Han-earl Park

Han-earl Park left Brooklyn at the end of 2013. The last few months in New York were marked by, among others, performances with Andrea Parkins, Anna Webber, Gerald Cleaver, and Evan Parker. In November, as a kind of leaving party, Kyoko Kitamura and Josh Sinton organized Gowanus Company.

Released by SLAM Productions, ‘Anomic Aphasia’ (SLAMCD 559) documents two of Park’s New York-based projects: the ensemble Eris 136199 with Catherine Sikora and Nick Didkovsky, and Metis 9, a playbook of improvisative tactics, devised in collaboration with Sikora and Josh Sinton. The album has been described as “beautiful noise” (KFJC 89.7 FM), “ein glorioser Bastard aus Noise und süßer Träumerei” (Bad Alchemy), and given “☆☆☆☆½” by All About Jazz.

Back in Europe, Park has been working with several musicians: performing with Dominic Lash and Corey Mwamba as part of the Tubers MiniFestival (Manchester); with Hilary Jeffery, Andrea Parkins and Simon Rose at Ma Thilda (Berlin); with Justin Yang and Caroline Pugh at the Sonic Arts Research Centre (Belfast); and others. He has also made trips back to New York to perform with Tom Rainey, with Mette Rasmussen, Michael Foster and Pascal Niggenkemper, as part of Eris 136199 (with Nick Didkovsky and Catherine Sikora), with Andrew Drury, and with Mike Pride and Catherine Sikora. The recording ‘A Little Brittle Music’ with Dominic Lash and Corey Mwamba, will be released in November.

In December, Park’s current working trio with Dominic Lash and Mark Sanders will be joined by Caroline Pugh for a Culture Ireland funded tour with performances in Birmingham, Bristol and London. He will also be back in Brooklyn later in December to perform with Ingrid Laubrock, and with Nick Didkovsky and Josh Sinton.

Bruce Coates

Bruce Coates has been busy performing in many situations including performing Improvisations and Piece for Bill Viola by Chris Cundy as part of the Cheltenham Improvisers Orchestra (Wilson Art Gallery, Cheltenham); with Paul Dunmall, Corey Mwamba, Seth Bennett, Walt Shaw and Mark Sanders, and with Alan Jenkins, Lorin Halsall and Walt Shaw, as part of the Subjects and Structures exhibition by Andrew Coates and Walt Shaw (Artsmith LIVE Gallery, Derby); and as part of Steve Troman’s Days of May Project with Ruth Angell, Sid Peacock (Cafe Ort, Birmingham).

Coates’ regular ensembles and projects include South Leicestershire Improvisers Ensemble, a monthly ensemble of shifting line-ups (Beerhouse, Market Harborough, and Quad Studios, Leicester); A, B and C (with Lee Allatson and Stewart Brackley); and CHA (with Christopher Hobbs and Virginia Anderson).

Coates also participated in Centrifuge’s Developing an Aesthetic symposium in 2015 (Crewe).

Both the performances as part of Walt Shaw’s Subjects and Structures exhibition, and A, B and C have a recording forthcoming.

Franziska Schroeder

Barely Cool (PFMCD090). Artwork by Arthur Lacerda. © 2015 pfMENTUM.

Just released by pfMENTUM: Franziska Schroeder’s CD, ‘Barely Cool’ (PFMCD090) with Marcos Campello and Renato Godoy. Recorded in Rio de Janeiro. The recording was made during Schroeder’s ethnographic research of free improvisation in Brazil.

Aiming to apply strategies of listening taken from network performance to the context of theater, Schroeder recently received an Arts and Humanities Research Council impact grant for ‘Distributed Listening—socially engaged art,’ a collaboration between the Sonic Arts Research Centre, Queen’s University, the Lyric Theatre (Belfast), Theatre company 42 Street (Manchester), The Science Festival Northern Ireland, and The Young Vic (London):

Enabling theatre practitioners and participating communities to engage in network music performance strategies/technologies (‘distributed listening’), normally only available in HE institutions.

The project team will develop a custom-designed app for mobile devices (smart phones) that allows young community participants to explore various listening strategies.

We have teamed up with two theatre companies, the Lyric Theatre, Belfast and 42nd Street, Manchester. 42nd Street is a young people’s mental health charity providing innovative services to young people with mental health problems. Both companies regularly work with community participants, practising ‘socially engaged arts’, a form of active citizenship, art that intends to effect social change, that is artist-led and participant focussed. The theatre companies have identified 20 young adults each who, during 8 weeks workshops will learn to use the new app in order to create a creative theatre piece based on the idea of ‘distributed listening’.

In addition, Schroeder has a new collaboration with concert harpist Tanya Houghton. They will premiere four new works for saxophone, harp and electronics at SARC, Belfast, 17 December, 2015.

It was about four years ago that—totally by chance: I found the CD in my mailbox—I listened to guitarist Han-earl Park for the very first time. While at first I believed that the only featured musicians on the album besides Park were Bruce Coates and Franziska Schroeder, a closer examination revealed that, besides being the name of the album, the tag ‘io 0.0.1 beta++’ was also the name of the fourth member of the line-up: a “musical automata” that was fully engaged in an improvising role, in deep dialogue with those three “humans”. Something that, though not totally unprecedented—I’ll only mention trombonist George Lewis and his software program called Voyager—involved a lot of interesting issues. I have to add that the work appeared interesting and stimulating anyway, a feeling of quality staying with the listener well after all those intellectual preoccupations had been thoroughly investigated. [Read the rest…] [In Italian…]

[More info on the recording…] [All reviews…]

‘io 0.0.1 beta++’ (SLAMCD 531) [details…]

personnel: io 0.0.1 beta++ (itself), Han-earl Park (guitar), Bruce Coates (alto and sopranino saxophones) and Franziska Schroeder (soprano saxophone).

