Recent interview with me at freemusicarchive.org on Creative Commons, Disquiet Junto, and more • Projects: Instagr/am/bient + LX(RMX): Lisbon Remixed • Key Topics: #sound-art, #classical, #generative • How to Submit for Review • Elsewhere: Twitter (Disquiet + Junto), SoundCloud (Disquiet + Junto).

Listening to art. Playing with audio. Sounding out technology. Composing in code.

tag: android

Disquiet Junto Project 0020: App Beat

The Assignment: Make a piece of music with the NodeBeat app and one other instrument.

[ May 26, 2012 / Department: downstream / Leave a comment ]

Each Thursday evening at the Disquiet Junto group on Soundcloud.com a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership to the Junto is open: just join and participate.

This project marked the 20th week in a row of the Disquiet Junto. I had wanted for some time to employ an app in the projects, since the mobile app is, in many ways, the definition of creative restraint: each app has its own self-contained set of rules and tools, and they don’t inherently play well with each other all that often. The creators of NodeBeat were generous to provide free download codes for iOS users, and it is also available for Android, Blackberry and, in a more limited rendition, Flash. More on the app at nodebeat.com.

The assignment was made late in the day on Thursday, May 17, with 11:59pm on the following Monday, May 21, as the deadline. View a search return for all the entries: disquiet0020-nodebeat. As of this writing, there are 46 tracks associated with the tag.

These are the instructions that went to the participants:

Deadline: Monday, May 21, at 11:59pm wherever you are.

Each Disquiet Junto project explores the role that restraints can play as a springboard to creativity and productivity. This specific project explores the inherent creative limits of a mobile app. All participants will employ the same app to complete the project.

Everyone working on this project will use two instruments. One of those instruments will be NodeBeat, an app available for iOS (iPhone, Touch, iPad), for Android, for Blackberry, and as a cross-platform (Flash) implementation. The other will be an instrument of the participant’s choice; this second instrument should fall into the broadly defined category of “traditional” — i.e., a keyboard, a guitar, woodwind, percussion, etc. More on NodeBeat at nodebeat.com.

(Please note: the NodeBeat app is not free, but it is inexpensive, between 99 cents and four dollars, depending on which platform you use. Also, there is a free, though more limited, version for desktop/laptop use. And I also have 25 free codes for the iPhone/Touch and 25 for the iPad, available on a semi-first-come basis, weighted a bit for folks who have already participated in a Junto project. Shoot me an email at marc@disquiet.com if you’d like one.)

The project employs three steps:

Step 1: Create a piece of music to your liking in NodeBeat.

Step 2: Record a segment of that music no shorter than 30 seconds and no longer than four minutes.

Step 3: Use that segment as the basis for a track employing one additional instrument.

Additional techniques are certainly allowed, including editing/transformation of the NodeBeat audio and of the second instrument. However, the NodeBeat audio and the second instrument should retain some semblance of recognizability.

Length: Please keep the length of your piece to between two and four minutes.

Information: Please when posting your track on SoundCloud include a description of your process in planning, composing, and recording it.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0020-nodebeat” in the title of your track, and as a tag for your track.

Download: As always, you don’t have to set your track for download, but it would be preferable.

Linking: When you post your track, please include this information:

This track employs the app NodeBeat, created by Seth Sandler, Justin Windle, and Laurence Muller. More information on NodeBeat at nodebeat.com.

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/info

The project also included the instructions translated into Turkish and Spanish respectively by M. Emre Meydan and Norma Listman:

Instructions in Turkish:

Disquiet Junto Projesi 0020: App Beat

Talimatlar:

Son Teslim Tarihi: 21 Mayıs pazartesi, 23:59 (bulundugunuz ulkenin saatine gore)

Her Disquiet Junto projesi, kisitlamalarin yaraticilik ve uretkenlik uzerindeki tetikleyici etkilerini kesfetmeye yoneliktir. Bu seferki proje, bir mobil uygulamanin yaratici limitlerini arastiriyor. Tum katilimcilar ayni uygulamayi kullanacaklar.

