My 33 1/3 book, on Aphex Twin's Selected Ambient Works Volume II, was the 5th bestselling book in the series in 2014. It's available at Amazon (including Kindle) and via your local bookstore. • F.A.Q.Key Tags: #saw2for33third, #sound-art, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

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

tag: audio-games

Cues: Deaf Gaming, Twang Bar Noise, Tank Preservation, …

Plus: a 30-part sound documentary on BBC, the history of Celluloid Records, and more

Deaf Gaming: Interesting anecdote from a recent gamasutra.com piece on the late video game creator Kenji Eno, written by Brandon Sheffield. The “Eno” in this is, of course, Kenji (not Brian), and the Saturn is the Sega game console from the mid-1990s:

“For his next game, Sega wanted to make it an exclusive — whatever it was. Eno had recently met with some sight-impaired folks who liked to play action games, and he asked himself, “What if you made a game that the blind and the sighted could play equally?” So he created the game Real Sound, which is an audio-only retail game, and made Sega promise that if he made the game exclusive to them, they would donate 1,000 Saturns to blind people, and he would supply 1,000 copies of the game. Again, this was an unusual idea for 1996, but he felt the stagnancy of the industry, and went to great lengths to shake it up.”

Surround Sound: The Tank is a 60’ x 30′ vessel — a “rusted steel water tank” in the words of its caretaker, Bruce Odland, who has made use of its inherent 40-second reverb since 1976. He’s set up a kickstarter.com campaign to ensure its future use:

The campaign ends March 31, 2013. More on the project at kickstarter.com. (Thanks for the tip go to Joshua Izenberg, whose film Slomo just won the Documentary Short prize among the Short Film Jury Awards at the 2013 SXSW festival. Jeremiah Moore, the sound designer on Slomo, is apparently also involved in this Tank project.)

Electretymologies: There’s a hair’s-breadth matter of word choice in today’s “playlist” by Jon Pareles in the New York Times. In a single column he reviews six records. For SuunsImages du Futur he mentions “the repeating synthesizer tones of early electro.” For How to Destroy AngelsWelcome Oblivion he mentions both “dank electronic sounds” and how “the electronics mostly give way to the acoustic.” And for Draco Rosa’s Vida he mentions “dipping into new wave, Caribbean styles, electronica and, at the end, hard-rock blasts.” The emphasis is mine. Those are four distinct terms, all variations on a core root prefix, all used in close proximity: electro, electronic, electronics, and electronica.

Twang Bar Theory: This is pretty great. Over at youtube.com, Adrian Belew (King Crimson, Talking Heads, Nine Inch Nails) as part of the Chicago Humanities Festival back in 2011, discussing the “history and future of guitar noise”:

The event opened with a guitar solo, to set the tone, as it were, for the event, and there’s a third section as well.

Docusound Platform: Promotional video for the site docusound.org, “a platform for producing and distributing audio documentaries”:

Sonifying Auckland: Sound designer Tim Prebble, along with filmmaker Denise Batchelor, is a 2013 artist in residence of the Auckland regional parks system. Details at scoop.co.nz. Here is description from the announcement: “He’ll record local native birdcalls, slow the recordings to allow notation and then ‘play with this as the DNA of music’, embellishing and orchestrating it. On completion, his music will be played at a local venue and a CD, tentatively called The Bird Song Preludes, will be available after his residency.” More from Prebble at musicofsound.co.nz.

Celluloid Heroes: The first of two parts of a documentary about Celluloid Records, over at youtube.com, featuring among others Bill Laswell, DXT (formerly Grand Mixer DST), and label founder Jean Karakos:

Re-scanning: Great interview at thequietus.com with Scanner, aka Robin Rimbaud, about his range of activities. He goes project by project, talking about his early work with the technology from which he took his name (“The scanner was connected directly into a tape deck the whole time. This was ’91, ’92, this was anticipating an idea of the internet, there was no access to this kind of networked world that we’re so comfortable with today. These voices and accessing them suddenly took you into a very private place that you could never otherwise be in.”), collaborating with filmmaker Derek Jarman and artist Mike Kelley, and “re-soundtrack[ing]” the final two minutes of Michelangelo Antonioni’s L’eclisse, and much more.

