Amfortas was the King who Guarded and Preserved the Holy Grail.

This Amfortas is a Psychologist and Men's Rights Advocate. Tracks are short spoken essays, easy to listen to and using everyday language.  They analyse the massive problems caused to Society, the Family, Men, Women and Children by Feminism, a rampant mind and heart virus has infected the Anglosphere destroying the spirit of all it touches. 
    
Amfortas also writes the tracks of Christian J, another MRA who kindly 'Produces' for him. Several tracks are made in collaboration with other well appreciated Men's Rights Advocates including a Psychologist in Houston, Texas.
    
Doris Lessing, the famous British early feminist author, said at the Edinburgh Book Festival, in August, 2001: "I find myself increasingly shocked at the unthinking and automatic rubbishing of men which is now so part of our culture that it is hardly even noticed." 
    
She went on to point out-  "The most stupid, ill-educated and nasty woman can rubbish the nicest, kindest and most intelligent man and no one protests … "
    
Amfortas DOES protest, elegantly, incisively, factually and with a psychologist's careful consideration. 
    
YOU, the listener can make your own assessment, with the Truth just a download away.
    
All tracks are dedicated to his beloved Daughter Caroline who is estranged by Parental Alienation Syndrome and to his beloved Son Jules in whom he is well pleased. 
  
Radio Stations in all countries have Amfortas's permission to use any and all of these podcasts for Public Broadcast. 
  
Let the Truth be Out There.
      
Ask:  Who Does the Grail Serve.

These are some intentional improvisations with guitar and voice and a loop station. These are sound journeys, musical explorations, not finished pieces.
I use music to meditate and pray and I like to add layers of melodies to create tapestries of harmonies, and to break free from ideas, concepts, styles, notes or theory, and just do a sort of a sound painting, a type of ambience, with the sounds, to dive in the power of the vibracional energy of sound, to create a music that breathes, a musical prayer, that has some space, and comes from a pure and visceral place. I like to surrender to the Moment and listen to what comes through, to dive in that precipice and letting sounds come through and take me away, it becomes a sort of a Prayerformance. 
All pieces here were pure improvisations.
My influences come from visionary art, dreams, yoga and Indian music and shamanism. That is why the tracks tend to develop in variations in harmony, but not changing the Main notes, in this way, the intention is to create an alternate state of consciousness, like in meditative Indian music and in shamanic journeying, to create a sort of a hypnosis like a Mantra, and then, from that structure, flying away, in dynamics and harmonies exploration, like a mandala, or a caleidoscope, blossoming, while maintaining the same Inicial Frequency/Center/Intention/Structure. 
At some point, the process becomes automatic, and completely intuitive, and I believe in this Space, the Soul can Speak.
Meditation and Creation are One
I think the best way to define these pieces if to call them "Musical Kaleidoscopes".


"Returning to Oneness: Musical Oxygen"
 
Rites of Passage 
Returning to Oneness
divine vine, divine motherhood
transformation integration,
 intentional improvisation
introspection intersection, 
crossing the cross-roads
to walk pathways of possibilites
blessed impermanence
underworldly otherworldly 
alchemical substance
surrender to the evidence
 of the illusion of control
the epiphany of my ignorance
 but I know, now, 
I know, life always knows more.
 
prayerforming musical prayers 
to touch timelessness
to be in resonance 
with the sacred unisson
we run with wolves 
in dances of shadows and light
to Navigate Life
 
hearing the voices of ressurection, 
crying tears of redemption
in an awakening Planet,
 people of earth rise
global unison 
of awakening personal power
tidal waves, of kundalinic lava,
 like flames, reaching the sky, 
raining and cleansing the Old mind
visceral alignment,
 adjusting to a new rhyme
new rhythms, and new spaces,
 in a new time.
it's a beautiful death, 
it's a timeless rebirth
soul eclipsurrendering
 the rebirth of Venus.
 
dreams whispering dreams ,
 light as an atomic bomb with wings
Preparing for the absence of gravity 
I hear a song of Samadhi
in the subtle layers of reality 
in the invisible made visible
spider web of golden threads 
of universal energy
riding the wave of this frequency 
where worlds meet telepathically
and dreams manifest
 in magic synchronicity
and as the sun sets , with open chests,
the sun pours light in our hearts,
 drumming in Unity.