Bu proje uzerinde calisan herkes iki enstruman kullanacak. Bunlardan ilki NodeBeat adinda bir uygulama – iOS (iPhone, Touch, iPad), Android, Blackberry, ve platformlar-arasi bir Flash uygulamasi versiyonlari mevcut. Diger enstruman ise katilimcinin sectigi bir enstruman olacak, bu ikinci enstrumanin “geleneksel” diyebilecegimiz bir kategoriden olmasi gerekiyor: klavye, gitar, uflemeli calgi, perkusyon vs gibi. Nodebeat hakkinda daha fazla bilgi icin nodebeat.com.

(Nodebeat uygulamasi ucretsiz degil ama ucuz, hangi platformu kullandiginiza bagli olarak fiyati 99cent ile 4 dolar arasinda degisiyor. Ayrica masaustu/laptop bilgisayarlar icin ucretsiz ama daha kisitli bir versiyonu da mevcut. Elimde 25 adet iPhone/Touch icin, 25 adet de iPad icin ucretsiz kod var, bana ilk ulasanlara bu kodlari dagitacagim, onceki Junto projelerine katilmis olanlara oncelik saglanacak. Eger ilgileniyorsaniz bana mail atin: marc@disquiet.com )

Bu proje uc asamadan olusuyor:

  1. Adim: NodeBeat uygulamasinda istediginiz gibi bir muzik yaratin.

  2. Adim: Bu muzikten en az 30 saniye, en fazla 4 dakikalik bir bolum kaydedin.

  3. Adim: Yaptiginiz bu kaydin uzerine sectiginiz ikinci enstrumani ekleyin.

Elbette ek teknikler kullanabilirsiniz, bunlara NodeBeat’in ya da ikinci enstrumanin sesini degistirmek/donusturmek de dahil. Fakat NodeBeat ve ikinci enstrumanin sesi taninabilir halde kalmali.

Uzunluk: Lutfen yaptiginiz parcanin uzunlugunu 2-4 dakika arasinda tutun.

Bilgi: Lutfen yaptiginiz parcayi paylasirken, bu parcanin planlama, besteleme ve kayit sureci ile ilgili bilgi de verin.

Isim / Tag: Yaptiginiz parcayi Soundcloud.com’daki Disquiet Junto grubuna eklerken, lutfen “disquiet0020-nodebeat” kelimesini hem parcanin isminde, hem de tag olarak kullanin.

Download: Her zamanki gibi; parcanizin indirilebilir olmasi gerekmiyor, ama oyle olmasi tercih edilir.

Linkler: Yaptiginiz parcayi paylasirken, lutfen su bilgiyi ekleyin:

This track employs the app NodeBeat, created by Seth Sandler, Justin Windle, and Laurence Muller. More information on NodeBeat at nodebeat.com.

More details on the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/info

Instructions in Spanish:
Disquiet Junto Proyecto 0020: Aplicación Ritmo

Instrucciones:

Fecha limite: Lunes 21 de Mayo a las 11:59pm del lugar donde te encuentres.

Los proyectos de Disquiet Junto exploran el rol de las restrixiones y como estas son un trampolin hacia la creatividad y la productividad. Este proyecto en particular explora lis limites creativos y los que desemboca una aplicación para telefonos celulares. Todos los participantes deberan usar la misma aplicación.

Todos deberan usar dos instrumentos. Uno de los instrumentos es NodeBeat, una aplicación disponible para iOS (Iphone, Touch o iPad), Andreoides o Blackberrys y para implementar como una plataforma alternativa (Flash). El otro instrumento sera de tu eleccion y debera “caer” dentro de la categiria de tradicional, por ejemplo –guitarra, percucion, piano, etc.

Para mas informacion acerca de NodeBeat ve a nodebeat.com.

Favor de tomar en cuenata que NodeBeat no es gratis, sinembago es muy barato de 99 centavos a 4 dolares, dependiendo de la plataforma que uses. Tambien hay una, pero mal limitada que se gratis para computadoras o laptops. Tambien tengo disponibles 25 codigos gratuitos para iPhone/Touch y 25 mas para iPad, e participado en Disquiet Junto antes y se los dare a los primeros en contactarme (marc@disquiet.com).

Pasos:

1) Crear una pieza musical usando NodeBeat. 2) Graba un segmento de esa pieza de un minimo de 30 segundos y un maximo de 4 minutos. 3) Usa ese segmento como la base para una nueva pieza, pero ahora agregando un instrumento.

