"The Lost Gig" [mp3 removed -- tune is now on Bandcamp]
The insectile buzzing background thing is an FM-modulated LFO sweeping a high pass filter (modular/hardware). Graphically the waveform resembles a Slinky flexing.
The "lead" is another LFO sweeping a wavetable in a chord (softsynth). The lament is half digits, half voltages.
Dedicated to friends slapped down hard by the Invisible Hand just because it can.
kacie kim - 4 nov
is your mama a llama
mirrrroring 30 oct
definitely just googled 'pacific rim job' cuz i HAD to know if that existed (it does)
Herve Le Douche 23 oct
"Now more than ever, mobile devices are at the center of consumers' lives as they look to capture, curate and share experiences on the go,"
guthrie lonergan 22 Oct
man in suit ashing cigar vertically out of sunroof
Nullsleep 22 oct
My next album will be available in a variety of formats including concrete, steel, and blistered lamb leather.
Nullsleep 21 Oct
Weaponized Waveforms
Jeff Sisson 13 Oct
We’re seeing lots of investment in the “sunday styles bay area tech scene article” space
kacie kim 14 Sep
i'm tired of my animals
mashedpotatohead 11 Sep
someone please let me know when John McCain passes from his mad cow disease so I can fire up a stogie
Jon Williams 2 Sep
The life and times of minimal synth bros who wear pilgrim shoes everywhere
Nullsleep 26 Aug
The Captcha in the Rye
Jeff Sisson 14 Aug
my new one: SHARE THIS 666, “browser extension that replaces all Twitter/Facebook/Google share counts with 666”
Petra Cortright 11 Jul
never forget kittens distort into a cat
Jeff Sisson 29 Jun
did not know FT slogan is “We live in Financial Times”
Travis Hallenbeck 28 Jun
ｔ ｒ ａ ｖ ｉ ｓ
brian blomerth 24 Jun
I thought M.I.L.F. stood for...Mom I'd Like to Forgive...
Evan Ratliff 11 Jun
Stop. Turning. Each. Word. Into. A. Sentence. For jokey emphasis.
brian blomerth 10 Jun
Facebook's a fucking dust bowl
brian blomerth @pupsintrouble 21 May
Stop actin like Seinfeld. Start actin like Christ.
brian blomerth 18 May
If you texted me in the last 24 hours i didnt get it-whats more is I don't care
M.E.S.H. 9 May
need super hifi samples of dry logs being snapped in two
Jeff Sisson 22 Apr
contemporary vinyl producers use “smart skips” which know when the DJ has to go to the bathroom
Am enjoying my solo conversation over in the Rhizome comments, where I put up this second installment in reply to Michael Connor's What's Postinternet Got to do with Net Art?
In the present post, Michael Connor makes a distinction between a Web 1.0 artist as modernist, idealistically seeking the innate language of the web, and post-Web 1.0 as post-modernist "interpreters, transcribers, narrators, curators, and architects." And somehow the increasing commercial sophistication of the web factors into this.
I didn't attend the first (2006) Net Aesthetics 2.0 panel but I was a panelist on the second (2008) version, along with Petra Cortright, Jennifer and Kevin McCoy, Tim Whidden and Damon Zucconi. ( https://vimeo.com/2183669 ) We were talking about surf clubs and at that point "Web 2.0" wasn't synonymous with Facebook but possibly Blogger and Myspace, which hadn't quite become the perfected advertising funnels social media is now.
Artist blogs were still a bit outside the commercial hurly burly. You weren't as indicted and implicated in the system on a Word Press blog then as you are with a Facebook page now. So there was a relative innocence to the discussion. I would say there was an equal mix of interest in making original content on and for the Web with stepping-outside-the-web-and-looking-askance at it.
I showed my "OptiDisc" GIF and using screenshots, demonstrated how it had been hotlinked on scores of other people's pages (Myspace, Livejournal, YouTube, etc), with the linkers not having any idea of its source other than that it was a "cool graphic." A kind of Calvino-esque invisible city of hotlinkers. I also showed a post from the Double Happiness blog of "rival snack squads," consisting of two very similar collections of multi-racial, mixed-gender, all-young-people cartoon characters used to personify Wise potato chips and the AMC movie chain (without actually being aware of each other). So we had 1.0, post 1.0, and commercialism all balled up in the same presentation. It seemed more innocent and hopeful, though in comparison to later essays admonishing artists to find their places in the "like economy."
Yet at the same time, that 2008 panel coincided with "Internet Week" and a commenter accused the older panelists of aiming their pitches at the entrepreneurs and venture capitalists in the audience. There were a few. One of them, I think, complimented me on "monetizing" the hotlinking of others by making fine art prints of their thefts, thus profiting from the pirates. I was somewhat dumbstruck, having not considered that aspect at all. (I was just thinking, how can I make the best display of this idea, I swear.)
The point of this reminiscence is to blur the lines of 1.0, post-1.0, and the commercial, which I think artists do, stepping all over curators' and historians' fine distinctions. So there.
Keyword: post-panels internet
"Rack Dance 3" [mp3 removed -- tune is now on Bandcamp]
Using the Octatrack as a MIDI sequencer triggering four channels in the modular synth.
The recording is done in Cubase and edited as a single mono file, then mixed down to stereo.
The other "rack dances" have drums but this is four distinct synth voices. The sequencer pulse provides the rhythm. Might do another version with drums.
The appeal for me here is the always-slightly-drifting-out-of-tune quality of the monosynths against fairly tightly organized musical (harmonic) patterns. Some steel drum/gamelan associations without being particularly "world."
