You know – for kids. Mini.mu is a musical glove that can get young people coding and crafting and making music and electronics work. And it’s off to a simple, elegant, and affordable start, courtesy artist Imogen Heap and designer Helen Leigh.
It’s one thing for music stars to try out bleeding edge technology and explore performance using gestural interfaces. It’s another thing for kids to tackle computing and electronics – and to make teaching tools that serve them. But a new musical glove design could reach a far wider audience.
MI.MU gloves have been a story we’ve followed since the beginning. With artist Imogen Heap, the effort was to expand on musical gloves past and make something that could expressively navigate a performance.
But MI.MU’s work has tended to be technically complex and pricey. Not so MINI.MU.
You make this glove from scratch, with everything kids need included in the kit. (Helen Leigh is not only a brilliant engineer, but also a children’s author and workshop instructor – so she gets how to teach and how kids get going quickly. The kit is rated for age 6+.)
The price: retailing at £39.95. (just about fifty bucks USD). For many in the UK, it’ll be even cheaper, as schools already have the micro:bit “brains” of the glove
Apart from a cute-looking glove to put on your hand, the MINI.MU has a speaker, an accelerometer, and buttons. You use those sensors to pick up the position of the hand and particular events (like tilt or shake). Then code running on an included chip translates those motions into sounds – which you hear right on the glove, without any additional hardware.
The UK-based project takes advantage of the BBC micro:bit, an initiative to get UK schoolchildren into coding and embedded computing. There are loads of micro:bits around, so the glove is designed to build on this platform, but you can also buy the glove with a bundled micro:bit if you don’t have one.
And this can be extended, too. Pins on the board let you connect additional sensors, like flex sensors.
Helen worked with the MI.MU team, Imogen, and kit maker Pimoroni to make this happen.
What’s promising about MINI.MU is that it makes computing and crafting personal – you’re coding something that’s expressive and literally in your hand. If the creators can keep kids (and adults) interested in doing stuff with a glove, and building code around music, there’s real potential.
It looks like the beginning of a platform that could be a lot more – and that realizes some longstanding dreams to bring new ways of interacting with music and learning about STEM through music technology. We’ll be watching.
Check out how kids would get coding with this:
Visual coding using musical examples. (Check these things out in your browser, free.)
Deep in the Arctic Circle, the USSR was drilling deeper into the Earth than anyone before. One artist has combined archaeology and invention to bring its spirit back in sound.
Meet SG-3 (СГ-3) — the Kola Superdeep Borehole. You know when kids would joke about digging a hole to China? Well, the USSR’s borehole got to substantial depths – 12,262 m (over 40,000 ft) at the time of the USSR’s collapse.
The borehole was so epic – and the Soviets so secretive – that it has inspired legends of seismic weapons and even demonic drilling. (A YouTube search gets really interesting – like some people who think the Soviets actually drilled into the gates to Hell.)
Artist Dmitry Morozv – ::vtol:: – evokes some of that quality while returning to the actual evidence of what this thing really did. And what it did is already spectacular – he compares the scale of the project to launching humans into space (well, sort of in the opposite direction).
vtol’s installation 12262 is the perfect example of how sound can be made material, and how digging into history can produce futuristic, post-contemporary speculative objects.
The two stages:
Archaeology. Dima absorbed SG-3’s history and lore, and spent years buying up sample cores at auctions as they were sold off. And twice he visited the remote, ruined site himself – once in 2016, and then back in July with his drilling machine. He even located a punched data tape from the site, though of course it’s difficult to know what it contains. (The investigation began with the Dark Ecology project, a three-year curatorial/research/art project bringing together partners from Norway, Russia, and across Europe, and still bearing this sort of fascinating fruit.)
Invention: The installation itself is a kinetic sound instrument, reading the coded information from the punch tape and operating miniature drilling operations, working on actual core samples. The sounds you hear are produced mechanically and acoustically by those drills.