Puedes usar tecnicas adicionales como edicion/transformacion del audio en NodeBeat, asi como de el segundo instrumento. Lo unico que te pedimos es que ambas alteraciones deberan retener semejanza a la pieza original.

Duración: Favor de mantener tu pieza de dos a cuatro minutos.

Información: Incluir una descripcion de tu proceso de planeacion, composicion, y grabacion.

Titulo: Porfavor incluye el termino “disquiet0020-nodebeat” en el titulo de tu track cuando lo subas al grupo Disquiet Junto en Soundcloud.com, tambien usalo como tu tag cuando lo quieras busacar.

Descarga: Es preferible que tu mezcla se pueda descargar, pero no es necesario ( es tu decision).

Enlaces: Cuando subas tu track, por favor incluye la siguiente información:

Esta grabacion usa la aplicación NodeBeat, created by Seth Sandler, Justin Windle y Laurence Muller. Para mas informacion ve a nodebeat.com

Mas informacion en Disquiet Junto:

http://soundcloud.com/groups/disquiet-junto/info

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Tangents: defining electronica, jamming speech, updating apps, …

News, quick links, good reads

[ March 26, 2012 / Department: field notes / Leave a comment ]

Jargon Watch: Last week I happened to watch an episode of CSI (the “original” series). Titled “Trends with Benefits” it was a foray into the interpersonal impact of surveillance culture, and into the perceived — perhaps the best word is “purported” — generational technological gaps. The key episode-specific character, the dead body around which the narrative circles, was a precocious Las Vegas college student who aspired to the gossip profession (the TMZ enterprise was name-checked). His dorm room was found to be loaded with prosumer technology, including cameras and various other recording devices. One of the CSI staff (the character named Greg Sanders, shown above) observed the collected digital equipment and said of it, “The kid had all kind of electronica.” It’s worth noting that this Sanders character is on the young end of the CSI staff, and was displayed in stark counterpoint to the character played by Ted Danson; Danson’s character isn’t quite sure what “trending” meant in regard to social networks, and he sometimes holds a smartphone like it’s the first time he’s ever been handed a pair of chopsticks. This usage, by Sanders, of the term “electronica” in this manner is interesting, and promising. (The episode’s script is credited to Jack Gutowitz, who according to IMDB.com spent a lot of time on Aaron Sorkin’s West Wing and Studio 60 on the Sunset Strip.) It employs it to describe not a specific and dated subset of popular electronically produced music, but the broader flotsam of general digital-era activity. That is along the lines of the sense in which I use the term, and why I have resisted the urge, over the years, to remove it from this site’s logo.

Speech Jam: Geeta Dayal, author of the 33 1/3 book on Brian Eno’s Another Green World, has taken residence at Wired’s website, which is good news. In one of her first wired.com posts, she covered the “Japanese speech-jamming gun” and smartly highlights precedents ranging from J.G. Ballard to Karlheinz Stockhausen. (Additional coverage at technologyreview.com and io9.com.)

App Updates: These are all iOS, though some if not all also apply to their Android versions. Thicket has added three new modes. NodeBeat has added MIDI support, and expanded the number of savable recordings. Ambiance has added the ability to record sounds and to play sounds in “background” mode, among other things. The eDrops app has added new sounds and the ability to load and save patterns. Audioboo seems to have mostly focused on infrastructure for its latest update. Air has added AirPlay support. Reactable has added access to the community area, “save and view” performances, and more.

Social Bullet: I wrote the following to someone asking for how to “use” “social media” to “promote” their music: “The whole social media thing is complicated. There is no generally applicable answer. I would say the following, broadly: make sure you participate. For example, the Junto project had rules, and to have posted on it without reading the Info page was a matter of not really participating. Make sure if you’re on Twitter and Facebook and SoundCloud that you actively participate: post, reply to other people’s posts, comment on their music. This will, in time, lead to a stronger sense of community. You’re find musicians with whom you have things in common, and you’ll support each other in your pursuits.” (The context was correspondence with someone who had posted a track to the Disquiet Junto project on Soundcloud.com that didn’t have anything to do with the current project.)

