July 2011

"Three Sequencers"

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"Three Sequencers" [3.2 MB .mp3]

Not too long ago Marc Weidenbaum asked on his twitter what would be an audio equivalent of an animated GIF. This is my proposal. It would have to be (a) short, (b) a loop, (c) digitally timed, (d) compellingly misaligned in some way, (e) easily grasped by the listener but containing some subtleties that reveal themselves in repetition, and (f) pattern-based. Obviously we're talking about the more abstract GIFs here, not a seagull strolling into a convenience store and stealing a bag of chips over and over.

Here, three sequences play simultaneously. Two are the same note pattern played on different synths a few steps out of alignment. The third is a different, mostly rhythm pattern. Some unexpected syncopations, polyrhythms, and polyphonies result.

Tim Berresheim

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berresheim

berresheim_detail

Another essay from the Pool journal, by Ry David Bradley, discusses three German painters who have all used the computer in their art: Sigmar Polke (who taught) Albert Oehlen (who taught) Tim Berresheim. Did not know Berresheim's work but the most recent exhibition looks promising. He prints these loopy mechano-gestural abstractions on wood, using 3D imaging techniques to create the "phat" brushstrokes.

The debt to Oehlen's work (especially from the mid-'90s) is obvious but those paintings by Berresheim's teacher mostly combined computer printing and painting, where these just cut out the painting middleman. Use of the wood support might be a good way to add presence or physicality to the super-mediated process but it's impossible to say without seeing a few in person. Am fortunate being in NY to have ogled a few Oehlens but will keep an eye out for actual Berresheims.

See also: New Media vs Artists with Computers / digital abstract painting compared to poMo new york school painting

"Dub Mechanic 2"

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"Dub Mechanic 2" [mp3 removed -- a remixed version can be heard on Bandcamp]

The 303-style bassline previously posted as "SeaQuencher," with added drums and multilayered synth riffs. About 15 tracks in all; this just kept expanding.

Netflix WI: The Canon

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Reading through some of the other essays in the Pool journal now.
Glad to see someone else questioning whether Netflix recommendation algorithms are the bee's knees. Eugene Kotlyarenko writes:

In the Netflix viewing model, one supposedly knows exactly which available films are related to the films they’ve already seen and enjoyed. This results in a conservative viewing environment where one tends to stick close to the sources of pleasure. And in fact, in a certain way this strategy immediately sets up viewers for dissatisfaction. Direct comparison to high-rated personal favorites psychologically primes viewers for a higher expectation set, than they would have if they were approaching a film with general knowledge but not direct comparison. This practice invariably results in higher rates of disappointment from the viewer, since it is nearly impossible for successive movies to consistently top previous favorites. Quizzically, the algorithm also functions to create comical hybrid genres that purportedly describe a viewer’s taste. The idea of having one’s viewing habits boiled down to “Tortured-Genius Dramas based on real life,” “Critically-Acclaimed Family Friendly Animation,” and “Cerebral Gay & Lesbian Dramas” can certainly make one question not only the entire prospect of being a serious film viewer, but may lead to some existential soul-searching.

Kotlyarenko's consideration of what Netflix streaming will do to the film canon is well worth a read. He's a bit hard on TV--the films absorbed by the Cahiers du Cinema crowd back in the day were mostly Hollywood schlock, no less saddled by convention and economic expectation, where the risks and artistry took place in spite of the system. This is also true for the TV we value: Monty Python, Outer Limits, Star Trek TOS and TNG, Lost Seasons 1-2, Trailer Park Boys, etc.

Kotlyarenko argues that canons depend on what's available for viewing (repertory cinema, VHS, DVD) and predicts that Netflix will be that next available thing. Let's take him one ghastly step further and imagine that because the studio, eh, fascists will only license the best films for short periods of time, the canon that will emerge will be films that never leave the catalog. Future scholars and young filmmakers will thus have their inspiration and values shaped by Hellraiser VI: Hellseeker, Blue Crush, Breakin' 2, and the complete works of Steven Seagal.