electronic live performance recordings don't incorporate
the sound of the audience (the sound of one hand clapping?)... it's an
integral part of the experience that is so often left out or neglected as
'important.' thoughts?

best,

g.

jake elliott wrote:

> dear microsirens,
>
> i just bought a really exciting+beautiful cd by 'autodigest' called
> 'ubiquitous eternal live,' composed of audience crowd noises
> (ostensibly 'every audience ever').  does anyone know more about this
> group/artist?  i think they are from portugal (cronicaelectronica.org)
> but information seems pretty scarce.
>
> also the gentleman at the record store (hard-boiled in chicago) told
> me that there is another record along these lines by the melvins; does
> anyone know about that?
>
> thanks!
> jake
>
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dear microsirens,

i just bought a really exciting+beautiful cd by 'autodigest' called
'ubiquitous eternal live,' composed of audience crowd noises
(ostensibly 'every audience ever').  does anyone know more about this
group/artist?  i think they are from portugal (cronicaelectronica.org)
but information seems pretty scarce.

also the gentleman at the record store (hard-boiled in chicago) told
me that there is another record along these lines by the melvins; does
anyone know about that?

thanks!
jake

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 FILETIME=[CCC5C6A0:01C61376]


http://audio-logic.blogspot.com/
(downloads and playlists)


Our first cast of the new year, happy 2006. Some really great stuff this 
show, a debut from "Lacoste" (from myspace no less) and "Yoko Solo", as well 
as some gems from classic artist such as Brian Eno and David Bowie.

DOWNLOAD:
http://eeng.net/zygote/audiologic/audio_logic_3_pt1.mp3 - PART ONE - 27.3 MB
http://eeng.net/zygote/audiologic/audio_logic_3_pt2.mp3 - PART TWO - 27.3 MB

christopher willits - "the roller skating in san francisco machine" - eadgbe
the happy bullets - "a momentary vision of the end of the world as seen 
through the eyes of a suburban housewife"- the vice and virture ministry
the faint - "car pass in cold blood" - blank wave arcade
secret mommy - "dance studio(edit)" - wire tapper 14
lacoste - "le latier" - ?
yoko solo - "pigbucket blam blam" - the bleeps
big audio dynomite - "the bottom line" - ?
the raveonettes - "attack of the ghost riders" - whip on it
interpol - "pda" - turn on the bright lights
tortoise - "DJed" - millions now living will never die
david bowie - "sound and vision" - the singles 69-93
mochipet - "the adventure of flamenco boy" - randbiet works 2002
brian eno - "dead finks don't talk" - here come the warm jets
stephen ruiz - "soul structures sourced" - 1937, Soul Junk Remixed


ABOUT US:

The Audio Logic Podcast is dedicated to left-of-center music of all genres. 
Host by Stephen Ruiz of Zygote, the show serves as an outlet for music that 
flys under the radar. The show is a companion to the Audio Logic Blog, and 
will feature music by artists that are featured on the web site.

If you would like to have your music considered for casting, please contact 
xxxxxxxx@xxxxx.xxx.

ARCHIVE:

12.22.05> Podcast

http://eeng.net/zygote/audiologic/audio_logic_1_pt1.MP3 - PART ONE
http://eeng.net/zygote/audiologic/audio_logic_1_pt2.MP3 - PART TWO

12.29.05>Podcast

http://eeng.net/zygote/audiologic/audio_logic_2a.MP3 - PART ONE
http://eeng.net/zygote/audiologic/audio_logic_2b.MP3 - PART TWO








s t e p h e n . r u i z (of zygote & audio logic)
_______________________________________
sounds > http://www.myspace.com/zygote
words  > http://audio-logic.blogspot.com/



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Subject: [microsound] Fripp makes sound for windows Vista
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http://channel9.msdn.com/showpost.aspx?postid=151853

hey kim - now that MS has gone through Brian Eno and Robert Fripp,
maybe they can use some PGR stuff?

;)
jake

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neato.com sells those groovy 3" cdrs (and labels and
little plastic sleeves.

I dunno if they are 23 min tho...

steve polta


--- roberth <xxxxxxx@xxxxxx.xxx> wrote:

> any one know a good source
> for 3" cdrsthat accept 23 or 24 minutes of stuff?
> most hold 21 minutes.
> but i own some 3"s that have more like 24
> thanks
> robert horton
> 
>
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From: roberth <xxxxxxx@xxxxxx.xxx>
Subject: [microsound] 3"s cdrs
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any one know a good source
for 3" cdrsthat accept 23 or 24 minutes of stuff?
most hold 21 minutes.
but i own some 3"s that have more like 24
thanks
robert horton

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> > Say, does anybody have a link to that project that was done about a
> > year ago or so -- slowing down Beethoven's 9th SYmphony (?)  so that
> > it was 24-hours long..