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The Kindle Fire Is Deaf

[ September 30, 2011 / Department: field notes / Comments: 2 ]

Note: There’s updated information in the comments section to this post.

Amazon.com earlier this week announced four additional items in its Kindle line of ebook readers.

One caveat for potential consumers, and for software developers: The new flagship Kindle device, named Fire, has no microphone.

The Fire is, of course, more than an ebook reader. While the three other newly announced Kindles (Kindle, Kindle Touch, Kindle Touch 3G) build on the line’s next-generation e-ink technology, the Fire is a tablet computer with a multi-touch color screen. The Kindle Fire is powered by a modified branch of Google’s Android operating system. Other non-Apple tablets and ebook readers are built on Android, and several have been targets of the affections and aspirations of hackers. The Nook, a product of Barnes & Noble, has likely been the most popular ereader for after-market tinkerers. Reports that Amazon will not aggressively derail those who seek to root the new Kindles (i.e., take control of the operating system; see liliputing.com) suggest that the Fire may soon rival the Nook in that regard.

The absence of a microphone, however, has unfortunate potential ramifications, especially if the Fire becomes a top-ranking Android device. For one thing, the popularity of microphone-enabled software will likely suffer — ranging from interactive sound applications like RJDJ (which takes sound in realtime from the microphone and makes new, musical sound out of it) to utilities like Shazam (which identifies songs based on them being “heard” via the microphone). Voice activation overall may be de-prioritized, should Fire gain significant market penetration. Companies may be less likely to innovate with such microphone-sensitive options as the Three Little Pigs children’s book app that makes good on the promise of blowing the house down, or the way the Clif Bar SOS iPhone app fogs up when you breathe into the microphone. Soundcloud.com’s Android app has a record function — will it need to devise an alternate version for deaf devices like the Fire? (Note: not all of these apps mentioned above are available for the Android operating system. They are simply mentioned as illustrations of the range of microphone-sensitive developement.)

The absence of the microphone emphasizes the Fire’s Kindle heritage: it is depicted as a device for consumption, not production. This is why the initial promotional materials for the Fire refer to how you, the Fire user, can “Read Your Documents” (rather than edit or create documents). The key concern is that consumption and production are not mutually exclusive; they are, in fact, two distant ends of a broad and gradated continuum. The apps mentioned above are in several cases examples where microphone use is part of the consumption.

In addition, the absence of the microphone nixes one of the staple utilities of mobile devices: the ability to take voice notes, which is arguably a better user experience when reading an ebook (or web page) than is momentarily switching one’s position in order to type notes.

The microphone is not the only immediately evident technology lacking in the Fire. Also missing are 3G support, and a camera. These absences have been explained collectively as means by which Amazon reached the Fire sale price of $199, which has been widely viewed as competitive (in response to the Amazon release announcement, Barnes & Noble for one day dropped the price of its Nook Color to $150 from $250; via mobilewhack.com). The absences also make for a certain amount of planned obsolescence, providing a simple path for Amazon to the Kindle Fire 2.0, which could add one or more of the missing features, much as cameras were added when the iPad 2 was introduced.

Certainly Android’s preeminence as a mobile-phone technology means that the operating system is, for the foreseeable future, linked to devices with microphones, but the absence of a microphone on the Kindle Fire is an unfortunate development.

More on the Kindle Fire at amazon.com.

And for reference, here are my thoughts on the iPad, a few days after its January 2010 announcement: “Avoiding iPad Bloat.”

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Tangents: Remixing/Rewording, Cellular Sculpture, Bitrate Guidelines, …

[ July 7, 2011 / Department: field notes / Comments: 2 ]

Recommended reading, news, and so forth elsewhere:

Rewarding Rewording: The site Translation Telephone, at translation-telephone.com, pulls an Alvin Lucier / “I Am Sitting in a Room Listening” on words. In Lucier’s landmark work, the sound of a recording is heard to disintegrate as a phrase is read aloud in a room, and then a recording of that is played in the room, and then a recording of that recording is played, and so on. In Translation Telephone, you type in a phrase, and watch it cycle from one language to the next. For example, here’s a paragraph from a Disquiet post a few days ago:

