The video below is a small snippet of a Supercollider jam that I did. In the jam I explored the capabilities of SynthDef’s and PDef’s to create a small generative piece. I’m really intrested in generative music and PDef’s was a great tool to experiment with randomness and sequencing. What I like the most of Supercollider is the intense capability of modulation it has, because every component of code is so raw, modulation is capable in any instance of the algorithm, creating endless sonic timbres and textures. For my little jam I inputed an oscilloscope to the server to see the wave forms I was creating, the waves by themself looked very appealing and its a great source for visuals.
Monthly Archives: October 2021
TopLap
Temporary Organization for the Promotion of Live Art Programming or TopLap is an international organization created to the exploration and promotion of live coding. Its web page features news, forums, exhibitions and upcoming events of the world of live coding. TopLap was created in 2004 and since it has grown across the world, creating hubs or nodes in different countries, where people can work and collaborate in live code projects and performances. Thanks to TopLap I discovered the live coding scene of Mexico and I joined the facebook group of it, I’m looking forward to exploring the live coding scene of my country.
In the page of TopLap I discovered a Barcelona based artist called Yaxu that uses Tidal Cycles for his live performances. He combines different electronic genres and experimental practices to create his improvisations. I was amazed by his performances and his ways of sequencing sound, I specially thought that his structuring in the performance was very successful. One of the hardest things of live code is the development of ideas and transitions of sections and Yaxu manages really well.
Algoraves
Live Coding or Algoraves is a form of electronic music performance where artists write computer code to create music and improvise with it in stage. The sub-culture of Algoraves have expanded and spread across the world, creating conferences and festivals where enthusiast join to perform and discuss about live code. Different manifests have been written to define what Algoraves (Amrani, 2017) are and what its objective is. Some common features of most manifestos are showing screens with the code in live performances, social inclusivity and diversity, and accept failure as a common factor of live code due to the big amount of technical problems such as computer crashing. The scene is by nature DIY orientated and it follows an anti-systemic and anti-capitalist stream of thought.
The most common languages and softwares for live coding are: Supercollider- orientated to sound design and synthesis, Tidal Cycles-orientated to sequencing and triggering sound.
I am currently learning Supercollider and I’ve tried Mini Tidal before. In general it has been quite challenging because I’ve never done any type of coding before, but I am enjoying a lot the learning process and I’m inspired by the sonic capabilities of coding music. My next objective is to learn Supercollider to a decent level and being able to perform a small improvisation following the rules of the Algorave manifesto.
Michel Chion
Michel Chion is a french experimental music composer, recognized for working along Pierre Schaeffer in the development of Musique Concrete, coming up with theories of the relationship between sound and film. He wrote one of the most important books in film audio theory called Audio-Vision (1994), in this text Chion presents concepts such as Acousmétre and Added value, techniques that have remained relevant throughout contemporary film. As mentioned before, Chion was deeply influenced by Musique Concrete and his works follow the methodology of french avant-garde music. It’s really interesting to see how early tape manipulation and experimentation formed the building blocks of the audio-visual practice.
I found this lecture from Michel Chion, published by Liquid Architecture (2017), where he explains in depth his works and experiences. I found this video very informative and interesting.
https://liquidarchitecture.org.au/events/michel-chion
Nichol’s Modes of Documentary
Nichol’s 6 modes of documentary is a frame work theory of the different sub-genres of documentary making. Originally this theory was specifically created for film documentary but the modes can be adapted for argumentative sound studies, and other written essays sound art works. I will take in consideration this theory when analyzing different documentaries and when creating my audio essay assessment, the modes are of great use when doing the assessment because of its performative value.
Poetic Documentary- Arriving to the point of the documentary through rhythm, tone, or spatial juxtaposition to evoke an association with the audience. e.g Soviet Montage Theory.
Expository Documentary- Builds a specific argument or point of view for the audience. A common technique is using an obnipresent narrative voice, dictating the evidence.
Observational Documentary- Capturing the point of interest without disturbing the subject with purpose of getting raw true material.
Participatory Documentary- Subject participate directly with the creator of the documentary. Normally it is in an interview mode.
Reflexive Documentary- Relationship of the creator with the audience. Giving a deeper intake in the experience of the creator of the documentary.
Performative Documentary- Emphasize truth as relative, the audience have the decision to which point of view to take.