Former Rhizome Fellow Tracky Birthday (aka Dennis Knopf) of netlabel Upitup has teamed up with sister net denizens Ego Twister, Peppermill, Proot, WM Recordings, and Cock Rock Disco to produce the compilation Greatest It, downloadable for FREE here. Each label selected a few choice tracks from their catalog to contribute to the comp, so you get a feel for the artists they support and work with. Netlabels have been carrying the torch for the copyleft cause for awhile, and Greatest It is a concise sampling of what a few of those labels have been up to recently. Check it here.
Home of the Brave is a 1986 American concert film featuring the music of Laurie Anderson, who also directed the movie. The film's full on-screen title is Home of the Brave: A Film by Laurie Anderson. The performances were filmed in Brooklyn during the summer of 1985.
The Codeorgan works by analysing the 'body' content of any web page and translates that content into music. The Codeorgan uses a complex algorithm to define the key, synthesizer style and drum pattern most appropriate to the page content.
A portrait of Eliane Radigue, produced by the Austrian IMA (Institute for Media Archeology), which observes Eliane in her workspace, operating the ARP and talking about the process of composing and recording.
An anthology of articles on the evolution of minimal music in New York in 1972-1982, written by Tom Johnson, which originally appeared in the Village Voice. Published originally by Apollohuis, in Eindhoven, Holland, and now available as a free download.
"Visions of the Amen" is an interactive kinetic sculpture by Mitchell F Chan. The piece is brought to life by the voice of talented young soprano Ashleigh Semkiw, performing in this video Messiaen's Poemes Pour Mi. The primary elements of the sculpture are 16 strings, weighed down on one end by brass bars and attached at the other end to motors, spin at various speeds to sweep out those ghostly sine-wave forms, and pull up and down on the brass rods. The resultant visual effect, overall, looks something like 16 brass rods dancing, bobbing up and down in a forest of ghostly columns.
Each string in the arrangement is activated by a different note, and spins with a velocity dependent on the volume of that note. So each song and unique delivery creates a different ballet. The microphone feeds into a software that I wrote in Processing, which does some pitch and volume analysis, and then exports PWM values for all the motors via serial protocol to a set of microcontrollers.