It was recently estimated by Edward Guinan at the XXVIIth General Assembly of the International Astronomical Union that our lonely planet is nearing the end of its habitability for life as we know. Albeit, on a cosmological timescale. Between .5 and 1 billion years from now, increases in the Sun’s temperature will cause the Earth’s oceans and atmosphere to evaporate.
Shortly after reading this article I opened up my Ableton Live set from Sunday night to listen to some of the loops I had captured with the GMS during the show. After opening the document I pressed play and heard a stark landscape of reverberation. I saw visions of a lifeless, peace 500 million years from now.
What had happened was that when saving the document I had left all my master effects in their last position. I decided to capture these sounds and vary them over time. The effect chain on the master track included a low pass filter, bit reduction, delay, and reverb with nine parameters mapped to knobs on a controller. Here’s what I ended up with on the second take.
I have had a number of problems migrating my Processing.org application known as the GMS from my old MacBook Pro running OS X 10.4.11 to my new one running 10.5.7. The first issue was alack of support for the IAC drivers in Java, next were some funky conflicts with the Java class I was using to load and save presets. With the help of Grant Muller I have solved these problems.
While I was at it I took on a couple of other issues as well in preparation for my performance on Sunday. All that’s left is for me to become reacquainted with the application in tandem with Ableton Suite 8.
This is actually the hard part because I have use the application effectively as an instrument and real-time visualizer. One problem is running out of hands and fingers while producing the visuals and capturing the MIDI clips. Another danger is the music becoming repetitive while making adjustments. Here’s a quick recording I made while practicing.
My new duet, “Ostraka with Dial System” (John Keston and Graham O’Brien) is performing at the Kitty Cat Klub in Minneapolis on Sunday, August 9, 2009. This group combines the stochastic, angular melodies produced by the GMS with live drumming. Gestural video input is simultaneously projected onto a screen and processed into musical data. The results are captured in real-time and molded into spontaneous compositions. Special guests include DJ Zenrock and Terr the Om.
This Thursday, July 9, 2009 I am participating in a performance by Andrea Steudel with David Steinman at 9:30pm just outside the Weisman museum in Minneapolis. The performance involves projection, pantomime, and live sound design produced with the GMS. Without giving it away, there will also be things being broken and all sorts of chaotic fun. The performance is part of the Art(ists) on the Verge opening reception which starts at 8:00pm. Here the sound our carts of gear and props made as we wheeled them from the Regis building on the West bank to the Weisman museum on the East bank yesterday.
These last three sounds are examples representative of what I’ll be producing during a performance outside of the Weisman Museum at the University of Minnesota in Minneapolis this Thursday, July 9, 2009. The performance is scheduled during the Art(ists) on the Verge opening. My part is to create audio accompaniment using the GMS during a projection piece by Andrea Steudel that includes live acting by David Steinman.
Nils Westdal shot this video of myself and Graham O’Brien on drums performing with the GMS during one of the Flashbelt after parties on June 8, 2009. The party was held in the back alley of One on One bike studio, considered the bike Mecca of the Midwest.
Recorded using the internal mic on the video camera, the mix is chatty and pretty drum heavy for the first half, but you can hear the GMS sequencing a little better toward the end.
The setup consists of a MacBook Pro running the GMS synced to Ableton Live 7, an M-Audio Firewire 410 interface, a Mackie 1202 mixer, my Korg MS2000 for external control of the GMS, a Casio projector, and a variety of bike lights and spinning LED tops as “light controllers”.
Josh Clos produced this documentary short about the GMS recently. He and his colleagues Julie Kistler and Brian Smith shot video during my performance in Downtown Minneapolis with Minneapolis Art on Wheels on May 13, 2009. Later Josh interviewed me in the audio studio at Art Institutes Minnesota where I teach interactive media and audio production. As a student in my audio production class, Josh edited the sound and video together with minimal input from myself. His short illustrates what the GMS does and how I’ve been using it to compose music in real-time. Thanks, Josh, for a job well done!
Speaking of the GMS, I have recently slowed down its development, and I’m considering releasing a beta version of the application in a few months. Soon afterward I plan to release the code as Open Source so that the application can be developed further by artists interested in creating music through gestural input.
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It was recently estimated by Edward Guinan at the XXVIIth General Assembly of the International Astronomical Union that our lonely planet is nearing the end of its habitability for life as we know. Albeit, on a cosmological timescale. Between .5 and 1 billion years from now, increases in the Sun’s temperature will cause the Earth’s oceans and atmosphere to evaporate. 
I have had a number of problems migrating my 
My new duet, “Ostraka with Dial System” (John Keston and Graham O’Brien) is performing at the Kitty Cat Klub in Minneapolis on Sunday, August 9, 2009. This group combines the stochastic, angular melodies produced by the 
These last three sounds are examples representative of what I’ll be producing during a performance outside of the 