As usual, Dima lists his cooking ingredients, though I think the sum is uniquely more than these individual parts. It’s as he describes it, a poetic, kinetic meditation, evocative both intellectually and spiritually. That said, the parts:
Commission by NCCA-ROSIZO (National Centre for Contemporary Arts), special for TECHNE “Prolog” exhibition, Moscow, 2018.
Curators: Natalia Fuchs, Antonio Geusa. Producer: Dmitry Znamenskiy.
The work was also a collaboration with Gallery Ch9 (Ч9) in Murmansk. That’s itself something of an achievement; it’s hard enough to find media art galleries in major cities, let alone remote Russia. (That’s far enough northwest in Russia that most of Finland and all of Sweden are south of it.)
But the alien-looking object also got its own trip to the site, ‘performing’ at the location.
It’s appropriate that would happen in Russia. Cosmism visionary Nikolai Fyodorovich Fyodorov and his ideas about creating immortality by resurrecting ancestors may seem bizarre today. But translate that to media art, which threatens to become stuck in time when not informed by history. (Those who do not learn from history are doomed to make installation art that looks like it came from a mid-1990s Ars Electronica or Transmediale, forever, I mean.) To be truly futuristic, media art has to have a deep understanding of technologies progression, its workings, and all the moments in the past that were themselves ahead of their time. That is, maybe we have to dig deep into the ground beneath us, dig up our ancestors, and construct the future atop that knowledge.
At Spektrum Berlin this weekend, there’s also a “materiality of sound” project. Fellow Moscow-based artist Andrey Smirnov will create an imaginative new performance inspired by Theremin’s infamous KGB listening device of the 1940s – also new art fabricated from Soviet history – joined by a lineup of other artists exploring similar themes making sound material and kinetic. (Evelina Domnitch and Dmitry Gelfand, Sonolevitation, Camera Lucida, Eleonora Oreggia aka Xname share the bill.)
To me, these two themes – materiality, drawing from kinetic, mechanical, optical, and acoustic techniques (and not just digital and analog), and archaeological futurism, employing deep historical inquiry that is in turn re-contextualized in forward-thinking, speculative work, offer tremendous possibility. They sound like more than just a zeitgeist-friendly buzzword (yeah, I’m looking at you, blockchain). They sound like something to which artists might even be happy to devote lifetimes.
For another virtual trip to the borehole, here’s Rosa Menkman’s film on a soundwalk at the site in 2016.
Related (curator Natalia Fuchs, interviewed before, also curated this work):
Call it the virtual reality microphone … or just think of it as an evolution of microphones that capture sounds more as you hear them. But mics purporting to give you 3D recording are arriving in waves – and they could change both immersive sound and how we record music.
Let’s back up from the hype a little bit here. Once we’re talking virtual reality or you’re imagining people in goggles, Lawnmower Man style, we’re skipping ahead to the application of these mic solutions, beyond the mics themselves.
The microphone technology itself may wind up being the future of recording with or without consumers embracing VR tech.
Back in the glorious days of mono audio, a single microphone that captured an entire scene was … well, any single microphone. And in fact, to this day there are plenty of one-mic recording rigs – think voice overs, for instance.
The reason this didn’t satisfy anyone is more about human perception than it is technology. Your ears and brain are able to perceive extremely accurate spatial positioning in more or less a 360-degree sphere through a wide range of frequencies. Plus, the very things that screw up that precise spatial perception – like reflections – contribute to the impact of sound and music in other ways.
And so we have stereo. And with stereo sound delivery, a bunch of two-microphone arrangements become useful ways of capturing spatial information. Eventually, microphone makers work out ways of building integrated capsules with two microphone diaphragms instead of just one, and you get the advantages of two mics in a single housing. Those in turn are especially useful in mobile devices.