In Brief: There’s a 30-part audio documentary titled Noise: A Human History being presented starting tomorrow, March 18, on BBC 4 by David Hendy of the School of Media, Film and Music at the University of Sussex: bbc.co.uk (via bl.uk). ¶ The palmsounds.net provides a brief overview of a talk Rob Thomas (of Reality Jockey) gave in London about mobile music. ¶ In the Field: The Art of Field Recording is a new book containing interviews with artists whose work employs field recordings. Among those are Andrea Polli, Christina Kubisch, Francisco López, Hildegard Westerkamp, Jez Riley French, and Lasse-Marc Riek. (Thanks for the tip, John Kannenberg.) ¶ “Why Do People Use ‘Nope’ Even Though ‘No’ Is Shorter?” (at slate.com, via Quora). The short version is that “no” may have half as many letters but the hard stop at the end of “nope” arguably makes it more succinct. The author, Marc Ettlinger, has other theories as well, including an informative bit on “sound symbolism.” ¶ Robert Henke, aka Monolake, is coming to the San Francisco Bay Area as a visiting instructor at CCRMA, the computer music department at Stanford University. In a warm-welcome gesture, the department made the page announcing his course look just like a page from Henke’s own monolake.de website. ¶ That White House petition to make unlocking cellphones legal, mentioned here recently, has gained President Obama’s support. ¶ The 62nd Disquiet Junto project had 44 participants, each making music from three sine waves. ¶ Here’s a recording of Steve Reich’s “Radio Rewrite,” his new adaptation of Radiohead’s “Jigsaw Falling Into Place” and “Everything in Its Right Place”: youtube.com. (Note, it’s audio only. Found via the indispensable rgable.typepad.com.)

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Stems: Eno Studies, Aural Antagonism, Sonic Diptychs, …

Plus: update on my recent film project, TV sound, politics, more

Imminent Audio: Saying “Tuesday at midnight” or “Wednesday at midnight” can mean different things to different people, so to be clear: On the midnight when Tuesday, November 20, meets Wednesday, November 21, I will be guest DJing for two hours on the web-streamed radio show “The World of Wonder” on KUSF in Exile. Thanks to drum machine innovator Matt Davignon for inviting me to handle the duties. It will stream at savekusf.org. The show will emphasize various aspects of minimalist sound: quietude, rhythmic simplicity, texture, and more. And that’s Pacific Time. And it will be archived within a day of the broadcast, and I’ll post that here when it’s available. The show includes music from, among others, Dance Robot Dance, Emma Hendrix, Garth Knox, Kate Carr, Anton Lukoszevieze, Scanner, all n4tural, Natalia Kamia, and jmmy kpple.

Two Disquiet Concerts: More on these very soon, but if you’re in Manhattan or San Francisco, please note that Disquiet Junto concerts are coming your way, soon. The Manhattan show will be at the gallery apexart on November 27, a Tuesday, at 6:30pm. The lineup: Brian Biggs (aka Dance Robot Dance), Ethan Hein, Shawn Kelly (aka Whyarcka), Kenneth Kirschner, Tom Moody, and Roddy Schrock (with Joon Oluchi Lee). The theme will be mechanized music made from field recordings of retail spaces, as part of the “As Real As It Gets” exhibit, organized by Rob Walker. ◼ The San Francisco show will be at the gallery the Luggage Store on December 6, a Thursday, at 8:00pm. The lineup: Cullen Miller, Clarke Robinson, Jared Smith, Subnaught, and Andrew Weathers (see facebook.com). The theme is yet to be announced.

Site Maintenance: A minor note, but this section of occasional tidbits and observations has long been called “Tangents,” and will no longer be. Now it’s going to be called “Stems.” The old term, “tangents,” suggested something that dissipated over time. The term “stems” comes from music production; it refers to a subset of material that’s been mixed down (collated, reduced) to aid in the subsequent production process. It’s a mid-stage, and thus it’s closer to the “outboard brain” (I think that’s a Cory Doctorow coinage) approach the “Tangents” postings have long served. (And if I appear to be doing these more often than I had in awhile, it’s true. I credit much of this activity to my adoption of the markdown “text-to-HTML conversion” approach, which speeds up things considerably. Seriously considerably.)

