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Snakes & Oscillators

A glimpse at a video-game music interface by Jon Davies

A post shared by Jon Davies (@jonpauldavies) on

Just to follow up yesterday’s post of an Instagram video depicting a tiny robot band playing artfully arranged instrumental music, here’s another solid example of the miniature musical-technological (a slightly more humane appellation than “music-technology”) wonders found on the social network.

As you listen to the clip, a brief synthesized melody is being modulated in real time, the sound warping at the whim of a controller. The familiar shape of the x/y control pad is viewable in the lower right hand corner of the illuminated grid device. What it controls is this snake, familiar from video games like Centipede, the early-1980s classic. The snake can be aimed at a little stationary reward, whose consumption by the snake ushers in a new phase of the melody, which appears to move up the register a step at a time, or something along those lines.

The rules of this game-composition aren’t entirely clear, but it does appear that while you can aim the snake to hit that reward light right on the schedule that the rhythm suggests, you can also delay doing so, letting the standing melody extend for awhile. It’s nice to imagine how an audience in a live setting would get engaged in such a performance, becoming aware of the process and enjoying the occasions of delayed gratification as the snake takes its time to consume its prey. It’s also interesting to think how the scenario can train a player to keep time, or adeptly veer from it, along the lines of Guitar Hero and other so-called rhythm games.

Video found via a post by Scanner Darkly on the llllllll.co boards. Software by Jon Davies, on whose Instagram account the clip was published. The device is the open-source Monome Grid controller (more at monome.org). Davies says the code will soon be shared publicly, for those who want to play along at home.

By Marc Weidenbaum

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  • Marc Weidenbaum founded the website Disquiet.com in 1996 at the intersection of sound, art, and technology, and since 2012 has moderated the Disquiet Junto, an active online community of weekly music/sonic projects. He has written for Nature, Boing Boing, The Wire, Pitchfork, and NewMusicBox, among other periodicals. He is the author of the 33 1⁄3 book on Aphex Twin’s classic album Selected Ambient Works Volume II. Read more about his sonic consultancy, teaching, sound art, and work in film, comics, and other media

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