So all these buzzwords you’re seeing in mics all of a sudden – “virtual reality,” “three-dimensional” sound, “surround mics,” and “ambisonic mics” are really about extending this idea. They’re single microphones that capture spatial sound, just like those stereo mics, but in a way that gives them more than just two-channel left/right (or mid/center) information. To do that, these solutions have two components:
1. A mic capsule with multiple diaphragms for capturing full-spectrum sound from all directions
2. Software processing so you can decode that directional audio, and (generally speaking) encode it into various surround delivery formats or ambisonic sound
(“Surround” here generally means the multichannel formats beyond just stereo; ambisonics are a standard way of encoding full 360-degree sound information, so not just positioning on the same plane as your ears, but above and below, too.)
The software encoding is part of what’s interesting here. Once you have a mic that captures 360-degree sound, you can use it in a number of ways. These sorts of mic capsules are useful in modeling different microphones, since you can adjust the capture pattern in software after the fact. So these spherical mics could model different classic mics, in different arrangements, making it seem as though you recorded with multiple mics when you only used one. Just like your computer can become a virtual studio full of gear, that single mic can – in theory, anyway – act like more than one microphone. That may prove useful for production applications other than just “stuff for VR.”
There are a bunch of these microphones showing up all at once. I’m guessing that’s for two reasons – one, a marketing push around VR recording, but two, likely some system-on-a-chip developments that make this possible. (All those Chinese-made components could get hit with hefty US tariffs soon, so we’ll see how that plays out. But I digress.)
Here is a non-comprehensive selection of examples of new or notable 360-degree mics.
Maker: HEAR360, a startup focused on this area
The pitch: Here’s a heavy-duty, serious solution – camera-mountable, “omni-binaural” mic that gives you 8 channels of sound that comes closest to how we hear, complete with head tracking-capable recordings. PS, if you’re wondering which DAW to use – they support Pro Tools and, surprise, Reaper.
Who it’s for: High-end video productions focused on capturing spatial audio with the mic.
Maker: RØDE, collaborating with 40-year veteran of these sorts of mics, Soundfield (acquired by RØDE’s parent in 2016)
The pitch: Make full-360, head-trackable recordings in a single mic (records in A-format, converts to B-format) for ambisonic audio you can use across formats. Works with Dolby Atmos, works with loads of DAWs (Reaper and Pro Tools, Cubase and Nuendo, and Logic Pro). 4-channel to the 8-ball’s titular eight, but much cheaper and with more versatile software.
Who it’s for: Studios and producers wanting a moderately-priced, flexible solution right now. Plus it’s a solid mic that lets you change mic patterns at will.
Software matters as does the mic in these applications; RØDE supports DAWs like Cubase/Nuendo, Pro Tools, Reaper, and Logic.
The pitch: ZOOM is making this dead simple – like the GoPro camera of VR mics. 4-capsule ambisonic mic plus 6-axis motion sensor with automatic positioning and level detection promise to make this the set-it-and-forget-it solution. And to make this more mobile, the encoding and recording is included on the device itself. Record ambisonics, stereo inaural, or just use it like a normal stereo mic, all controlled onboard with buttons or using an iOS device as a remote. Your recording is saved on SD cards, even with slate tone and metadata. And you can monitor the 3D sound, sort of, using stereo binaural output of the ambisonic signal (not perfect, but you’ll get the idea).
Who it’s for: YouTube stars wanting to go 3D, obviously, plus one-stop live streaming and music streaming and recording. The big question mark here to me is what’s sacrificed in quality for the low price, but maybe that’s a feature, not a bug, given this area is so new and people want to play around.
Maker: ZYLIA, a Polish startup that IndieGogo-funded its first run last year. But the electronics inside come from Infineon, the German semiconductor giant that spun off of Siemens.
Cost: US$1199 list (Pro) / $699 for the basic model
The pitch: This futuristic football contains some 19 mic capsules to the 4-8 above. But the idea isn’t necessarily VR – instead, Zylia claims they use this technology to automatically separate sound sources from this single device. In other words, put the soccer ball in your studio, and the software separates out your drums, keys, and vocalist. Or get the Pro model and capture 3rd-order ambisonics – with more spatial precision than the other offerings here, if it works as advertised.