Eno-ology: One of the great things about a great new Brian Eno album — in this case, Lux — is the inevitable flood: a lot of writing about Eno. Geeta Dayal, in what I think is her first slate.com piece, notes that falling asleep to an Eno album is a compliment, not a criticism. ◼ Of course, Eno is ubiquitous, meaning that sometimes coverage of his work simply happens to coincide with him being in the news for a particular reason; in his plos.one blog, NeuroTribes, Steve Silberman queries 10 authors on the music they work to, among them David Dobbs, who notes not only Eno’s fixed recordings but his software:

… I rely on two staples:

First, a shuffled play of Brian Eno’s ambient albums, such as Music for Airports; second, an ingenious iPod app Eno made called Trope. You tap and rub the screen for a moment, fingerpaint-style, to set the texture for a Music for Airports-like ambient soundscape that will play indefinitely. I’ve done some great planning and some of my better writing lately with that going. The one danger is that the fine ambience and healthy relaxed Zenlike state it produces can convince you you’re getting good work done when it turns out … well, you’re not. A couple times I fell asleep.

When that happens, I get up, turn the volume up to 11, and put on some Led Zeppelin…

Sonic Weapons: I tend to disagree that the world is louder than it used to be. I think noise pollution is often a matter of individual perspective, of mood, of context. To be clear: I am not denying that humankind is leaving more of a prominent mark in places, zones, territories, it once left sacrosanct, or simply neglected — I’m speaking specifically of the built environment, of places (towns, cities, public spaces, workplaces) that are by definition humankind’s territory. In a New York Times essay (“The Quiet Ones”), Tim Kreider, a frequent flyer in the Quiet Car on Amtrak, describes how despite his concern for what he perceives as an annoyingly louder-than-ever world, he found himself “on the wrong side of the fight”:

I was sitting in my seat, listening to music at a moderate volume on headphones and writing on my laptop, when the man across the aisle — the kind you’d peg as an archivist or musicologist — signaled to me.

“Pardon me, sir,” he said. “Maybe you’re not aware of it, but your typing is disturbing people around you. This is the Quiet Car, where we come to be free from people’s electronic bleeps and blatts.” He really said “bleeps and blatts.”

“I am a devotee of the Quiet Car,” I protested. And yes, I said “devotee.” We really talk like this in the Quiet Car; we’re readers. “I don’t talk on my cellphone or have loud conversations — ”

“I’m not talking about cellphone conversations,” he said, “I’m talking about your typing, which really is very loud and disruptive.”

After each reproach they would lower their voices for a while, but like a grade-school cafeteria after the lunch monitor has yelled for silence, the volume crept inexorably up again. It was soft but incessant, and against the background silence, as maddening as a dripping faucet at 3 a.m.

For the record, as I’ve said in the past, I think perceiving this matter of “noise versus silence” as a fight is part of the problem. Noise is metaphor as much as it is a visceral experience. Noise is, in many ways, antagonism — and a fight is often a matter of antagonism, whichever “side” you’re on.

Hearing Aid: Light may travel more significantly more speedily than does sound, but Seth S. Horowitz argues that what’s heard is experienced more quickly than what’s seen:

Studies have shown that conscious thought takes place at about the same rate as visual recognition, requiring a significant fraction of a second per event. But hearing is a quantitatively faster sense.

That’s from his recent (and widely circulated) essay “The Science and Art of Listening” from the New York Times. Horowitz is the author of the excellent book The Universal Sense: How Hearing Shapes the Mind.

Like Kreider above, Horowitz is concerned about the pressures of modernization on the senses (“Listening is a skill that we’re in danger of losing in a world of digital distraction and information overload”), but he is more attuned to the role context and consciousness plays: “your brain works like a set of noise-suppressing headphones,” he says. He argues in part for listening as a skill an individual can acquire, in contrast with the more systemic approach that Quiet Car devotee Kreider seems to be aiming for.

Curses, Foiled: Speaking of noise as metaphor, the website wtflevel.com provides “Real-time updates on twitter swearing.” Since I tend to curse more out of enthusiasm than anger, I am intrigued by how the service adjusts for this. In any case, the website is pretty f’ing awesome. Sample data output here:

I think the waveform could be of use in a future Disquiet Junto project — read it as a graphically notated score, like we did the polling data from the recent U.S. presidential election.

