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Pluggo 3.1000

2004-01-11

Pluggo 3.1 for OSX was released a few days ago as well. Pluggo is a set of more than 100 audio plug-ins for Audio Units VST and RTAS.

Auvi

2004-01-09

Kurt has been demoing Auvi to me Jeremy Ellen and Gisle today. It is interesting to see and takes a different approach to video processing than Jitter or SoftVNS although it is depending on Jitter for input and output from/to disk camera and screen.

Gisle also demoed MøB for Kurt.

Blind film

2004-01-09

There’s an interesting review of Blind Film at Kunstkritikk.no. Blind film was a collaboration between Ballongmagasinet NoTAM og NRK. A number of artists was invited to create sound art to be presented in a dark cinema and on radio.

The author points out how different the various artists use the medium. the visual artists seems to have a fairly conceptual approach. All of the works are depending on text and to a certain degree a narrative story. This is a fairly rare phenomena in Norway. On the other hand there’s no-one working on electronic or electroacoustic music allthough God dag madam Reinholdsen god aften frøken Flink by author Jon Øystein Flink og composer Trond Reinholdsen relates to electro-acoustic genres.

I heard God dag madam Reinholdsen god aften frøken Flink on a concert held by NoTAM during Ultima last autumn and that is a really funny piece.

Party Party!

2004-01-09

I’m off to BEK to celebrate that the future of BEK is secured.

CMJ/LMJ

2004-01-08

Computer Music Journal 4/27 and Leonardo Music Journal 13 arrived in the post yesterday.

In LMJ Peter Manning writes an article on “The Influence of Recording Technologies on the Early Development of Electroacoustic Music”. The article is interesting as it is not only concentrating on Musique Concréte (RTF) and Elektronische Musik (Nordwestdeutcher Rundfunk) but also works by artists associated with Bauhaus in the thirties.

However the abstract makes a statement that I find hard to agree on:

From the earliest experiments with the manipulation of 78-rpm disks during the 1920’s the technology of recording has played a major role in the evolution of electroacoustic music. This has extended not only to the recording and reproduction of material but also to key components of the compositional process itself. Although such influences have become less prominent with the advent of digital technology their impact during the formative years of electronic music was significant and far-reaching…

To me this is a slightly narrow-sighted approach. The recording technology of today is no longer tapes or disks but digital samples that is numbers. Numerical treatment of samples forms the technical basis of a lot off what I and a lot of other artists do. Widening the perspective to include recent approaches to moving images as well software such as Jitter Auvi and the recent conference p1k53l proves that the work of a lot of visual artists is closely related the the digital representation of the media they are working within as well.

 
 
 

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