genre fluid

Co-founder of Mainstream CPH and MEGA GAY. 
Resident at SØ, Baggen, Soho House

• Highlights
01.02 SØ
31.01 Unique CPHFW Party
30.01 Birger Christensen Rotate CPHFW Party
30.01 Soulland CPHFW Party
29.01 DK Company - CIFF
24.01 SØ
17.01 SØ
10.01 MEGA GAY

• Highlights 2019
21.12 SØ
20.12 SØ
14.12 Pan Re-Erect
14.12 SØ
13.12 SØ
12.12 Backdoor @ DANDY
06.12 MEGA GAY
16.11 SØ
08.11 SØ
02.11 MEGA GAY (Copenhagen)
18.10 Club C.C. (Paris)
05.10 MEGA GAY
04.10 SØ
14.09 Homo Electric
13.09 SØ
17.08 Mainstream Queer Rave
16.08 Cockwhore & Entrees Pride Pool party
14.08 IQOS Pride Release
10.08 PopIsm
09.08 CPH Fashion Week Closing Party
19.07 SØ
13.07 Homo Electric
05.07 Culture Box (Copenhagen)
27.06 JUNK (San Francisco)
27.06 Urban Outfitters Pride Event(San Francisco)
15.06 Beatpig (San Francisco)
25.05 Unique Models 30th Anniversary (Copenhagen)
20,04 Søpavillonen (Copenhagen)
31.03 Akbar (Los Angeles)
25.01 Steam (San Francisco)
19.01 Beat Pig (San Francisco)
01.01 Get Real (San Francisco)

• Highlights 2018
15.12 Beat Pig (San Francisco) w/ Juanita More
17.11 Beat Pig (San Francisco) w/ Juanita More
20.07 Jolene (Copenhagen) w/ Cockwhore & Macho, Carlo & Selma, Borneland + more
20.07 Sangria @ Chateau Motel (Copenhagen) w/ Ludvig Poll
29.06 Mainstream (London) w/ Cockwhore & Macho, Carlo & Selma, Mendoza + more
23.06 Mainsteram (Copenhagen) w/ nd_baumecker, Anastasia Kristensen, Telfort
21.04 Popism (Copenhagen)
30.03 Dance Tunnel (London) w/ Dan Beaumont
18.03 Jolene (Copenhagen)
24.02 Mainstream (Copenhagen) w/ Boris, Neri J, DJ Macho, Carlo & Selma, Kenneth Cockwhore
21.01 Mainstream (Copenhagen) 
19.01 Euroman x Eurowoman (Copenhagen)
13.01 Popism (Copenhagen)

• Residencies: 
Jessie @ Jolene (Copenhagen) 2011-2013
Torsdagsselskabet (Copenhagen) 2015-2016
Kødbyens Mad & Marked (Copenhagen)2015-2016
Popism (Copenhagen) 2015-2019
Mainstream (Copenhagen/London) 2015-2019
Juanitas Drag Brunch (San Francisco) 2018-2019
Beatpig (San Francisco) 2018-2019
MEGA GAY - 2019

• Played alongside
Robyn, Peaches, Cyril Hahn, Tokimonsta, nd_Baumecker, Boris, Dan Baumount, Roi Perez, Anastasia Kristensen, Cem, Drippin, Clara3000, Lotic, Lotta Volkova, Le1f, Jam City,  Mcmlxxxv, Telfort, DJ Nigga Fox, Bad Gyal, Slim Hustla, Dinamarca, Neri J, Cockwhore & Macho, Borneland, Little Dragon, Kenton Slash Demon, Mama Snake, Djuna Barnes, Trentemøller, Medina, AVAVAV, Smerz, Courtesy, CAMELPHAT, Doppelgang
ect. 

• A selection of venues played:
- Denmark
Trailer Park Festival, Warehouse9,
Dunkel, Simons, Sunday, Bakken, The Grey Hall, Distortion Festival, Culture Box, Jolene, Kb18, Rust, Vega, Idealbar, V58, Hornslet, MIX Gay Film Festival, Block 66, Kifak, Harvey, Chateau Motel, Jolene, Hive, Sigurdsgade, Pony, Blasen, Baby Baby, Henry’s Dream Festival, Bøssehuset, Grøntorvet 54, Ungdomshuset, Gefährlich, The Log Lady, Søpavillonen
etc.
- Rest of Europe
Dalston Superstore (London/UK)
Dance Tunnel (London/UK)
East Bloc (London/UK)
The George and Dragon (London/UK)
Hauser & Wirth (Somerset/UK)
Julia Stoschek Collection Berlin (Berlin/DE)
The Boilerman Bar (Hamburg/DE)
Caravan (Paris/FR)
Le Klub (Paris)
- USA
Akbar (Los Angeles)
Westway (New York)
Powerhouse (San Fransisco)
The Midway (San Francisco)
The Lash (Los Angeles)
620 Jones (San Francisco)
Twist (Miami)
Palace (Miami)
Club Space (Miami)

