Lots of new articles and news!

  • I've added lots of new pages to my Projects hub as many things are coming into the public.
    • Check out the television game show pilot I worked on called Mind Control.
    • Check out the video art piece I made with Ben Kato called Oto wo sukurachi.
    • Check out the VR flying machine I've been building called Airflow.
    • The long overdue page for my MFA thesis Touchpoint is on the horizon, I promise!

More Touchpoint performances are online!

Lots of old video documentation of using Touchpoint has been uploaded to YouTube since I last updated!

Here was its first public appearance, processing the turntables of Sam Botstein at a Grids, Beats & Groups concert:

Next, we have the second performance in the Touchpoint Series. This is a three-player, serialized, networked session with Christopher Knollmeyer and Colin Honigman:

Audiovisual display courtesy of Gabriel Rey-Goodlatte.

"Baraka" MTIID MFA Show from Spring 2013

On March 6th 2013, the CalArts Music Technology MFAs collaborated on a new live film score to the 1992 film Baraka as our second semesterly concert. Since this project was not my own, I had not posted it into my projects hub.

Upon referencing it in the previous article about the Global Net Orchestra, I realized I didn't have a good audio stream of one of my pieces from it hosted anywhere. So now, this is a consolidation of the content I generated from that show.

"Untitled (Plinky)" had a couple of idea nuclei behind it:

  • wanting to do a piece that made the pressing and releasing of the sustain pedal on a old, crappy-sounding piano sound HUGE.
  • wanting to do a piece on an old crappy piano with the sustain pedal held down that's just descending down in chromatic 7ths (C-D-E-F-G-A-B going down an octave each time. for example). Obviously these ideas could live well together.
  • convolving two unintelligible strains of speech synthesis together.
  • big, big, big time The Girl with the Dragon Tattoo Soundtrack by Trent Reznor and Atticus Ross influence.

My piece with Raphael Arar was interesting because it was totally "instrumental". He improvised a plodding, dark march feel on piano that I controlled a reverb return to. I performed life effects processing (via Sugar Bytes Turnado) of samples of my niece Brooklynn struggling to say the alphabet that had been extremely time-stretched in SPEAR. I was locked to a timeline and Raphael wasn't.

We arrived at something that consistently took breaths in the same place from rehearsal to rehearsal but was somewhat improvisatory outside of that. It was cool.