I'm learning ChucK, a coding approach to composition. Played with a sequence of randomly-chosen sounds, shifting the pitch range for each step in the 5-pitch sequence, while controlling the time-length of each step in the sequence. #myideaoffun

1 mn bloop : sequenced random sine oscillator

[ old school : new media ] a fun adaptation of Steve Reich's "Clapping Music for Two Performers" from 1971. Coded in ChucK; the claps are managed by array of on-off's for gain. Pitch choice was randomized, clap-note length 140ms. 

I used this score / performance directions as my guide : http://www.music.mcgill.ca/~gary/306/week10/clapping.pdf

Reich : Clapping Music [ for two oscillators ]

mc rota handed off the vocal track for his rap : weapon :

bitcrushed in logic
remixed via code in ChucK

Weapon [ RoughEdit ]

soundtrack to my newest glitchy hallucination of a short art video "data painting [ motel black ]" - snippet of the video visible here : http://drawclose.com/dp-12.html

sculpted in logic using ultrabeat and three manipulated samples

data painting [ motel black ]

1 mn sample of manipulated field recordings of Chicago's Metra platform inside Ogilvie Transportation Center. I'm always struck by how the sound reminds me of old Number Station recordings, but with the digital voice instead. 

created by coding to randomize the sampling of the sound files. using ChucK.

Chicago Metra Number Station

a cutup, something like William S. Burroughs used to make. Used ChucK to code it and play with a snippet of speech.

For Charles Taylor Prescott.

cutup [ descent into feedback loop ]

was this

Testing a delay babbler app I'm building for artist Cristian Andersson to use in a series of performances that accompany his installation work, Scriptorium. [ http://www.cristianandersson.com/the-scriptorium/ ]

I read an excerpt from Virginia Woolf's Mrs. Dalloway for this test.

BaBel2 app test

2.5 minute excerpt from The Devil's Abacus, a 45-minute multimedia performance work featuring generative, computer-based sound and video with live performance.  

All samples and loops used to build this work are excerpted from publicly available documentaries about solitary confinement. 

Albert Woodfox, who states "we were the sacrificial lambs", was a member of the Angola 3. He spent 43 years in solitary confinement before being released in 2016. 

Rhythmic drumming are sampled recordings of inmates held in solitary hammering on the windows of their cells in a variety of ways, as recorded in a 2012 documentary.

This work was commissioned by Milwaukee's Present Music to be performed Sunday, August 26 to echo and amplify the nationwide prison strike started today, as prisoners in the American system of incarceration ask to be treated as human beings. This work will be performed at Vogel Hall as part of Milwaukee's Fringe Fest. 

Image : shaving razor photographed through lens, still from video in progress

Devil's Abacus (sacrificial lambs) workSample

5:46 opening of 45 minute performance score // 

With the score playing, an artist draws directly on the pavement with a compass and pastel pencils. 

Two dancers’ feet erase and blur the drawing.

The artist draws a bit more, the dancers' movements erase . . . 
. . . and repeat, evolve, transform . . . repeat.

Performance with electronic music, 45 minutes.

Friday, September 21 this work arrived in downtown Appleton, Wisconsin. 

Performed in a pair of parking spaces booked by Liminal Gallery's 
Cristian Andersson, the work was invited in to the annual [PARK]ing 
event during Appleton's "Art on the Town".