• Clients:
Urban Outfitters, VICE, Copenhagen Fashion Week, Discovery Network, Negroni, Unique Models, by Malene Birger, Soulland, Nordisk Film, Superdry, Cover Magazine, Sand TV, Campari, Belong Agency, Monday Media, Cheap Monday, Euroman, Eurowoman, DANSK, Egmont, Adax, Soundvenue, Ilva, Københavns Kommune, Liquidminds, Corona, Absolut, Kontrapunkt, Very, Spalt PR, Polhelm PR, Vagabond, Asger Juel Larsen, Bibi Chemnitz, Moonspoon Saloon, DAY Birger et Mikkelsen, Caravan, No3, JBL, Belong Agency
ect.

ITA:

Quadraro Massive nasce spontaneamente da dancehall pirata già dal 2005, organizzate nel quartiere di provenienza di tutti i componenti della crew e sul litorale romano, fino allo evoluzione più classica del Sound System Reggae, con l'autocostruzione di un proprio impianto Hi-Fi che attualmente conta 7 Kw di potenza e che è ancora in via di sviluppo. QM è pubblicamente attiva da circa 4 anni, ha collaborato con: One Love Hi Powa, Raina, Villa Ada Posse, Gioman & Killacat, Gappy Ranks, Java Nuclear, Christopher Ellis, Allan Brando, Reddman UK, Heavy Hammer, Mr. Williamz, Attila e Mighty Cez, LionD, Sicily Rebellious, Charlie Black , City Lock, Tippa Irie, Ice One, Ward21, Mighty Crown, Heavy Hammer, Exco Levi, Omi, Delly Ranks, partecipa da anni alla Million Marijuana March. Per due anni impegnati nella serata a tema reggae/hip hop dal nome Bad a yard - The Hottest Night Inna Roma.

Stay focused.


ENG

Quadraro Massive is a team of old time friends - DJs, performers and sound engineers – that share an overwhelming passion for the dancehall music. It arises almost spontaneously during the spring 2005, through pirate parties organized into the crew members’ neighborhood: a highly populated and working-class district at the southeastern edge of Rome known as Quadraro, indeed. This is the starting point that brought the consciousness of playing music for the people we belong to, and the automatic evolution has been the self-construction of our own Hi-Fi Sound System that currently develops 7 kW and which is always upgraded and enlarged. Over its years of activity, Quadraro Massive can count on several live events alongside One Love Hi Powa, Raina, Villa Ada Posse, Gioman & Killacat, Gappy Ranks, Jav Nuclear, Christopher Ellis, Allan Brando, Reddman UK, Heavy Hammer, Mr. Williamz, Attila e Mighty Cez, LionD, Charlie Black , City Lock, Tippa Irie, Ice One, Ward21, Mighty Crown, Heavy Hammer, Exco Levi, Omi, Delly Ranks, just to mention the most relevant. Since 2013 Quadraro Massive got its own reggae yard in Rome, B.A.Y. (Bad A Yard), hosting performers and sound systems twice a month during the winter. It also took an active part with its own yellow Sound System in the Million Marijuana March 2013 and 2014. 

Stay focused. 

I’m Susie Zsuzsanna Tolgyesi and stepped onto the path of yoga in 2004. This is a path with many ways, which requires the need for continuous development and honest self-reflection from its follower. I would like to contribute in the improvement of people’s state of physical and mental health by teaching yoga and meditation. I believe that the spiritual development is an automatic inherent to those who practice and learn regularly.

The name ‘suzAnahatayoga’ derives from two words, which are my first name Zsuzsanna (in Hungarian written) and the word ‘Anahata’. The Anahata is the heart chakra, chakra is also known as energy center. In this 4th main center wheel (chakra in sanskrit means wheel) is the meeting point of our physical and spiritual being. This is the central point actually, and as I found my center through yoga, this name is truly gives back my intention to practice and teach from my heart.

http://soundcloud.com/somnoroase-pasarele

Computer music


Computer music is a term that was originally used within academia to describe a field of study relating to the applications of computing technology in music composition; particularly that stemming from the Western art music tradition. It includes the theory and application of new and existing technologies in music, such as sound synthesis, digital signal processing, sound design, sonic diffusion, acoustics, and psychoacoustics. The field of computer music can trace its roots back to the origin of electronic music, and the very first experiments and innovations with electronic instruments at the turn of the 20th century. More recently, with the advent of personal computing, and the growth of home recording, the term computer music is now sometimes used to describe any music that has been created using computing technology.