> It's called Beetstretch and lives here:
> http://www.notam02.no/9/

Fwiw after we hosted one of the US presentations of the piece, I did a 7-8
min radio piece collaging reactions to the event for WNYC:

 http://www.quietamerican.org/download/964/Idea_of_Ninth_10h.mp3

Does anyone know if the Table of the Elements edition ever came out? (The
whole thing was to be released in high bit rate MP3 on DVD as I recall).

 best,
  aaron

  xxxxx@xxxx.xxx
  http://www.quietamerican.org

  |  quod omne animal post   |
  |  cogitum est triste...   |


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--- CiroFioratti <xxx_xx@xxxxxxxx.xx> wrote:

> hi.
> 
> does anybody knows anything about a label called
> 'supralinear'?
> i read about two 2005 releases here:
> http://www.somamag.de/article.php?id=6977&r=140
> 
> thanks
> happy 06
> 
>
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> 

its a new mille plateaux sublabel

http://www.discogs.com/label/Supralinear

the alka_rex release is very good but i think its a
bit hard to find it. the Dawid Szczesny is available http://www.u-cover.com/mailorder/description.php?II=2890&UID=2006010523012687.202.130.53&lang=¤cy=eur


                
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hi.

does anybody knows anything about a label called 'supralinear'?
i read about two 2005 releases here:
http://www.somamag.de/article.php?id=6977&r=140

thanks
happy 06

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http://www.notam02.no/9/

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Hi all.  
Just joined, thought I'd introduce myself. 

!J!
http://www.endif.org
http://www.thirdwavecollective.com
 


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From ???@??? Thu Jan  5 20:04:45 2006
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Hallo,
John Hopkins hat gesagt: // John Hopkins wrote:

> Say, does anybody have a link to that project that was done about a 
> year ago or so -- slowing down Beethoven's 9th SYmphony (?)  so that 
> it was 24-hours long..

It's called Beetstretch and lives here: 
http://www.notam02.no/9/

Old, but gold...

Ciao
-- 
 Frank Barknecht                 _ ______footils.org_ __goto10.org__

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hi

On 1/5/06, John Hopkins <xxxxxxxx@xxxxxxxxx.xxx> wrote:
> Say, does anybody have a link to that project that was done about a
> year ago or so -- slowing down Beethoven's 9th SYmphony (?)  so that
> it was 24-hours long..

http://www.notam02.no/9/

--
\js  [ http://or8.net/~johns/ ]

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Hey folks!

Say, does anybody have a link to that project that was done about a 
year ago or so -- slowing down Beethoven's 9th SYmphony (?)  so that 
it was 24-hours long..

thnx
John

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From ???@??? Thu Jan  5 16:14:52 2006
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that was suppose to go just  to Phil.
sorry for the intrusion...

best New Year to all,

Rod

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Hi Phil,

I know very little programming,
but I thought that I'd throw this your way.

I contacted Jason Freeman who offers
something called "iTunes Signature Maker"

http://www.jasonfreeman.net/itsm/

I wanted to know if it was available as a
standalone bit of software that can be downloaded
(you have to go thru a few webpages to use it otherwise).

he wrote back:

"...It actually could be turned into a self-contained downloadable  
app fairly easily,
but I just don't have the time and resources to create installers and
maintain separate versions right now, and felt the browser-based applet
would be preferable for most users.
If you're so inclined, you can always download the source code
from the web site and turn it into a standalone app yourself..."

If you know what he means and if this is something that you can use,
then you may consider it. It really is wonderfully done.
here are 2 examples from my iTunes stash
(and you can listen to other's at Jason's "gallery"):

http://stasick.org/12312.mp3

http://stasick.org/12311.mp3

(both are compiled from my own work)

best to you,

Rod

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 FILETIME=[7F376820:01C611DD]

This is cool, I love ctheory.net, it's one of the perhaps 5 websites
actually worth their digital weight. 

I wonder if there's some .microsound application possible here...
something
incorporating virus theory/behaviours and sound. These logical beasts
exploit system failures and glitches almost as fast as we do! 