Who it’s for: Musicians wanting a new-fangled solution for multichannel recording from just one mic (on the basic model), useful for live recording and education, or people doing 3D recordings wanting the same plug-and-play simplicity and more spatial information.
Oh yeah, also – 69dB signal-to-noise ratio is nothing to sneeze at.
Pro Tools Expert did a review late last year, though I think we soon need a more complete review for the 3D applications.
What did we miss? With this area growing fast, plenty, I suspect, so sound off. This is one big area in mics to watch, for sure – and the latest example that software processing and intelligence will continue to transform music and audio hardware, even if the fundamental hardware components remain the same.
And, uh, I guess we’ll all soon wind up like this guy?
Roboticist, composer, and futurist Moritz Simon Geist has made an entire album using robotic machines. It’s stunning to behold – and he tells you all about how it developed. Let’s watch:
This is more than a gimmick: there’s a real difference in approach and process here. Moritz’s work is truly mechanical-acoustical and electro-acoustic, using mechanical, kinetic machines to produce sounds.
And Moritz has been working on this background for some time, including making an entire oversized TR-808 drum machine that replicates sounds not with analog circuitry or digital code, but by actually hitting percussion. (The claps even required a cluster of stuff to clap together.)
An extended making-of video walks through the behind-the-scenes process of how this came about and evolved.
It’s as much an exercise in kinetic sculpture as music, but then the album organizes those raw materials in an eminently listenable, musical manner. It’s quirky grooves, true to its mechanical-robotic nature – that is, even if you didn’t know what this was, you might quickly imagine dancing bots. The materiality comes through, in subtly off rhythms and precisely-placed organic sounds.
Moritz’ ongoing collaborators Mouse on Mars co-produced both an EP (“The Material Turn”, out October 12) and LP (“Robotic Electronic Music”, on November 16). And Moritz extends the musical role here, by being both inventor/builder/maker and musician – not to mention label head.
It’s great to see Moritz starting a new label devoted to this medium – Sonic Robots Records – but also getting the help not only of Mouse on Mars but legendary German label Kompakt to handle global distribution.
You can preorder the EP already, in both digital and vinyl forms:
… with the LP to follow soon.
Here’s our look at how Moritz is working with Mouse on Mars:
DIY guru Mitch Altman has been busy expanding ArduTouch, the $30 kit board he designed to teach synthesis and coding. And now you can turn it into a bunch of other synths – with some new videos to who you how that works.
You’ll need to do a little bit of tinkering to get this working – though for many, of course, that’ll be part of the fun. So you solder together the kit, which includes a capacitive touch keyboard (as found on instruments like the Stylophone) and speaker. That means once the soldering is done, you can make sounds. To upload different synth code, you need a programmer cable and some additional steps.
Where this gets interesting is that the ArduTouch is really an embedded computer – and what’s wonderful about computers is, they transform based on whatever code they’re running.
ArduTouch is descended from the Arduino project, which in turn was the embedded hardware coding answer to desktop creative coding environment Processing. And from Processing, there’s the idea of a “sketch” – a bit of code that represents a single idea. “Sketching” was vital as a concept to these projects as it implies doing something simpler and more elegant.
For synthesis, ArduTouch is collecting a set of its own sketches – simple, fun digital signal processing creations that can be uploaded to the board. You get a whole collection of these, including sketches that are meant to serve mainly as examples, so that over time you can learn DSP coding. (The sketches are mostly the creation of Mitch’s friend, Bill Alessi.) Because the ArduTouch itself is cloned from the Arduino UNO, it’s also fully compatible both with UNO boards and the Arduino coding environment.
Mitch has been uploading videos and descriptions (and adding new synths over time), so let’s check them out:
Thick is a Minimoog-like, playable monosynth.
Arpology is an “Eno-influenced” arpeggiator/synth combo with patterns, speed, major/minor key, pitch, and attack/decay controls, plus a J.S. Bach-style generative auto-play mode.