Computer music programming languages
Much of the work on computer music has drawn on the relationship between music theory and mathematics. The world's first computer to play music was CSIRAC which was designed and built by Trevor Pearcey and Maston Beard. Mathematician Geoff Hill programmed the CSIRAC to play popular musical melodies from the very early 1950s. In 1951 it publicly played the Colonel Bogey March[1] of which no known recordings exist. However, CSIRAC played standard repertoire and was not used to extend musical thinking or composition practice which is current computer-music practice.

The oldest known recordings of computer generated music were played by the Ferranti Mark 1 computer, a commercial version of the Baby Machine from the University of Manchester in the autumn of 1951. The music program was written by Christopher Strachey. During a session recorded by the BBC, the machine managed to work its way through "Baa Baa Black Sheep", "God Save the King" and part of "In the Mood".[2]

Two further major 1950s developments were the origins of digital sound synthesis by computer, and of algorithmic composition programs beyond rote playback. Max Mathews at Bell Laboratories developed the influential MUSIC I program and its descendents, further popularising computer music through a 1962 article in Science. Amongst other pioneers, the musical chemists Lejaren Hiller and Leonard Isaacson worked on a series of algorithmic composition experiments from 1956-9, manifested in the 1957 premiere of the Illiac Suite for string quartet.[3]

Early computer-music programs typically did not run in real time. Programs would run for hours or days, on multi-million-dollar computers, to generate a few minutes of music.[citation needed] John Chowning's work on FM synthesis from the 1960s to the 1970s, and the advent of inexpensive digital chips and microcomputers opened the door to real-time generation of computer music. By the early 1990s, the performance of microprocessor-based computers reached the point that real-time generation of computer music using more general programs and algorithms became possible.[citation needed]

Advances

Advances in computing power and software for manipulation of digital media have dramatically affected the way computer music is generated and performed. Current-generation micro-computers are powerful enough to perform very sophisticated audio synthesis using a wide variety of algorithms and approaches. Computer music systems and approaches are now ubiquitous, and so firmly embedded in the process of creating music that we hardly give them a second thought: computer-based synthesizers, digital mixers, and effects units have become so commonplace that use of digital rather than analog technology to create and record music is the norm, rather than the exception.

Research

Despite the ubiquity of computer music in contemporary culture, there is considerable activity in the field of computer music, as researchers continue to pursue new and interesting computer-based synthesis, composition, and performance approaches.Throughout the world there are many organizations and institutions dedicated to the area of computer and electronic music study and research, including the ICMA (International Computer Music Association), IRCAM, GRAME, SEAMUS (Society for Electro Acoustic Music in the United States), CEC (Canadian Electroacoustic Community), and a great number of institutions of higher learning around the world.

Computer-generated music

Computer-generated music is music composed by, or with the extensive aid of, a computer. Although any music which uses computers in its composition or realisation is computer-generated to some extent, the use of computers is now so widespread (in the editing of pop songs, for instance) that the phrase computer-generated music is generally used to mean a kind of music which could not have been created without the use of computers.

We can distinguish two groups of computer-generated music: music in which a computer generated the score, which could be performed by humans, and music which is both composed and performed by computers. There is a large genre of music that is organized, synthesized, and created on computers.

Computer-generated scores for performance by human players
Many systems for generating musical scores actually existed well before the time of computers. One of these was Musikalisches Würfelspiel (Musical dice game; 18th century), a system which used throws of the dice to randomly select measures from a large collection of small phrases. When patched together, these phrases combined to create musical pieces which could be performed by human players. Although these works were not actually composed with a computer in the modern sense, it uses a rudimentary form of the random combinatorial techniques sometimes used in computer-generated composition.

The world's first digital computer music was generated in Australia by programmer Geoff Hill on the CSIRAC computer which was designed and built by Trevor Pearcey and Maston Beard, although it was only used to play standard tunes of the day. Subsequently, one of the first composers to write music with a computer was Iannis Xenakis. He wrote programs in the FORTRAN language that generated numeric data that he transcribed into scores to be played by traditional musical instruments. An example is ST/48 of 1962. Although Xenakis could well have composed this music by hand, the intensity of the calculations needed to transform probabilistic mathematics into musical notation was best left to the number-crunching power of the computer.