Is that too much of a stretch? I guess as most people on here use
mac/linux, they might not know what a virus is anyway ; )

cheers - r

-----Original Message-----
From: tasty radish [mailto:xxxxxxxxxxx@xxxxx.xxx] 
Sent: Wednesday, January 04, 2006 5:31 PM
To: microsound
Subject: [microsound] worms and viruses at the core

interesting article at ctheory.net
http://www.ctheory.net/articles.aspx?id=500

-andrew


                
__________________________________________ 
Yahoo! DSL - Something to write home about. 
Just $16.99/mo. or less. 
dsl.yahoo.com 


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From ???@??? Thu Jan  5 08:17:09 2006
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Date: Thu, 05 Jan 2006 00:16:24 -0800
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I volunteer with a sound and video festival in Vancouver, and this
year we want to have something on our website which will create a
customized mix of excerpts from all the sound pieces and string them
into one longer file. I'm thinking we would want to use some
server-based script which, for each mp3 file in a particular
directory, would read a random number of bytes from the file, write
those bytes to an output file, and then move on to the next mp3. I
seem to recall there is a program that does this already, but I can't
remember if it's a script that could be run remotely from a browser or
not.

If the latter, are there any PHP or Perl programmers who could write
something similar? Wouldn't need to be anything fancy.

Please contact me offlist with any information. advTHANKSance.

PT


--
===================
Phil Thomson, BFA, MFA
010100000110100001101001011011000010000001010100011010000110111101101101011100110110111101101110
xxxxxxxxxxxxxxxxx@xxxxx.xxx
http://www.philthomson.ca/
http://del.icio.us/hellomynameisphil

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From ???@??? Wed Jan  4 20:43:52 2006
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A nice little box


http://voodoopc.com/showroom.aspx?ProductID=1088

//*-----Original Message-----
//*From: Malte Steiner [mailto:xxxxxxx@xxxxxx.xxx]
//*Sent: Wednesday, January 04, 2006 1:12 PM
//*To: microsound
//*Subject: Re: [microsound] mini PCs for installations
//*
//*Hi,
//*
//*I use Shuttle SN41G2 boxes for installations but seems that they dont
//*make them anymore. They come with Nvidia Graphics onboard with dual head
//*  and it worked great even for my interactive realtime video and 3D
//*installations. They got the NForce chipset for Athlons cpus. Sound can
//*be 5.1 and there are ways to get it running multichannel under Linux,
//*stereo is no problem at all. Currently I run Ubuntu on them with a
//*lightwight Windowsmanager, usually XFCE but guess I will go even lower
//*with Blackbox because in the white cube situation it should just run the
//*installation and don't need blinkblinkglitz userexperience enhancers
//*which just eat up cpu cycles.
//*But I don't know which are the successors of it. All current offers I
//*can see are rather expensive and makes a Mac Mini attractive. Also I
//*heard that their quality declined.
//*
//*VIA looks interesting but take care, their cpus usually are bad at
//*floating point operations so they could have problems with realtime
//*multimedia stuff and don't scale so well under load. There is a special
//*Linux destribution out for their boards:
//*http://www.epios.net/
//*
//*Would like to hear more about VIA, too.
//*
//*Cheers,
//*
//*Malte
//*
//*--
//*Malte Steiner
//*media art + development
//*-www.block4.com-
//*
//*---------------------------------------------------------------------
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//*For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
//*website: http://www.microsound.org


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From ???@??? Wed Jan  4 18:19:20 2006
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From: Malte Steiner <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] mini PCs for installations
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Hi,

I use Shuttle SN41G2 boxes for installations but seems that they dont 
make them anymore. They come with Nvidia Graphics onboard with dual head 
  and it worked great even for my interactive realtime video and 3D 
installations. They got the NForce chipset for Athlons cpus. Sound can 
be 5.1 and there are ways to get it running multichannel under Linux, 
stereo is no problem at all. Currently I run Ubuntu on them with a 
lightwight Windowsmanager, usually XFCE but guess I will go even lower 
with Blackbox because in the white cube situation it should just run the 
installation and don't need blinkblinkglitz userexperience enhancers 
which just eat up cpu cycles.
But I don't know which are the successors of it. All current offers I 
can see are rather expensive and makes a Mac Mini attractive. Also I 
heard that their quality declined.

VIA looks interesting but take care, their cpus usually are bad at 
floating point operations so they could have problems with realtime 
multimedia stuff and don't scale so well under load. There is a special 
Linux destribution out for their boards:
http://www.epios.net/

Would like to hear more about VIA, too.

Cheers,

Malte

-- 
Malte Steiner
media art + development
-www.block4.com-

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