Beatitude is a drum machine with multiple parts and rhythm track creation, plus a live playable bass synth.
Mantra is a weird, exotic-sounding sequenced drone synth with pre-mapped scales. The description claims “it is almost impossible to play something that doesn’t sound good.” (I initially read that backwards!)
Xoid is raucous synth with frequency modulation, ratio, and XOR controls. Actually, this very example demonstrates just why ArduTouch is different – like, you’d probably not want to ship Xoid as a product or project on its own. But as a sketch – and something strange to play with – it’s totally great.
DuoPoly is also glitchy and weird, but represents more of a complete synth workstation – and it’s a grab-bag demo of all the platform can do. So you get Tremelo, Vibrato, Pitch Bend, Distortion Effects, Low Pass Filter, High Pass Filter, Preset songs/patches, LFOs, and other goodies, all crammed onto this little board.
There, they’ve made some different oddball preset songs, too:
Platinum hit, this one:
This one, it sounds like we hit a really tough cave level in Metroid:
For years, manufacturers have been substituting small minijack connectors for MIDI – but there wasn’t any official word on how to do that, or how to wire them. That changes now, as these space saving connections get official.
Our story so far:
MIDI, the de facto standard first introduced in the early 1980s, specifies a really big physical connector. That’ll be the 5-pin DIN connection, named for the earlier German standard connector, one that once served other serial connections but nowadays is seen more or less exclusively on MIDI devices. It’s rugged. It’s time tested. It’s … too big to fit in a lot of smaller housings.
So, manufacturers have solved the problem by substituting 2.5mm “minijack” connections and providing adapters in the box. Here’s the problem: since there wasn’t a standard, no one knew which way to wire them. A jack connection is called TRS because it has three electrical points – tip, ring, and sleeve. There are three necessary electrical connections for MIDI. And sure enough, not everyone did it the same way.
In the summer of 2015, I had been talking to a handful of people interested in getting some kind of convention:
Some manufacturers even used that diagram as the basis for their own wiring, but since no one was really checking with anyone else, two half-standards emerged. KORG, Akai, and others did it one way … Novation, Arturia, and ilk did it another.
The good news is, we now have an official standard from the MIDI Manufacturers Association (MMA). The bad news is, there can be only one – the KORG standard beat out the Arturia one, so sorry, BeatStep Pro.
Wiring diagram. The “mating face” is also what I put on when I start a flirtatious conversation about TRS wiring.
That said, now that there is a standard, you could certainly wire up an adapter.
2.5mm is recommended, though bigger TRS jack (1/4″) is also possibly. Mainly, your caveat is this: standard audio cables are not
If you’re thinking this now means you can use standard audio minijack cables The MMA document adds that you should use specialized cables with shielded twisted pair internal wiring. Shhh — audio cables probably would work, but you might have signal quality issues.
Twisted what? That’s literally twisting the wires together and adding an extra layer of shielding, which reduces electrical interference and improves reliability. (See Wikipedia for an explanation, plus the fun factoid that you can thank Alexander Graham Bell.)
The recommendation is made by the MMA together with the Association of Musical Electronics Industry (AMEI), and was ratified over the summer:
MMA Technical Standards Board/ AMEI MIDI Committee
Letter of Agreement for Recommend Practice
Specification for use of TRS Connectors with MIDI Devices [RP-054]
News and (for members) link to the PDF download on the MMA blog:
The most likely use case would be users plugging in minijack headphone adapters. But part of the reason to use 2.5mm minijack is, those other examples – microphones and guitar jacks – don’t typically use the smaller plug.
Anyway, to the extent that people would do this, presumably they were already doing it wrong on gear from various manufacturers that use these adapters. Those makers helpfully include adapter dongles in the box, though, and as the MMA/AMEI doc recommends, manufacturers may still want to include electrical protection so someone doesn’t accidentally fry their hardware. (And engineers do try to anticipate all those mistakes as best they can, in my experience.)