Computers have also been used in an attempt to imitate the music of great composers of the past, such as Mozart. A present exponent of this technique is David Cope. He wrote computer programs that analyse works of other composers to produce new works in a similar style. He has used this program to great effect with composers such as Bach and Mozart (his program Experiments in Musical Intelligence is famous for creating "Mozart's 42nd Symphony"), and also within his own pieces, combining his own creations with that of the computer.

Music composed and performed by computers
See also: Generative music, Evolutionary music, and Genetic algorithm
Later, composers such as Gottfried Michael Koenig had computers generate the sounds of the composition as well as the score. Koenig produced algorithmic composition programs which were a generalisation of his own serial composition practice. This is not exactly similar to Xenakis' work as he used mathematical abstractions and examined how far he could explore these musically. Koenig's software translated the calculation of mathematical equations into codes which represented musical notation. This could be converted into musical notation by hand and then performed by human players. His programs Project 1 and Project 2 are examples of this kind of software. Later, he extended the same kind of principles into the realm of synthesis, enabling the computer to produce the sound directly. SSP is an example of a program which performs this kind of function. All of these programs were produced by Koenig at the Institute of Sonology in Utrecht, Holland in the 1970s.

Procedures such as those used by Koenig and Xenakis are still in use today. Since the invention of the MIDI system in the early 1980s, for example, some people have worked on programs which map MIDI notes to an algorithm and then can either output sounds or music through the computer's sound card or write an audio file for other programs to play.

Some of these simple programs are based on fractal geometry, and can map midi notes to specific fractals, or fractal equations. Although such programs are widely available and are sometimes seen as clever toys for the non-musician, some professional musicians have given them attention also. The resulting 'music' can be more like noise, or can sound quite familiar and pleasant. As with much algorithmic music, and algorithmic art in general, more depends on the way in which the parameters are mapped to aspects of these equations than on the equations themselves. Thus, for example, the same equation can be made to produce both a lyrical and melodic piece of music in the style of the mid-nineteenth century, and a fantastically dissonant cacophony more reminiscent of the avant-garde music of the 1950s and 1960s.

Other programs can map mathematical formulae and constants to produce sequences of notes. In this manner, an irrational number can give an infinite sequence of notes where each note is a digit in the decimal expression of that number. This sequence can in turn be a composition in itself, or simply the basis for further elaboration.

Operations such as these, and even more elaborate operations can also be performed in computer music programming languages such as Max/MSP, SuperCollider, Csound, Pure Data (Pd), Keykit, and ChucK. These programs now easily run on most personal computers, and are often capable of more complex functions than those which would have necessitated the most powerful mainframe computers several decades ago.

There exist programs that generate "human-sounding" melodies by using a vast database of phrases. One example is Band-in-a-Box, which is capable of creating jazz, blues and rock instrumental solos with almost no user interaction. Another is Impro-Visor, which uses a stochastic context-free grammar to generate phrases and complete solos.

Another 'cybernetic' approach to computer composition uses specialized hardware to detect external stimuli which are then mapped by the computer to realize the performance. Examples of this style of computer music can be found in the middle-80's work of David Rokeby (Very Nervous System) where audience/performer motions are 'translated' to MIDI segments. Computer controlled music is also found in the performance pieces by the Canadian composer Udo Kasemets such as the Marce(ntennia)l Circus C(ag)elebrating Duchamp (1987), a realization of the Marcel Duchamp process piece Erratum Musical using an electric model train to collect a hopper-car of stones to be deposited on a drum wired to an Analog:Digital converter, mapping the stone impacts to a score display (performed in Toronto by pianist Gordon Monahan during the 1987 Duchamp Centennial), or his installations and performance works (e.g. Spectrascapes) based on his Geo(sono)scope (1986) 15x4-channel computer-controlled audio mixer. In these latter works, the computer generates sound-scapes from tape-loop sound samples, live shortwave or sine-wave generators.

Computer-Aided Algorithmic Composition


Diagram illustrating the position of CAAC in relation to other Generative music Systems
Computer-Aided Algorithmic Composition (CAAC, pronounced "sea-ack") is the implementation and use of algorithmic composition techniques in software. This label is derived from the combination of two labels, each too vague for continued use. The label computer-aided composition lacks the specificity of using generative algorithms. Music produced with notation or sequencing software could easily be considered computer-aided composition. The label algorithmic composition is likewise too broad, particularly in that it does not specify the use of a computer. The term computer-aided, rather than computer-assisted, is used in the same manner as Computer-Aided Design.

