- Attention to detail – that only hand made generative music can allow (code allows you to go deeper into creative structures)
- Realtime output and compositional control – we hate to wait (it is inconceivable to expect non-realtime systems to exhibit signs of life)
- Construct and explore new sonic environments with echoes from our own. (art reflects human narrative, code reflects human activity)
- Open process, open minds – we have nothing to hide (code is unambiguous, it can never hide behind obscurity. We seek to abolish obscurity in the arts)
- Only use software applications written by ourselves – software dictates output, we dictate software (authorship cannot be granted to those who have not authored!)
It seems people still aren’t getting tired of the word ‘algorave’, now looking forward to
- xCoAx 2015, in Glasgow. The third edition of this conference which really plugged a gap in my world.. I went to the first edition in Bergamo which was excellent, the very well conceived call for participation drew a wide range of thinkers and makers together. I couldn’t make the second one but am happy to be presenting a paper about live coding collaboration, and performing at the algorave with some greats.
- Then much of the live coding field descending on Yorkshire for an Algorave in Sheffield and a three day conference in Leeds that I have the pleasure of organising as part of an excellent team.
- Then thankfully things slow down for the summer, but looking forward to spending some time in Vancouver and playing the ISEA Algorave there together with fine algorave veterans both human and computational.
- Then to Tilburg with Yee-King for the huge Incubate festival, which includes a little Algorave. It’ll be good to see Leafcutter do his first ‘official’ algorave, although he’s been bringing algorithms to actual raves for quite some time. Stalwarts Sam and Norah will also be there. It’ll be techno.
I’ve also got a load of collaborative alternative hackathons planned, including one at the ODI summit, as well as a public lecture to be announced very soon..
I’m collaborating with Alex Keegan on audio/visual performances drawing from research into beat perception. We’re starting by deliberately breaking the following rules in turn:
1. Any rhythm that follows a pulse formed of regular (isochronous) rhythms will itself, be regular.
2. Any section that has a regular pulse will progress to a following section which also has a regular pulse.
3. The progression of certain characteristic sections will follow each other in sequence, For example a ‘drop’ will always follow from a ‘build-up’.
The idea is to push against the edges of the perception of rhythm and meter, touching into the hallowed ground of frustration and annoyance, using two drum machines and four projectors controlled by Tidal..
Our first performance is tonight at this event at Theatre Deli in Sheffield, we’ll on be in the basement twice, around 9:40 and 11:40. There’ll also be some proper music upstairs, footwork and grime. Then we’ll try it again next week at Access Space, also in Sheffield, as part of the Sonic Pattern night programme.
Nice to see some photos + videos of peak cut in action crop up from around the world:
— Repl Electric (@repl_electric) March 28, 2015
— Laica (@Laica23) March 24, 2015
— Hannah Festival (@hannahfestival) April 16, 2015
Kind words on bleep, who have some of the remaining physical copies of Peak Cut:
“Restricted to just 100 copies, Yaxu’s debut EP comes from Computer Club on a very special USB credit card containing the 6 tracks as well as a collection of over 100 algorithmic Tidal patterns to reshape and enjoy as you wish. As well as challenging the conventional formats for releasing music, Yaxu’s polyrhythmic and hyperreal strand of techno is showcased on cuts like Public Life and Cyclic showing that he is not just testing the confines of how music can be consumed but also how genres can sound. A truly forward thinking influx of material from Yaxu and the Computer Club team.”
The physical version comes in the form of a USB drive running my complete ‘studio’, i.e. Linux, Tidal and a lot of Tidal patterns. It’s been a real pleasure working with Computer Club and Human on this.
Peak Cut be launched at an extra special algorave at Access Space in Sheffield.
Just to reflect, I’m currently:
- Finishing a project on Optical Music Recognition
- Co-editing and writing chapters for the Oxford Handbook on Algorithmic Music, with another book on the horizon
- Co-editing two journal special issues
- Co-organising a symposium, international conference + algorave, and many more events on the horizon, as well as upcoming performances, talks and other events
- Co-leading two research council funded projects
- Learning to weave, making a language for it, developing designs for a warp weighted loom, and working towards an installation and performance in Munich in May
- Finishing a range of chapters, journal articles and papers
- Peer reviewing a lot of things
- Preparing for a big series of Tidal workshops and an evening course
- Developing a series of alternative hackathons and residencies over the Summer
- Giving lectures and supervising student projects
- Trying to find time to write project proposals/grant applications to try to extend my fixed term postdoc and increasingly part-time contract doing all the above (erp!)
- Finishing tracks for my next EP, and associated software and linux distro
- Being a Dad/Husband
- Other things currently not on the forefront of my mind
So no time to blog, really…
I’m still trying to get the 2014 end of year summary finished..
For now here’s a new post on the Sound and Music sampler blog about live coding and algorave.
Really happy with how this Canute set went last Friday:
Video to follow..