The remix takes many forms. Music is remixed, but so too are videos, photographs, words, recipes, buildings, ideas. The remix is a means by which the past is made vibrant. It is the means by which the certitude of any form of documentation is probed and prodded until it loses its illusion of integrity.
And here is how it turned out, after going from English to Macedonian to Hebrew and back to English, with 18 additional languages at various stages in between:
Love is in many ways. The Sound of Music Mixer. But he added, video, photos, graphics, love the structure, how to live. This document is credibility
If a good mantra is a universal one, then Disquiet.com’s — “Just sitting here, listening” — holds up OK. After cycling through Bulgarian, Hindi, and 18 others languages, it came out “Just sit and listen,” which is, arguably, an improvement. Of course there are differences between Lucier’s piece and Translation Telephone, in particular that Lucier’s disintegration algorithm does double duty to provide a sense of the contours of the room in which it is recorded. If there were a parallel in Translation Telephone, what would it be? (Thanks to Paolo Salvagione for the tip. He called it an example of “rewording.”)

Bowl Alone: The intersection of physics and spirituality is a not uncommon one. This video accompanied a brief piece at io9.com that discussed how physicists were exploring the unique properties of Tibetan bowls, which are a popular tool for experimental musicians, especially those interested in the drone.

Max/R.I.P.: Belatedly, an excellent interview with famed computer-music legend Max Matthews done by Geeta Dayal just weeks before his death: frieze.com. Dayal is the author of the 33 1/3 book on Brian Eno‘s Another Green World. When she was prepping for the Matthews interview, she asked, via Twitter, if anyone had any questions for him. (Matthews is synonymous with electronic music, because his first name is part of the name of the popular software Max/MSP.) I’d seen him speak at CCRMA at Stanford several years ago, and had wanted to ask him about the multi-channel mixer he had reportedly built for John Cage‘s 1964 performance of Atlas Eclipticalis with the New York Philharmonic, then under the direction of Leonard Bernstein. Dayal did indeed ask the question, for which I am eternally thankful. This is just an excerpt from her Frieze piece:

GD: Didn’t you build a 50-channel mixer in 1964, for the New York Philharmonic and Leonard Bernstein? For a performance of John Cage’s Atlas Eclipticalis? MM: [Laughs] Yes, it would have been in the 1960s, because Cage and Jim Tenney were the two conductors; they ran the mixer. The mixer did have roughly 50 input channels, one for each pair of musicians at a given music stand. It was an octopus of wires, and they all came into these two consoles with a lot of knobs to adjust the volumes, and to direct the sound to one or more of about a dozen loudspeakers which were positioned around Avery Fisher Hall. Cage wrote the music for the performers, and he and Tenney ran the mixer during the performance. Even by Cage’s fairly generous standards, it wasn’t what he had hoped for. He added a piano portion, and I forgot the name of his pianist to the piece [David Tudor], and my judgment was that Bernstein stayed as far away as he could get; he couldn’t stand it. And I was just as happy to have him stay away, to tell you the truth. GD: Did you and Bernstein not get along? MM: We didn’t get close enough to not get along. But if we had gotten any closer, I would have quit the project. The instruments did not have contact microphones on them, and of course you don’t want to put a contact microphone on a Stradivarius. I’d encouraged the musicians to bring their second violins, or any old violin, instead of their best violins. I arranged the contact mics to be on parts of the instrument that aren’t permanent, like the bridge, and had gone through quite a bit of trouble to be sure that the contact microphones could be put on the instruments without damaging the instruments. I think most of the instrumentalists didn’t have any trouble with that. So I was really mad at Bernstein when he came in one morning and told the instrumentalists that if they didn’t want to use the mics, they didn’t have to. I think most of them went ahead and used the mics. And Bernstein didn’t come back again. It was a concert series, about four or five nights of this piece, that it was played. Anyhow, it was fun to work with Cage, and it was fun to work with the orchestra, and it was fun to build this rather large mixer.

Board Game: There is something really beautiful about motion frozen, like fast-frame stills of bats in flight and of water drops hitting solid surfaces. And then there are Jeff Cook‘s wood sculptures based on cellular automata, like those in John Conway‘s influential “Game of Life” (via boingboing.net‘s David Pescovitz):

They’re on display at the gallery Chalk (chalkla.com) in Los Angeles through July. More photos from the opening at the gallery’s facebook.com account.

