Back, behind-the-scenes, I still have some articles in draft form that both detail the nuts’n’bolts decision-making processes in the construction of a machine improviser, and self-reflective critique such constructions, detailing the trade-offs and shortcomings of such an entity, and its design and implementation. I would like to get back to work on these at some […]
Fourth and final excerpt from Sara Roberts’ liner notes to ‘io 0.0.1 beta++’ (SLAMCD 531): There is the limbic tickle of Freud’s uncanny, yes, our scanners are confused by this non-human playing music with humans. But even beyond that animal attentiveness we watch and listen carefully because we know we’re seeing a kind of manifesto […]
Third excerpt from Sara Roberts’ liner notes to ‘io 0.0.1 beta++’ (SLAMCD 531): For the audience, wondering how this artifact has so much presence, is so handily managing a situation they themselves might be challenged to negotiate? There is something in io’s performance that a human musician, even playing io as an instrument, could not […]
Another short excerpt from Sara Roberts’ liner notes to ‘io 0.0.1 beta++’ (SLAMCD 531): io 0.0.1 beta++ is rather special in being both an instrument and a player. And given the two attributes it has a very particular sound, ‘sound’ here referring to both timbral quality and the broader sense of having an indelible identity, […]
A short excerpt from the liner notes to ‘io 0.0.1 beta++’ (SLAMCD 531) written by the California-based interactive media artist Sara Roberts: On the stage: two men, a woman, and an artifact, a freestanding mélange of industrial, military, and domestic hardware. The humans hold graceful, polished objects, but the domed assemblage stands alone. And while […]
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