{"id":2471,"date":"2013-06-22T09:08:04","date_gmt":"2013-06-22T09:08:04","guid":{"rendered":"http:\/\/joelasqo.com\/blog\/?p=2471"},"modified":"2015-05-27T10:29:23","modified_gmt":"2015-05-27T10:29:23","slug":"msp-outsound-new-music-summit%e2%80%99s-%e2%80%9cvibration-hackers%e2%80%9d-thur-25-jul-cmc-sf-815-pm","status":"publish","type":"post","link":"https:\/\/joelasqo.com\/blog\/2013\/06\/22\/msp-outsound-new-music-summit%e2%80%99s-%e2%80%9cvibration-hackers%e2%80%9d-thur-25-jul-cmc-sf-815-pm\/","title":{"rendered":"MSP\/Piano @Outsound New Music Summit\u2019s \u201cVibration Hackers\u201d (Thur 25 Jul, @CMC, SF, 8:15 pm)"},"content":{"rendered":"
\"\"<\/a>

Vibration Hackers - Outsound New Music Summit, Thu 25 July 2013<\/p><\/div>\n

I\u2019m greatly honored to have had the opportunity to curate the\u00a0Vibration Hackers<\/em><\/strong> night at this year\u2019s\u00a0Outsound New Music Summit<\/em><\/strong>, an evening which will highlight the deep-space explorations of some of todays most intrepid computer musicians.<\/p>\n

\"\"<\/a>We’re going to have everything<\/span><\/em><\/strong>:<\/h2>\n

\u2014\u00a0Wild Twitter-driven son et lumi\u00e8re<\/em><\/p>\n

\u2014\u00a0AI vs. AI musicbots<\/p>\n

\u2014\u00a0Exquisitely processed and spatialized depictions of madness and Russian Constructivist aesthetic theories<\/p>\n

\u2014\u00a0Controller craziness which may include Wii-driven sound sculpture, digitized conch shells, advanced daxophonics<\/a>, and who knows?<\/p>\n

You’ll find great info about the music that will be performed, the artists, the venue\/address, & transit options at the official festival page (link<\/em><\/strong><\/a>), so here I’ll offer a few personal thoughts and supplementary images.<\/p>\n

Set 1 – 8:15pm: #MAX<\/span><\/em><\/strong><\/p>\n

<\/em><\/strong><\/p>\n

\"\"<\/a>

#MAX @ The Lab, SF, 15 Dec 2012<\/p><\/div>\n

#MAX<\/em><\/strong> is a composite entity comprised of the web, custom algorithms, and 3 carbon-units: Caitlin Denny<\/em><\/strong><\/a>, Nicole Ginelli<\/em><\/strong><\/a>, and Dmitri Svistula (\u0414\u0438\u043c\u0438\u0442\u0440\u0438\u0439 \u0421\u0432\u0438\u0441\u0442\u0443\u043b\u0430)<\/em><\/strong><\/a>.<\/p>\n

I was awed in Dec at The Lab as their amazing Twitter-fed performance created an arena for indiscriminate group genius through the hyperfusion of electronic media.<\/p>\n

\"\"<\/a>

#MAX @ The Lab, 15 Dec 2012<\/p><\/div>\n

Setting up an open terminal to be fed hashtags by the audience, #MAX<\/em><\/strong> used these inputs from the audience’s spontaneous group mind to probe the web for related audio, text and video, which were subsequently transformed into sound and video art by its custom algorithms and carbon-units \u2014 much like the AI inhabiting the high-orbit cores of the Tessier-Ashpool mainframes in William Gibson’s Count Zero<\/em><\/strong> constructing Joseph Cornell boxes from the weightless flotsam surrounding it:<\/p>\n

\"\"<\/a>

#MAX @ The Lab, 15 Dec 2012<\/p><\/div>\n

“Once, for a brilliant time, time without duration, I was everywhere as well . . . But the bright time broke. The mirror was flawed. Now I am only one . . . But I have my song, and you have heard it. I sing with these things that float around me\u2026”<\/p>\n

“Tape Interlude” \u00a0– 9pm: Fernando L\u00f3pez-Lezcano<\/span><\/em><\/strong><\/p>\n

\"\"<\/a>

Fernando L\u00f3pez-Lezcano<\/p><\/div>\n

Fernando L\u00f3pez-Lezcano of Stanford’s CCRMA<\/a> presents Knock, knock\u2026 anybody there?,<\/em><\/strong> a short tour de force<\/em> of sample-rate conversion effects and spatialization techniques that move the listener through a soundscape (or perhaps a soundscape through the listener\u2026), to render visceral the experience of making border crossings between sanity and insanity.<\/p>\n

I love to use processed vocal sounds in my own MSP work, so I was all the more intrigued with Fernando’s brilliant use of vocal and conversational samples to create a beautiful musical and emotional trajectory through a crowd of voices that may or may not be interior.<\/p>\n

Recently rewritten in a 3rd order full 3D Ambisonics rendering, the piece will be diffused through a CCRMA 8-point sound system.<\/p>\n

\"\"<\/a>

Fernando L\u00f3pez-Lezcano y El Dinosaurio<\/p><\/div>\n

In addition to being a master of spatialization and the “Scotty” of the Starship CCRMA<\/em><\/strong>, Fernando is the proud father of El <\/em><\/strong>Dinosaurio<\/em><\/strong>, a homebrew analog synth from the Jurassic, newly resuscitated with an external MIDI-controller brain transplant. Don’t miss a chance to experience El <\/em><\/strong>Dinosaurio<\/em><\/strong> at the Touch The Gear Expo<\/em><\/strong> of the Outsound New Music Summit, 7-10pm, Sun 21 Jul (Outsound page: here<\/em><\/strong><\/a>. My blog post: here<\/em><\/strong><\/a>)<\/p>\n

I had the pleasure to interview Fernando in CCRMA’s spherical Listening Room last week, and the resulting 48 min video interview is above<\/em><\/strong>).<\/p>\n

Set 2 – 9:20pm: Maxine & Maxxareddu, as channeled by Ritwik Banerji (\u098b\u09a4\u09cd\u09ac\u09bf\u0995 \u09ac\u09cd\u09af\u09be\u09a8\u09be\u09b0\u09cd\u099c\u09c0) & Joe Lasqo, with visuals by Warren Stringer<\/span><\/em><\/strong><\/span><\/p>\n

\"\"<\/a>

Ritwik Banerji (\u098b\u09a4\u09cd\u09ac\u09bf\u0995 \u09ac\u09cd\u09af\u09be\u09a8\u09be\u09b0\u09cd\u099c\u09c0, L) & Rob Frye (R) @ the Ivy Room, 26 Jan 2011<\/p><\/div>\n

One inspiration for what Ritwik Banerji<\/em> <\/em>(<\/em><\/strong>\u098b\u09a4\u09cd\u09ac\u09bf\u0995 <\/em><\/strong>\u09ac\u09cd\u09af\u09be\u09a8\u09be\u09b0\u09cd\u099c\u09c0)<\/strong><\/em><\/a> of Berkeley’s CNMAT<\/a> & I are going to do sonically is this video from the Cornell AI lab showing two chatbots kitted out in machinima avatars going at it. I’m sure you’ll agree they have an interesting discussion:<\/p>\n