Video-Driven Soundtrack Composer

A new concept insofar as the music generated is driven by an associated video. This process has been developed by Tunepresto and is available as a commercial product, Abaltat Muse, for users to create their own music based on their video pictures or slideshows. The process involves an analysis of the color saturation in the pictures, together with the calculation of the duration of the footage. The user then chooses a style of music and a soundtrack is created using the video analysis information combined with the rules of the chosen musical style. The music generated is royalty-free since the user is the originator of the music.

Machine Improvisation

See also: Machine learning, Machine listening, Artificial intelligence, and Neural networks
Machine Improvisation uses computer algorithms to create improvisation on existing music materials. This is usually done by sophisticated recombination of musical phrases extracted from existing music, either live or pre-recorded. In order to achieve credible improvisation in particular style, machine improvisation uses machine learning and pattern matching algorithms to analyze existing musical examples. The resulting patterns are then used to create new variations "in the style" of the original music, developing a notion of stylistic reinjection. This is different from other improvisation methods with computers that use algorithmic composition to generate new music without performing analysis of existing music examples.

Statistical style modeling
Style modeling implies building a computational representation of the musical surface that captures important stylistic features from data. Statistical approaches are used to capture the redundancies in terms of pattern dictionaries or repetitions, which are later recombined to generate new musical data. Style mixing can be realized by analysis of a database containing multiple musical examples in different styles. Machine Improvisation builds upon a long musical tradition of statistical modeling that began with Hiller and Isaacson's Illiac Suite for String Quartet (1957) and Xenakis' uses of Markov chains and stochastic processes. Modern methods include the use of lossless data compression for incremental parsing, prediction suffix tree and string searching by factor oracle algorithm (basically a factor oracle is a ﬁnite state automaton constructed in linear time and space in an incremental fashion[4]).

Uses of Machine Improvisation
Machine Improvisation encourages musical creativity by providing automatic modeling and transformation structures for existing music. This creates a natural interface with the musician without need for coding musical algorithms. In live performance, the system re-injects the musician's material in several different ways, allowing a semantics-level representation of the session and a smart recombination and transformation of this material in real-time. In offline version, Machine Improvisation can be used to achieve style mixing, an approach inspired by Vannevar Bush's memex imaginary machine.

Implementations
Matlab implementation of the Factor Oracle machine improvisation can be found as part of Computer Audition toolbox.

OMax is a software environment developed in IRCAM. OMax uses OpenMusic and Max. It is based on researches on stylistic modeling carried out by Gerard Assayag and Shlomo Dubnov and on researches on improvisation with the computer by G. Assayag, M. Chemillier and G. Bloch (aka the OMax Brothers) in the Ircam Music Representations group.

Musicians working with machine improvisation
Gerard Assayag (IRCAM, France), Jeremy Baguyos (University of Nebraska at Omaha, USA) Tim Blackwell (Goldsmiths College, Great Britain), George Bloch (Composer, France), Marc Chemiller (IRCAM/CNRS, France), Nick Collins (University of Sussex, UK) Shlomo Dubnov (Composer, Israel / USA), Mari Kimura (Juilliard, New York City), George Lewis (Columbia University, New York City), Bernard Lubat (Pianist, France), Joel Ryan (Institute of Sonology, Netherlands), Michel Waisvisz (STEIM, Netherlands), David Wessel (CNMAT, California), Michael Young (Goldsmiths College, Great Britain), Pietro Grossi (CNUCE, Institute of the National Research Council, Pisa, Italy), Toby Gifford and Andrew Brown (Griffith University, Brisbane, Australia).

Live coding

Main article: Live coding
Live coding[5] (sometimes known as 'interactive programming', 'on-the-fly programming',[6] 'just in time programming') is the name given to the process of writing software in realtime as part of a performance. Historically, similar techniques were used to produce early computer art[citation needed], but recently it has been explored as a more rigorous alternative to laptop musicians who, live coders often feel, lack the charisma and pizzazz of musicians performing live.[7]

Generally, this practice stages a more general approach: one of interactive programming, of writing (parts of) programs while they are interpreted. Traditionally most computer music programs have tended toward the old write/compile/run model which evolved when computers were much less powerful. This approach has locked out code-level innovation by people whose programming skills are more modest. Some programs have gradually integrated real-time controllers and gesturing (for example, MIDI-driven software synthesis and parameter control). Until recently, however, the musician/composer rarely had the capability of real-time modification of program code itself. This legacy distinction is somewhat erased by languages such as ChucK, SuperCollider, and Impromptu.