Really, nothing much changes here apart from because there’s an official MMA document out there, it’s more likely makers will choose one system of wiring for these plugs so those dongles and cables are interchangeable. And that’s good.
This week in blasphemy: LOOK MUM NO COMPUTER has another weird nerdy superhit, this time modding and glitching out an electronic bible. Jesus, take the soldering iron!
LOOK MUM NO COMPUTER is inventor-musician-composer Sam Battl of London, whose projects have included synths on bikes, flamethrower organs, and Theremin lightsabres, among other concoctions. And he has a knack for creating weird and wonderful inventions that then go viral.
But speaking of viral millennial sensations (okay, very different millennium), maybe you’ve heard of a bestselling book called … The Bible? All about a thought leader / influencer who … okay, I’ll stop.
Long story short: electronic bible. Soldering iron. Circuit bends. Apparently, a dare from deadmau5. And then, this:
And before I tempt getting struck by lightning while blogging, don’t worry, bible lovers – Sam says “Nothing against the bible here. I showed it to a couple of christian friends before and they seemed to like it.” There, that’s good enough for me.
Okay, sure, it sounds a little demonic, but you know, it’s still the actual Bible. If Christian rock sounded like this, I’d be up for it. (Bach, I like.)
As it happens, this project is interesting from an engineering perspective, too. Recent products are way harder to bend, thanks to fewer exposed bend points and chips hidden beneath black blobs and the like. There’s a reason circuit bending often starts with a trip to eBay or a flea market.
Sam promises more info on his site soon on just how he pulled this off. We’ll be watching.
For more on circuit bending, start with the man who started it all – Reed Ghazala, whose approach to bending is like an ecologist assisting machines in evolving. (He even gives them eyes and the like, for a window into their soul.) It’s radical, wonderful stuff – from an engineering perspective as well as a human and philosophical one. His site:
It’s definitely an underground subculture of audiovisual media, but lovers of graphics made with vintage displays, analog oscilloscopes, and lasers are getting their own fall festival to share performances and techniques.
Vector Hack claims to be “the first ever international festival of experimental vector graphics” – a claim that is, uh, probably fair. And it’ll span two cities, starting in Zagreb, Croatia, but wrapping up in the Slovenian capital of Ljubljana.
Why vectors? Well, I’m sure the festival organizers could come up with various answers to that, but let’s go with because they look damned cool. And the organizers behind this particular effort have been spitting out eyeball-dazzling artwork that’s precise, expressive, and unique to this visceral electric medium.
Unconvinced? Fine. Strap in for the best. Festival. Trailer. Ever.
Here’s how they describe the project:
Vector Hack is the first ever international festival of experimental vector graphics. The festival brings together artists, academics, hackers and performers for a week-long program beginning in Zagreb on 01/10/18 and ending in Ljubljana on 07/10/18.
Vector Hack will allow artists creating experimental audio-visual work for oscilloscopes and lasers to share ideas and develop their work together alongside a program of open workshops, talks and performances aimed at allowing young people and a wider audience to learn more about creating their own vector based audio-visual works.
We have gathered a group of fifteen participants all working in the field from a diverse range of locations including the EU, USA and Canada. Each participant brings a unique approach to this exiting field and it will be a rare chance to see all their works together in a single program.
Vector Hack festival is an artist lead initiative organised with
support from Radiona.org/Zagreb Makerspace as a collaborative international project alongside Ljubljana’s Ljudmila Art and Science Laboratory and Projekt Atol Institute. It was conceived and initiated by Ivan Marušić Klif and Derek Holzer with assistance from Chris King.
Robert Henke is featured, naturally – the Berlin-based artist and co-founder of Ableton and Monolake has spent the last years refining his skills in spinning his own code to control ultra-fine-tuned laser displays. But maybe what’s most exciting about this scene is discovering a whole network of people hacking into supposedly outmoded display technologies to find new expressive possibilities.
