Ostracon and Unearthed Music have decided to release the Ostracon debut on cassette tape for promos and a short run for sale at shows and online. The as-yet-untitled release includes around 47 minutes of instrumental duets between myself on electronics (mostly layers of melodies produced by the GMS) and Graham O’Brien on drums. We recorded in the historically preserved Studio A of the former Flyte Tyme studios of Jimmy Jam and Terry Lewis fame. I’ll have more details soon, but expect the cassette to be available by the middle of September just before our performance at the In / Out Festival of Digital Performance in New York City.

The immediate response I get from most of the people I have told is, why cassette? I have to admit to being heavily laden with nostalgia for this format. As a kid (and into adulthood), I taped jam sessions, records and CDs constantly, especially my own LP collection. I was acutely aware of how quickly the quality of vinyl records could degrade. Cassettes are small enough to fit in your pocket, or bring a dozen of them on a road trip. You can throw one out a window, pop it in the deck and provided it didn’t get run over by a truck it will sound the same. I melted records in hot car interiors, had them scratched and broken by myself, friends, or siblings, and wore them out from over playing. Now I realize that tape in the long term is even more ephemeral than vinyl. So, again, why release a modern recording on cassette tape?

Since making the decision I have noticed that it’s not as rare of an idea as I thought. There is definitely a movement back toward this barely antiquated format. I don’t have any meaningful reasons for choosing tape, but I know that I’m not the only one to have nostalgia for it. This might be a good excuse for others to get out their cassette player of choice and listen to some old favorites they haven’t digitized yet. Remember packing your tape before recording, or tightening the reel with a pencil? I’ll probably throw in a card with a download code for those without a cassette deck, but what are your thoughts? Would you love to get you hands on a cassette of new music, or would you seek out a downloadable alternative?

Ostracon Video from Unearthed Music on Vimeo.

My project Ostracon (John Keston and Graham O’Brien) has been selected to perform at the In/Out Digital Performance Festival in New York this September, 2010. The schedule hasn’t been finalized yet, but we’ll be playing either on the 17th or 18th of the month at the Tank Theater, 354 West 45th Street, New York, NY 10036. Last year’s lineup included Monome creator, tehn (Brian Crabtree), and Peter Kirn of Creative Digital Music. From the In/Out Festival website.

In/Out is an annual festival that features leading performers, developers, artists, and tinkerers of the digital design community in hopes bridging the gap between the forum based world and the stage. The festival seeks to bring digitally driven performances into the limelight with two full days of workshops and performances.

This video is a live studio piece shot by Ai student Josh Clos, and recorded at Ai Minnesota by John Keston and Graham O’Brien. It’s representative of the music that we are generating during our live performances. For more checkout the Ostracon tag here on ACB, or visit our bio on Unearthed Music.

On Wednesday, July 7, 2010 my piece Chromatic Textures was shown at 6X6 #5: Mystery, an exhibition at Ciné Lab in Athens, Georgia. My work was accepted along with five other artists, “…including Denton Crawford’s eyeballs, Aaron Oldenburg’s plunge into asphyxia, and a performance streamed live over the Internet from California.” Here’s my abstract for Chromatic Textures.

Chromatic Textures is a study on the synesthetic nature of our senses of sound and sight. Video input is used to produce generative musical phrases. The visual media is analyzed by the GMS (Gestural Music Sequencer) to create the musical forms in real-time. The software includes adjustable probability distribution maps for the scale and rhythm. Adjusting these settings allows familiar structures to emerge. The settings chosen for this piece cause notes within a particular scale to play more frequently, however, it is still possible for any note within the twelve-tone chromatic system to occur. As a result, dissonant or blue notes can be heard at rare instances throughout the piece.