TOPLAP, an ad-hoc conglomerate of artists interested in live coding was formed in 2004, and promotes the use, proliferation and exploration of a range of software, languages and techniques to implement live coding. This is a parallel and collaborative effort e.g. with research at the Princeton Sound Lab, the University of Cologne, and the Computational Arts Research Group at Queensland University of Technology.

Human Collateral
Black Budget Einstein
AS SEEN ON TV
Good plus Evil divided by Two
The Devil Doesn't Have A Heart
Siberian Discipline for the Overactive Imagination
Odette Became A Giraffe
Tao of ∑igma
How Gay Can You Go
The Ku Klux Klan Circumcised Me
Drink God's Blood Out Of My Dick
Ruthless Truth
Circumcised Insurance Administration
Beanpod versus Facenique
No Animals Were Harmed in the making of this Film
FOUR POINT SEVEN FIVE Molecules of Air
Immortality, the Bible, and Neanderthal Girls
My God is an Empty House
Transsexual Child of Transgender People
WHITE_WHITE_DARKRED_WHITE
The Boogie Man is a Millionaire Wearing Glasses
The Clydesdale Attempted to Rape the Eagle
Feeble Minded Frankenstein Lover
Endless Circle of Nothing
Lower Class Hermaphrodite
Middle Class Food Stamp Devil
Compact Disc Faggot
Twisting Your Vertebrae Cockwise
I'd rather smell burning wood than aftershave
The Marijuana Plant Ate The Rats
The Number of the Gears is 50 Electrons
EYEBOX rubber hair
WAR CAD SIX
Take your Genetic Bytecode and Suck a Dick
Primordial Oooze Sucks Cock
The Child With No Friends
Angstrom Organism
Obtain Food
Vertebrae Count
World History Organization
Titanium Billionaire Victoria
Turn On Drop Out Runaway Tune In
Intelligent Silence
2793 The Place That We Don't Want To Be
I Won All These Blue Ribbons at the Firing Range
South Texas Marijuana Project
Trisect the Trees
Automatic Society
Small Money Big Love Big Money Small Love
Rich Triangular Scientists
The Apprehension of Thunder
Second Amendment Lexicon
Blue Metal Wet Dreams
Convicted Stetson Felony
Leviathan, Behemoth, and Nemesis Circumcised_CIATS
Battle of the Skeleton Crowns
Milky Way Centerpost 46 Lab Rap
DJ Green Acid
What Not Much
Group Fear
Don't Bang The Doors After 10PM Even If Its 4:47AM
I was a Gift from God and you threw me away

ALEXANDRE A.S.

Na ativa desde os primórdios da cultura eletrônica no Brasil, o DJ, produtor, desenhista mecânico, Web Designer e festeiro profissional Alexandre A.S. passou por todas as festas, publicações e movimentos que importam, sempre à frente da divulgação de novos talentos e sonoridades. O resultado é simples: A.S. é uma daquelas pessoas para quem definições como “um dos nomes mais importantes” não são mero exagero. Sua credibilidade no meio é amplamente reconhecida, como artista e comunicador.

Na ativa desde 1991, o desenhista Alexandre A.S. foi um dos primeiro profissional a divulgar com força a cena eletrônica brasileira. Na Internet, é colaborador do site rraurl.com. E na rádio faz parte do cast da Clip 88,7 FM há dois anos, participa do programa da Educadora 91,7 FM “Super Pista”.
Como DJ, toca profissionalmente desde 1991. Participou ativamente de diversos momentos importantes da cena eletrônica desde seu embrião, ganhando os macetes da profissão com renomados Djs, e comandando toca-discos nos principais eventos de Campinas e região, como os festivais Ilusion “São João da Boa Vista”, Carnaval da Educadora “2000 e 2001”, Big Festa “2002, 2003, 2004 e 2005”, Barretos 2005 “Balada da Paz”, Clip Festival “2006”, Rodeio Indaiatuba 2006 “Tenda Balada Night Clip”. Também já se apresentou com Derico & Sergio do programa do Jô Soares, Marky Mark, Camilo Rocha, Vadão e André Luchi.

