"Tripod Shuttle" [mp3 removed -- updated version is on Bandcamp]
Two Reaktor Limelite patches ("Tripod" and "Shuttle") were recorded and mixed down to eight loop files (I wrote a couple of the riffs).
I moved the loops over to the Octatrack and applied timestretch so I could interweave them into a new tune.
This has a bouncy, early Plaid feel that I really like.
"Uhbeanan" [mp3 moved to Bandcamp]
A rare vocal sample (for me), some kind of scat singing I guess, that I shortened.
I took a couple of folders of the Reaktor Limelite "raw" samples (including that one) and moved them into the Octatrack as source material. This was written fairly quickly and but it was one of those "aha" moments.
Possibly someone has already similarly cracked wise but in case not, Michael Manning and I have got this covered (below and above, respectively).
In the spirit of falling Brancusi sculptures, etc.
(monster logo upper right by publiking)
...also a reply to the outrageous flackery of financial blogger Barry Ritholtz, writing in the Washington Post. Originally posted on twitter.com/tommoody (bringing you barely consequential soundbites since 2008!):
twitter: for people who value fast-breaking over articulate http://www.ritholtz.com/blog/2013/04/twitter-your-first-source-of-investment-news/
do you need the news of a bombing 15 minutes ahead of CNN? maybe -- if you live on that block -- but then you probably heard it go off
trying to use twitter for conversation and comment leads to instant misunderstanding because no one has space to explain themselves
as for apple buying twitter - yes, please do that - let's just ruin it and get it over with
if you follow "experts" for news and comment you also have to listen to their crap, and their convos with people you don't care about
blogger/WaPo writer barry ritholtz invests in twit-crunching start-up so of course he says twitter is a revolutionary medium
twitter excels for semi-conscious urban poetry but maybe not for stock tips, news of the revolution, or whether the subway is running
“I'm afraid that I just blue myself”
by chaz giese & andre c. filipek, from Phone Arts
A digitally crumpled, vaguely Escher-ish phone leans against a wall in an ambiguously corporate, very blue space.
This is a familiar recursion of a "painting on canvas of a painting on canvas," except that canvases don't come in standard aspect ratios. Rather, this pic suggests the phone as subject and author, with the vertically-oriented rectangle reminding us of the phone-based imaging software possibly used in its creation. We don't know for a fact that the topologically-challenged handset was fabricated on a phone, however, or merely displayed on a blog with other phone art. We also don't know if there was an original photo-reference or if the entire image is synthetic. But there is certainly compatibility between this blue world and the sleek, airbrushed look of Apple-era phone graphics and hardware. For those who might not use or desire a smartphone (a rare and ornery tribe who don't want to be tracked, marketed to, irradiated, or timesucked), this is how a phone should exist: as a dysfunctional, abject, uselessly aesthetic piece of sculpture.