Kick It? Yes You Can: Two worthy musical Kickstarter campaigns, both from New Orleans: There’s the new Chef Menteur album, and a musical house. On the latter: “A growing group of local and national sound artists are working towards interactive instruments that can be built into its walls and floorboards so that visitors can bring the house to life through their touch.”

The Sound of Pixels: During dinner with a friend recently, talk turned, as it occasionally does, to the process of taking one’s physical audio recordings and converting them to MP3s. We discussed various subjects: the reasonable legal right to download files of albums you have already purchased, those scary stickers on old promotional LPs you bought used that say they remain the property of the record company, and, inevitably, the proper bitrate. Certainly not 128kbps, but 192? 320? And should it be MP3? OGG? FLAC? I said I usually rip mine at 320, but I have this lingering fear that a decade from now standard audio equipment will be upgraded in a manner that will make our 320kbps MP3s sound the way that our old VHS cassettes look on fancy new HD TVs. The momentary look of anxiety on his face was straight out of a John Carpenter movie.

Navel Browsing: I need to do a better job of tracking comments I make on other people’s sites. Here are two from excellent newmusicbox.org: A piece by Colin Holter takes apart a quote widely attributed to Duke Ellington (that there are only two types of music: good and bad), and while Ellington did say it, he didn’t mean by it what Holter says it means, and I tried to correct the record. Also, in a separate piece, Frank J. Otieri asks, “What is the sound of music-less music?” and I suggest that the answer is held in a study of phonography, or the art of field recordings.

Archives Anonymous: The great ubu.com site now has a landing page for all its electronic-music goods: ubu.com/emr (via Chris Power, of twitter.com/chrisjohnpower)

App Swap: The remarkable app Reactable appears to be the first major port of a general-interest (i.e., not framed as a next-gen instrument) generative-sound app from iOS to Android: reactable.com.

Playing Defense: Reports on “sonic warfare” generally discuss snazzy new weaponry, but there is recent news of an “acoustic ‘cloaking device’”: bbc.co.uk.

Truly Representing: Diego Bernal is the new City Council member representing District 1 in San Antonio, Texas. This is, indeed, the same Diego Bernal who remixed the Atlanta-based Fourth Ward Afro-Klezmer Orchestra‘s “Ose Shalom” last December for the tabletmag.com Hanukkah remix compilation I produced. Major congrats, man. Do your city proud.

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A Little Turret Music (Portal 2 MP3s)

[ June 28, 2011 / Department: downstream / Comments: 7 ]

For all the benefits of free music, something celebrated here on Disquiet.com almost daily, it’s hard not to read some free offerings as a reflection on relative cultural status. The Grammy Awards, in its not uncontroversial recent revamp, finally added a video-game-score category, while doing away with numerous other genre-specific awards (the latter move having many calling foul). Yet it’s not like these scores are doing particularly big business — at least not as recorded standalone fixed artifacts. As part of the ensemble creativity that goes into video games, they are an essential and largely overlooked component of interactive media. But when a property like Bioshock puts its full score online for free, as it did back in 2007, and as now Portal 2 has also done, it’s hard not to sense that the companies doing so know that the artifacts are just that, shards of experience.

A formal game score release is as much a parody of a movie score as it is a parallel. Music in video games by and large doesn’t progress the way it does in a film — it shifts according to how the game play proceeds, and that is based almost entirely on decisions made by the player. Thus, the game score lacks not just the visuals, but the sense of user-directed flow, the manner in which play directs causality.

To listen to the Portal 2 score if you’ve played the game is, among other things, to laugh, to know the jokes that the cues coincide with, but also to know more broadly how the theatrical bombast and surveillance chic collide into an unlikely and singular form of entertainment. There’s much to enjoy in the Portal 2 score collection, titled Music to Test By, even if you haven’t played the game, but it is even further removed from the experience of the game than is a movie score. If the score to Star Wars is once removed from the experience of the theatergoer, the score to Halo is twice removed from the experience of the gamer. Music fans have not yet fully recognized the appeal of video-game music, but even video-game music fans have yet to fully comprehend what that music means when separated from the games it was intended to accompany.

The score is available, along with a handful of Android- and iPhone-ready ringtones, for free download at the official Portal 2 site, thinkwithportals.com.

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