Moon Unit: Quick little interview at greyshading.com with Moon Zero, whose “Budapest” drone was noted here fondly recently. Turns out the city played a role in his sonic development:

I want the audio to take on a life of its own, to be constantly pulsing and shifting. I love contrasts as well, beautiful sounds hidden by noise, things like that.

I’m at a strange place at the moment because my sound seems to be more and more influenced by religion, which is funny as I consider myself an atheist. I think its their sense of “epic” that inspires me. Big spaces and big bombast. It started when I was staying at a friends house in Budapest a couple of months ago. On Sunday morning this huge sound woke me up. His flat was next to St Peters Basilica and the sound was the bells tolling. It was so intense, but beautiful at the same time. I’ve recorded in churches in the past and this is something I’d like to do more of, although sadly it’s not easy finding one that’s sympathetic to ambient music.

Tech-nique: Mark Rushton continues to report on his use of Google Hangouts, and in this case on his employment of a newly popular iOS app, Samplr.

Math Tip: If you’re trying to add lengths of various tracks (e.g., combine the length of a handful of songs when estimating the length of a planned podcast), this is a handy tool: dollartimes.com.

Surreal Politik: Old news, but nonetheless: the irony when a political campaign doesn’t fully comprehend the provenance of its source music extends beyond the opposition by pop stars to staples of the American classical repertoire: theatlanticwire.com.

Sonic Diptychs: The great youtubemultiplier.com site was introduced to me by the talented and insightful Samuel Landry, and since his initial mention I’ve seen and received many others. The service lets you easily play two or more (up to eight) YouTube videos side by side, simultaneously. The previous link goes to a Landry (aka @le_berger on Twitter) cocktail of Steve Reich, Arvo Pärt, and Stephan Mathieu. The service is wonderful if only for letting me now, whenever I want, play one of my favorite sonic diptychs: Brian Eno’s Thursday Afternoon + DJ Krush’s Kakusei.

Doc Update: The documentary film The Children Next Door, for which I handled music supervision and share sound-design credit with the talented Taylor Deupree, won a special jury prize at the DOC NYC last Thursday. Trailer here:

It shares the award with the film Julian. DOC NYC said of the pair: “two powerful and intimate short films that capture the struggles of a pair of families as they battle through emotional confusion following devastating and violent tragedies” (docnyc.net). More at thechildrennextdoor.com. The movie was directed by Doug Block and produced by Lynda Hansen. So far it has shown at three film festivals: the Hamptons, Denver, and DOC NYC. Major thanks to the DOC NYC Shorts Competition category’s jurors: Natalie Difford (Cinereach), Vikram Gandhi (Kumaré), and Dan Nuxoll (Rooftop Films). And there’s a wonderful review of the film at sundancenow.com by Anthony Kaufman: “Though only 36 minutes, The Children Next Door attains a level of pathos as deep as any feature-length documentary.”

Listening to TV: (1) The Good Wife, in the episode a week and a day ago (“Anatomy of a Joke”), did a solid, humorous job of handling matters of censorship. As “ripped from the headlines” TV goes — there’s been increasing talk of late of networks easing their standards regarding adult material — it managed to be both outlandish and subtle. In the opening sequence, a character played by Christina Ricci is on the stand, under oath, being prosecuted for exposing her breasts on national television. When the opposing attorney interrogates her, she asks him what words he finds offensive (“What do you mean ‘vulgar’?”) and he can only muster, “It rhymes with ‘bits.'” She asks if we’re eight-year-olds here, and proceeds to say the offending word out loud (four letters, but only in the plural form), and not only does traffic noise obscure the verbalization, but the camera passes so that her face is momentarily covered by the attorney’s back, just at the moment she would be mouthing the word. The room’s guards are seen, as if in a Laurel and Hardy film, repeatedly trying to close a window to keep traffic noise from interfering. ◼ (2) Last week’s episode of NCIS: Los Angeles (“Rude Awakenings”) was the second part of a two-part sequence, focused on previously undisclosed personal matters involving the character of an agent played by LL Cool J. The show has more to its credit than it gets credit for, though its primary pleasure is likely the fact that on weekly basis the most unlikely pairing of LL Cool (“Mama Said Knock You Out”) and Linda Hunt (The Killing Fields) can be seen sparring or scheming, sometimes both at the same time. In any case, pretty much every episode of NCIS: Los Angeles ends with a little voiceover by Hunt’s characer, Hetty, after the screen goes dark. In a telling bit of tension-building, this time around, the credits were silent. It’s a small thing, but sometimes in sound design, the small things are the biggest things, especially when they’re silent, especially when that silent is a nod to, an acknowledgement of, the audience’s attention. In addition, there was a nice little bit at the start of the episode when a character previously disguised as a delivery person approached a home, presumed to be owned by a sleeper Soviet (yes, Soviet — not modern Russia) agent, and the pace of the music exactly matched her footsteps. Again, a small moment, but given how much TV music can sound like it was selected from a catalog with all the nuance of a Google image search, a good moment — especially when paired with the employment of Heddy’s silence at the episode’s end. ◼ (3) Finally, as @solidsignal noted on Twitter, Fringe did it again:

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Jukebox Hero

How Paul Lamere's genius web app mimics the human brain

It’s been tremendous to watch Paul Lamere‘s Infinite Jukebox get covered so widely. Brian Eno’s widely reviewed recent Lux album is getting rightful credit for bringing the concept of generative sound (back) into public view, but Lamere’s Jukebox is doing so not through the alternate backdoor aesthetic of ambient music, but right through the front door by employing standard pop songs as its source material. The Infinite Jukebox web application takes an individual song (feel free to upload your own) and creates an endless version by breaking it into segments and locating “pathways” that can be linked to each other in an ever-changing, random sequence.

I don’t have much to add on it at the moment except: (1) I think the major pleasure of the project may be how it replicates how our memories actually play back songs in our heads: not as pristine or even “worldized” recordings, a la Dennis Potter (The Singing Detective) or Walter Murch (American Graffiti), but as snatches that replay at an inconsistent pace and with varying attention to specific elements; (2) I am intrigued by the copyright ramifications — how do you bill/charge or otherwise claim royalty payments for such usage; (3) in my experience you can glitch up the Infinite Jukebox by playing it in a Chrome browser tab that isn’t the front-most tab; this causes the tune to skip, or in contemporary parlance, to enter an especially narrow, recursive pathway; and (4) do start using it: at echonest.com.

The Infinite Jukebox was developed by Lamere, who is Director of Developer Platform at Echo Nest. More on it at his musicmachinery.com website.

And speaking of which, there’s was a great feature on the company in a recent issue of Fortune (PDF) by Rob Walker, who organized the current “As Real As It Gets” exhibit at apexart in Manhattan, for which the Disquiet Junto provided sound design.

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Tangents: RjDj’s Retirement, Android Audio-games, Flavin’s Buzz, …

News, quick links, good reads

Download Before It Expires: The flagship RjDj app of the London-based Reality Jockey firm, home to the Inception and Dark Knight Rises Z+ apps, will no longer be available shortly. It is highly recommended that you download RjDj from the iTunes app store now for your iOS device before the app is retired. Details on the decison at the company’s blog, at rjdj.me. The post mentions that the company’s website will be relaunched on Monday, October 8.

Android Play Pretty Some Day: The website androidmusician.com is a solid compendium of sound/music apps for the Android operating system. It does a much better job than the Play store of displaying the state of tools for such activity. It’s more product-specific than the more cultural/newsy palmsounds.net, and complements it well.

Recent discoveries via androidmusician.com include the generative tool Orbits (screen shot shown above) and the old-school drum machine RD3 — Groovebox (video below):

The site also has a presence at twitter.com/androidmusician. It’ll be interesting to observe, over time, how these app-discovery services function best, whether the users will congregate at sites focused broadly on OS-specific coverage (Android versus iOS, etc.), focused broadly on usage-specific coverage (music, productivity, fitness), or as is the case of androidmusician.com focused at the intersection of a specific OS and a specific user base.