One person who has helped lead that direction is festival initiator Derek Holzer. He’s finishing a thesis on the topic, so we’ll get some more detail soon, but anyone interested in this practice may want to check out his open source Pure Data library. The Vector Synthesis library “allows the creation and manipulation of vector shapes using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, and oscilloscope emulation software using the Pure Data programming environment.”
The results are entrancing – organic and synthetic all at once, with sound and sight intertwined (both in terms of control signal and resulting sensory impression). That is itself perhaps significant, as neurological research reveals that these media are experienced simultaneously in our perception. Here are just two recent sketches for a taste:
They’re produced by hacking into a Vectrax console – an early 80s consumer game console that used vector signals to manipulate a cathode ray screen. From Wikipedia, here’s how it works:
The vector generator is an all-analog design using two integrators: X and Y. The computer sets the integration rates using a digital-to-analog converter. The computer controls the integration time by momentarily closing electronic analog switches within the operational-amplifier based integrator circuits. Voltage ramps are produced that the monitor uses to steer the electron beam over the face of the phosphor screen of the cathode ray tube. Another signal is generated that controls the brightness of the line.
Ted Davis is working to make these technologies accessible to artists, too, by developing a library for coding-for-artists tool Processing.
Oscilloscopes, ready for interaction with a library by Ted Davis.
Here’s a glimpse of some of the other artists in the festival, too. It’s wonderful to watch new developments in the post digital age, as artists produce work that innovates through deeper excavation of technologies of the past.
Machine learning is presented variously as nightmare and panacea, gold rush and dystopia. But a group of artists hacking away at CTM Festival earlier this year did something else with it: they humanized it.
The MusicMakers Hacklab continues our collaboration with CTM Festival, and this winter I co-facilitated the week-long program in Berlin with media artist and researcher Ioann Maria (born in Poland, now in the UK). Ioann has long brought critical speculative imagination to her work (meaning, she gets weird and scary when she has to), as well as being able to wrangle large groups of artists and the chaos the creative process produces. Artists are a mess – as they need to be, sometimes – and Ioann can keep them comfortable with that and moving forward. No one could have been more ideal, in other words.
And our group delved boldly into the possibilities of machine learning. Most compellingly, I thought, these ritualistic performances captured a moment of transformation for our own sense of being human, as if folding this technological moment in against itself to reach some new witchcraft, to synthesize a new tribe. If we were suddenly transported to a cave with flickering electronic light, my feeling was that this didn’t necessarily represent a retreat from tech. It was a way of connecting some long human spirituality to the shock of the new.
This wasn’t just about speculating about what AI would do to people, though. Machine learning applications were turned into interfaces, making gestures and machines interact more clearly. The free, artist-friendly Wekinator was a popular choice. That stands in contrast to corporate-funded AI and how that’s marketed – which is largely as a weird, consumer convenience. (Get me food reservations tonight without me actually talking to anyone, and then tell me what music to listen to and who to date.)
Here, instead, artists took machine learning algorithms and made it another raw material for creating instruments. This was AI getting the machines to better enable performance traditions. And this is partly our hope in who we bring to these performance hacklabs: we want people with experience in code and electronics, but also performance media, musicology, and culture, in various combinations.
(Also spot some kinetic percussion in the first piece, courtesy dadamachines.)
Check out the short video excerpt or scan through our whole performance documentation. All documentation courtesy CTM Festival – thanks. (Photos: Stefanie Kulisch.)
Big thanks to the folks who give us support. The CTM 2018 MusicMakers Hacklab was presented with Native Instruments and SHAPE, which is co-funded by the Creative Europe program of the European Union.
Full audio (which makes for nice sort of radio play, somehow, thanks to all these beautiful sounds):
2018 participants – all amazing artists, and ones to watch:
Alex Alexopoulos (Wild Anima)
Aziz Ege Gonul
Damian T. Dziwis
Julia del Río
Moisés Horta Valenzuela AKA ℌEXOℜℭℑSMOS
Nontokozo F. Sihwa / Venus Ex Machina