The process for this piece involved shooting a collection of hand-held, macro-focused videos of various objects and textures. The intent was to frame high-contrast images that would work well with my analysis algorithms built into the GMS and create a sense of mystery in keeping with the theme of the exhibition. After choosing the best shots from the collection, I edited them together and applied processing such as converting the majority of the clips to black and white, and slight adjustments to the brightness and contrast. I captured the musical forms in real-time as the visual media was analyzed by the GMS. Next I selected short phrases from the generated music and looped them on separate layers for emphasis. Finally I automated the processing to enhance the dynamics in the generative composition.

Although it might seem that this work represents computer generated music, my process maintains a dominant human influence by gathering information from organic, time-based, visual media and using it to produce dynamic musical phrases. The GMS is an instrument with a camera operator as the musician. This method aims to satisfy my curiosity for “auralizing” visuals as opposed to visualizing sound.

“6X6 is a monthly media arts event in Athens, Georgia, a cross between an art show and a film festival, first Wednesday of the month at Ciné Lab. Six curated short video, film, performance, sound, or other time-based combination works.” For more about the 6X6 event visit their site at hexadic.blogspot.com.

CreativeApplications.net has posted an article about the GMS. If you’re not familar, CreativeApplications.net (CAN) is a blog founded by Filip Visnjic. From the CAN about page:

Aim of CreativeApplications.Net is to bring together applications that challenge the ways how we share and engage with information. By scouting the web, CAN brings you best in creative app development and thinking. CreativeApplications.Net is platform independent. We look at OSX, Windows, Linux, iPhone, Web Apps, Flash, Physical Interfaces, Max MSP development, Processing and many others.

Filip was a speaker at Flashbelt 2010. During his presentation he showed a variety of fascinating work by his students and more featured on CAN. I was lucky enough to introduce him at the conference and experience his session. Checkout CreativeApplications.net for more.

Gestural Music Sequencer Generative Track Competition

Yesterday afternoon I had a fantastic session with Ephemeral Structures. Although we have all worked with each other in several capacities, this is only the second time the group has performed in eight years. The result of yesterday’s session were pretty inspiring, so we are considering producing an album. The project includes Kyle Herskovitz (also know as DJ Zenrock) on turntables, Nils Westdal on bass and electronics, and me on electronics. The photo shows Kyle playing his turntable with a rubber band. I’ll share a segment of what we captured in a upcoming entry.

I’ll be using a number of custom developed tools, including the GMS and my tentatively titled WTGM (Wave-Table Glitch Machine).

The event is called Sound Crawl and is being billed as “the official sound track for Art Crawl”.

Other artists include James Patrick and Timefog, Oliver Grudem, and Minneapolis Art on Wheels. More information and a complete schedule is available at:

http://blog.mcnallysmith.edu/soundcrawl/2010-schedule/

The rules for the competition are simple. Create an instrumental track using the GMS. Every layer in the composition must be generated by video input fed into the GMS either through a camera, or by loading a pre-recorded video clip. There are no limitations as to what software or hardware is used to interface with the GMS in order to create the instrument sounds and produce the piece.

Editing and looping of the GMS MIDI output is allowed within reason. Please refrain from looping phrases that are shorter than one bar, or shifting several notes to tailor the melodies. I suggest experimenting with the note and duration probability distributions. All the drums and rhythmic patterns must be created using the GMS as well.

Write one-hundred to three-hundred words about how you produced your track and post it as a comment to this entry with a link to a 192Kbps or better MP3 file of the complete track. Links to a bio or videos about your process are great too. The track must be licensed under the Creative Commons Attribution-Share Alike 3.0 Unported License. The tracks will be judged by a panel of representatives from Unearthed Music and myself. The submission deadline is Tuesday, June 1, 2010. Thanks, and have fun!

Each preset can have a rest probability that ranges from zero to one-hundred. At zero notes will play continually just as it worked prior to adding the feature. At one-hundred only rests will play. Elsewhere in-between the probability of a rest occurring instead of a note is based on comparing a random number between one and one-hundred to the user adjusted setting. If the user setting is less than the randomly selected number then a note is played, otherwise the note is skipped and replaced by a rest of the same duration. I have uploaded a new Mac build for the application (beta 0.11) available for download on the GMS page.