Boinquarius: One of the best music publications about adventurous sounds is the weekly email newsletter of the San Francisco record store Aquarius. The store is located on Valencia Street, not far from such cultural epicenters as the Borderlands science-fiction bookshop and the McSweeney’s pirate store. Aquarius’ newsletter, which usually pops up in email boxes on Friday evenings, has hooked up with the great Boing Boing (boingboing.net). The latter will be publishing one review per day, culled from Aquarius’ loquacious and knowledgeable crew, who are major fans of Krautrock, experimental electronics, and the darkest of death metal, among other things. Here’s a taste of what’s to expect, a review of the Common Eider, King Eider DVD Sense of Place: “wheezy chordal whirs, the vocals layered and wreathed in echo and reverb, a mysterious chorale that instead of building and then fading out, remains somewhat constant, with different voices receding and resurfacing, each part of the music slipping easily from just organ, to organ and voices, making for a constantly shifting landscape of muted melody and vocal texture.” Visit Aquarius Records (online) at aquariusrecords.org.

Sonoma Sound Art: If you’re in the North Bay (and, that is, if the Bay is the San Francisco one), be sure between now and October 14 to take the time to visit the art gallery on the Sonoma State campus, which is currently showing Sound, Image, Object: The Intersection of Art and Music. The participating artists are Mauricio Ancalmo, Terry Berlier, John Cage, Brian Caraway, Chuck Close, Bruce Conner, Lewis deSoto, Chris Duncan, Jacqueline Kyomi Gordon, Victoria Haven, Robert Hudson, Christopher Janney, Paul Kos, Tom Marioni, Jack Ox, Sarah Rara, Steve Reich, Isabelle Sorrell, Alice Wheeler, and William T. Wiley. Indeed, quite a lineup. I hope to have time to write it up soon.

The Reich are a pair of early compositions, including “Clapping Music”; the Ox a set of visuals combining sheet music and architecture drawings (above right); the deSoto a suspended stereo console; the Duncan an LP record made of paper (above left). A tremendous show.

In Brief: Camera-phone footage of Kronos Quartet opening for Amon Tobin last night: youtube.com; apparently someone threw a bra onstage, a first for the ensemble. … Kronos violinist and founder David Harrington submitted a mixtape to wqxr.org, where it is streaming currently; it features Arvo Pärt and DJ Qbert, Erik Satie and John Oswald. … John Kannenberg (of the Stasisfield netlabel) has started a new blog, phonomnesis.wordpress.com; its focus: “Silent memories of sound, art, time, museums, philosophy, and culture.” A definite add to your RSS reader. … In his excellent soundscrapers.blogspot.com blog, Nick Sowers probes a pressing question about fluorescent light sculpture Dan Flavin: “Spending countless hours, days, and years to get his installations just right, was Flavin using the buzzing sound to inform his work?”

The above is a recording by Sowers of Flavin’s buzz.

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“Alternative Musical Interfaces”: Disquiet @ GAFFTA (San Francisco, September 19)

Panel discussion at the new media hub

On Wednesday, September 19, there’s a panel discussion in San Francisco at the Grey Area Foundation for the Arts on “Alternative Musical Interfaces,” and I’ll be serving as moderator.

The panelists include the highly talented trio of Michael Zbyszyński (mikezed.com), Peter Nyboer (see his bayimproviser.com entry), and Spencer Salazar (see his ccrma.stanford.edu page) — more on whom at gaffta.org.

It’s all under the auspices of GAFFTA’s Sound Research Group. GAFFTA is located at 923 Market St, Suite 200, which is between 5th and 6th Streets. The event runs from 7:00pm until 8:30. Tickets are $20, but GAFFTA has a solid “no one turned away for lack of funds” policy.

I’m excited to be headed back to GAFFTA. I last took part in a discussion there in August 2011, when I presented some thoughts on “Sound as Commentary.”

Update (2012.07.25): The following description of the event has been added to the GAFFTA page at gaffta.org:

We’ve seen many shifts in ways to control sound over the millenia; everything from animal skins and bones to hacked Game Boys and everywhere in between. We find ourselves positioned at an interesting point in time for how we manipulate sound in a post-instrument world. The topic of alternative musical interfaces has been discussed by those attempting to redefine how we’ve shaped sound since the tribal era, but the discourse seems to be thriving. We’ve brought together three specialists (see below) who have dedicated large portions of their lives to the noble task of constructing new musical interfaces and pushing musicians to interact with their instruments in new and different fashions. The object of this evening is to gather together those interested in redefining our physical relationship to sounds and music. If you are interested in audio we recommend that you come join in the discussion with us.
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