Hoje, junto com convites para tocar em clubes e festas de todo o Brasil, vem ampliando seu campo de trabalho com Sucesso de público na cidade, a Quinta Flash se dedica aos sons dançantes das décadas de 70 e 80, e já recebeu convidados de peso como Carlinhos “Super Pista” e César Machia. Também mantém o projeto mensal “House Up!”, um dos primeiros a se dedicar exclusivamente ao electro e breakbeats. Além das incursões pelo mundo das batidas quebradas, A.S. é divulgador de outro boom atual da cena campineira: a fusão de baladas com lojas de utensílios pessoais, onde no decorrer do horário comercial da lojas um Dj fica discotecando entre os clientes, já executado em lojas de alto garbo como: Magazine Luiza, Hot Point, Casas Bahia e Canal.

Foco atual de seu trabalho, a produção musical tem rendido ótimos frutos. Com o projetos “Souza Whit Z” vem se destacando na sena Electro House com produções elogiadas pelo grau de aceitação do publico e por se tratar de produção independentes somente nos sets mix de A.S. são apresentadas as composições. As faixas possuem grooves marcantes com pitadas da club house em fusão com a tribal music, mistura perfeita para hits como : Samba do Canário, Magic Ball, O.B.seção, Electro First e The week best sound, essa elogiada por vários Dj renomados pela energia contagiante passada ao ouvinte, sucesso imediato.

ONDE TOCOU

FESTA e RAVE
Grito de Férias , Sunday Tronik , Exótic (1 e 2) , Intergalactic Party , Orbital ,Abrigo Nuklear , Luau Eletro , Adventure Party , Carnagosto Med (unicamp) ,Milleniu’s , Cala a Boca e Me Beija , Carnaval da Educadora (pista eletronica 4 noites 6000 pessoas) , Surprise , Big Festa (8 delas “festa que reune todos os aniverssáriantes do mês”) , FauFisio , Alta Pressão , Integração 2002 , The Night Fanta-Sy(1 e 2) , Automatic (1,2,3 e 4) , Ilusion (5000 pessoas “São João da Boa Vista”) , Rave na Italia , Carnaval da Educadora 2006 (Café Cancun – 5 noites e 4 matines) entre outras....

PRINCIPAIS CLUBES
Residências:
Bodyline Patinação - Campinas
Teenagers - Campinas
Cais do Porto - Sorocaba
Alles Bier - Campinas
Café Cancun - Campinas
Cactus Café Club – Itú
Farol da Barra Beach Bar – Campinas
Camaleão Show – Campinas
Alibabar - Campinas
Armorial - Campinas
Arraial - Sousas
Som Brazil - Valinhos

APRENTAÇÕES
Manhatans (4 apresentações), Avenida 2 (2 apresentações), Orion (2 apresentações), Limit’s (1 apresentação), Ecstasy (2 apresentações), Mhay Thay (2 apresentações), Eclipse (1 apresentação), TajMahal (2 apresentações), Massivo (1 apresentação), Cheerz (1 apresentação), Bar do Zé ( 7 apresentações), Magazine Luiza (4 apresentações), Hot Point (2 apresentações), Canal (4 apresentações), Rocinha ( 2 apresentação), Tejusa (1 apresentação), Indaia Club (1 apresentação),
Frei Pádua (1 apresentação), Moustache Single Bar (39 apresentações), Fazendinha Night Club (53 apresentações), Camaleão Show (9 meses), Zakar (4 apresentações), Tarantino (27 apresentações), Cokeluxe (2 apresentações), Zoff Club, entre outras .

CIDADES
Campinas – SP
São João da Boa Vista – SP
Barretos – SP
Sousas – SP
Sorocaba - SP
Nova Odessa – SP
São Paulo - SP
Itu – SP
Indaiatuba – SP
Sumaré – SP
Monte Mor - SP
Hortolândia – SP
Capivari - SP
Mauá - SP

OUTROS EVENTOS
*Lançamento do Cd Super Pista(Educadora fm 91,7 Campinas) *Abertura do show “Paolo”
*Abertura da apresentação do Dj Marky (2 vezes) *Concurso da Nova Loira do Tchan
*Abertura do show Derico & Sergio (programa do Jô Soarez) (8 vezes)
*Abertura do show da Banda Urbanóides (6 vezes) *Abertura do show do Daytona (2 vezes)
*Abertura da apresentação do Dj Silvinho *Abertura da apresentação do Dj Camilo Rocha
*Programa Super Pista (Radio) *Programa Night Clip (Radio)
*Programa Circuito Fechado (TV) 

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