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blob rave 02: deep time crumbler 1 / 2 / 3. more to come / get crumbled! đ„š đ°ïž đȘš
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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William Fields - Fictions - continuing to push the boundaries of generative music, making it sound both introspective and playful
William Fields, the electronic musician working in areas of algorithmic composition and improvisation, makes his debut on GOTO with âFictionsâ. Continuing a slew of releases across labels such as Superpang, Tokinogake and Conditional, âFictionsâ is a perfect slice of Fieldsâ computer music â never robotic, constantly shifting and, at times, straight up jazzy. Fields is keen to state that these pieces are performed, with several of the tracks taken directly from public live appearances. Nevertheless, each composition retains structure and familiarity, both somewhat rarities in the majority of music made via similar processes. The eight tracks here display a wide range of aesthetic approaches, however, ranging from the raucous, freeform âFebihâ through the computer jazz of âObuâ to the more luscious atmospheres of âAthalâ and âIfotuxâ. Fields has been working in electronic music since 1998, performing regularly between the United States and Canada. A frequent collaborator, his work has received high praise from peers internationally. For several years, Fields has developed his own music software, âFieldsOSâ, from which the majority of his output is produced. A particular highlight in the construction of âFieldsOSâ was a weekly spot on Resonance Extra in 2019, where the system generated an hour of algorithmic music each week, broadcast without any edits. As time progresses, so does Fieldsâ âmusic system,â with âFictionsâ exhibiting some of his most organic machine-music to date. May William Fields guide you through his world of musical spaces and systems. Performed and mixed by William Fields. Mastered for compact disc by Finlay Shakespeare. Artwork by Meggie Wood.
Voici mon premier projet de programmation audio d'une composition algorithmique sur SuperCollider! 890 lignes de code plus tard et me voici avec une piĂšce co...
Voici mon premier projet de programmation audio d'une composition algorithmique sur SuperCollider! 890 lignes de code plus tard et me voici avec une piÚce complÚte! Certains éléments sont générés de façon aléatoire alors que d'autre ont été écrits au départ.
Je l'ai intitulée ainsi en honneur de Theo, mon chien, et de sa peluche favorite en forme de giraffe.
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This is my first audio programmation project of an algorithmic composition. 890 lines of code later and here I am with a complete piece! Some elements are randomly generated, some others were pre-written.
I titled this piece Theo and his Giraffe! because my dog Theo's favorite toy is a giraffe shaped plus toy!
Jute Gyte - Respice Finem
Self-released
2020
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Shelly Knotts: live coder, improviser, algorithmic music, network music SystemsMember of OFFAL (Orchestra For Females And Laptops) and ALGOBABEZ.
https://soundcloud.com/shelly-knotts
https://algobabez.bandcamp.com/releases
I think of the computer as a solo instrument, like a piano, not like a fake orchestra or a virtual studio. Been inspired alot lately by Keith Jarrett and Sorabji - big sprawling masses of sound, lots of rhythmic complexity and interesting sonorities and surface detail but not no much melody or harmonic movement.Â
FULLY AUTOMATED LUXURY COMPOSITION
I wrote an essay around a piece of music that has been published in the latest issue of IASPM. It's called 'Fully Automated Luxury Composition'.
It's about generative music, utopia & how capitalism shapes creative thinking.
LINK TO ESSAY.
LINK TO MUSIC.
In case of skim readingâit is pretty dry, I wouldn't blame youâto summarise:
The title is a shameless pun on Fully Automated Luxury Communism. âââ
Utopian thinking in culture is an urgent task of anybody making music or art. (If we cannot imagine better futures beyond capitalism then how do we make them?)
I do not think that algorithmic, generative music is necessarily a utopian vision for the future of music.
However, endless streams of infinite music that transcend the commodity form and is made by anybody who wants to make it is a useful utopian idea.
Looking at ways for automation and technology to be an emancipatory force is not the same as blindly endorsing the accelerationism of late capitalism we're all being carried along by.
In any case, utopian thinking can serve the negative purpose of revealing the limits of musical imagination under capitalism.
This interrogation hints at a tension when applying utopian thought to models of creative production like music-making. Capitalism does allow for an artistic autonomy and the creation of 'communal solidarities' - this is why pop music can be so great. But through this allowance it is able to subsume the creative act. It traps us inside.
Capitalism is tenacious. It's already trying to co-opt this line of musical utopian thinking. The cutting edge musical machine learning of Magenta might be open source, but it is bank-rolled by Google. Look at this cringey appropration of musical technology and tell me you don't want to burn the whole idea of music to the ground.
Capital is coming. It will try to co-opt this glimmer of utopian resistance. There'll be hammer and sickle t-shirts in Urban Outfitters any day now.
Final note: The music part of this reseach is something I would otherwise have not released were it not tied to this essay. I don't think it is good enough.