2004-02-18
I’m off to Oslo again to work with Verdensteatret for the rest of the week. The premiere of the new production is delayed two days and will be on the 5th of March not the 3rd as planned previously. That leaves me with a bit of a problem as the installation in Kristiansand with Jeremy Welsh and Jon Arne Mogstad is opening the day after on the 6th.2004-02-17
NN has launced KFOR a new mailing list hosted by Atelier Nord. KFOR seems intended to replace the LEV list. Lev has been replaced once already by 0xFF but NN is denied access to that list. I just sent a mail on 55 asking if this list can now be considered obsolete.2004-02-16
The Monster became necsessary because throughout the years I developed many different sound treatment algorithms that were linked to a specific composition performance or improvisation. At rehearsals with the Ensemble für Intuitive Musik I would often get an idea but just then I couldn’t start to program of course and say to the musicians “Now wait a second I need a half hour to make a new Max patch.” I wanted a sort of “hyper” Max patch an engine that contained all previously developed sound treatment possibilities.
Ketty Nez: An Interview with Hans Tutschku. CMJ 27-4 Winter 2003
Tim Place had similar motives for developing Jade. Me and Håkon Lindbäck often ends up asking for a half hour during Verdensteatret rehearsals. I’ve been doing the same when working with e.g. Frode Thorsen and Gitte Bastiansen. It often drain creative energy out of the other artists and but on the other hand: Very often we need DSP algorithms that are custom made for the situation. A monster patch will only work if you’re constraining yourself to the modules and processes already present in the patch or elseway are able to do development out of rehearsals. That’s also slowing down progress and I often find that if I’m not acting on ideas when they arrive I risk loosing them or loosing faith in them them before I get a chance to explore.
2004-02-16
Every artistic practice it seems maps itself grammatically as if part of speech. Documentary photography the most literal application of an already empiristic medium privileges the noun the thing itself. Action painting tautologically speaking is all verb. Impressionism? Adjectival. More and more contemporary music – from the pop charts to the world of academic computer music and gallery installations – positions itself prepositionally It is meta-music music about music sound about sound and process about well process.
From the sleeve notes for
“Splitting bits Closing Loops: Sound on Sound”
Accompanying CD for LMJ Vol 13
2004-02-15
New Max abstraction: tl.metro. Similar to metro but synced to audio if audio is running. Also if audio is running in NonRealTime-mode tl.metro works accordingly. To be included in next tl.objects update.
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