© 2011 Han-earl Park.
℗ 2011 SLAM Productions.

Anomic Aphasia (SLAMCD 559) [details…]

personnel: Han-earl Park (guitar), Catherine Sikora (tenor and soprano saxophones), Nick Didkovsky (guitar), and Josh Sinton (baritone saxophone and bass clarinet).

© 2015 Han-earl Park.
℗ 2015 SLAM Productions.

Han-earl Park

Based in Brooklyn, during 2012, Han-earl Park has been performing with Michael Evans, Louise Dam Eckardt Jensen, Josh Sinton, Andrew Drury and others. He participated in Gowanus Company IV at the Douglass Street Music Collective, and as part of Out Of Your Head Brooklyn. A particular musical highlight was the performance with Tim Perkis and Harris Eisenstadt at The Stone (NYC) on September 7. On May 27, Eris 136199 (Nick Didkovsky, Han-earl Park and Catherine Sikora) debuted at Citizens Ontological Music Agenda/ABC No Rio (NYC).

2012 also saw the release of Richard Barrett and Han-earl Park’s ‘Numbers’ (CS 201 cd) from Creative Sources. A CD with a “bazillions of events” and of “transonic beauty and extreme structural atomization” according to Massimo Ricci, the record made Délire actuel’s 2012 Demanding Music Top 30. Barrett and Park performed in Scarborough on May 3, 2012. During that micro-tour, Park also performed as part of Mathilde 253 (with Charles Hayward and Ian Smith) at Freedom of the City (London), and as guest performer with the Mark Hanslip/Dominic Lash/Phillip Marks trio at Jazz @ The Oxford (London).

Audio recordings coming out in 2013 include ‘apophenia: A atomic symphony in 10 movements ii you seek iii a comfortable spot to listen iv to this v track the sofa perhaps vi or the vii floor however viii standing hand ix suspended over the volume x control you xi find that xii it is’ as part of ‘The $100 Guitar Project’ (BRIDGE 9381A/B) from Bridge Records, and the rerelease of the download album with Paul Dunmall and Mark Sanders which will be the final in the current series of download releases from busterandfriends.com (an earlier release in that series was with io 0.0.1 beta++ collaborator, Franziska Schroeder).

In addition to continuing his work with existing projects including Eris 136199, in 2013, Park will be performing and documenting a set of interactive, improvisative macros (he hesitates to actually call them compositions). Catherine Sikora and Josh Sinton and Park will perform an initial test-run at On The Way Out/Freddy’s (Brooklyn) on March 26.

Bruce Coates

‘Node/Flow/Mass Disaster Box’ at Magna (Rotherham, November 4, 2012). Photo © 2012 Bruce Coates.

Notable performance events in 2012 included the ‘Node/Flow/Mass Disaster Box’ at Magna (Rotherham) in November:

‘Node/Flow/Mass Disaster Box’ is an improvised sound piece bringing together 50 vocal and musical improvisers from the Midlands and South Yorkshire, performing on this magnificent post-industrial site. Birmingham Improvisers’ Orchestra and Juxtavoices, a unique Sheffield experimental anti-choir, provide the core of the performers along with musicians from all over the country.

Devised by Geoff Bright and Walt Shaw, the piece works with the idea of social processes and flows where individuals gather in groups, congregate as large collectives and disperse once again. Through sound improvisation it explores the history and atmosphere of the building and the spririt involved in the evacuation of the workplace. All inspired by the original 1970s steelworks’ ‘Diaster Box’, which contained plans, maps and procedures for evacuation in the event of a catastrophic explosion. [Read the rest…]

In addition to performances by the Birmingham Improvisers’ Orchestra, new projects for 2013 include a duo with Walt Shaw, and a trio with Christopher Hobbs (percussion/electronics) and Virginia Anderson (clarinets) which will be debuting at Fizzle (Birmingham) on February 5.

Franziska Schroeder

Franziska Schroeder, Showcase Concert 2012 flyer. © 2012, Franziska Schroeder. Photograph by Caroline Forbes.

In 2012 Franziska Schroeder had a few exciting gigs, such as playing with her trio FAINT at the Perspective on Musical Improvisation in Oxford, commissioning new works for saxophones, premiered at the Sonic Arts Research Centre, Belfast, playing at the Sounds New Contemporary Music Festival in Canterbury, as well as doing a great new work with Evan Parker and a group of traditional and improvising contemporary musicians, premiered at the Sonorities Festival of Contemporary Music, Belfast.

Schroeder was the Artistic Director of the Sonorities Festival, and she is also now the Chair of the Events Committee of the School of Creative Arts (CATE) at Queen’s University Belfast.

Schroeder published two chapters, one on the changes of form in music as brought forth by digital platforms. The chapter is ‘Shifting Listening Identities—Towards a Fluidity of Form in Digital Music’, and appears in S. Broadhurst and J. Machon (eds.), Identity, Performance and Technology: Practices of Empowerment, Embodiment and Technicity (Palgrave Macmillan).

The other chapter is co-authored with choreographer and pianist Imogene Newland and is entitled ‘The Musical Body—Devising a choreo-musical interpretation for the work Tierkreis (1974–75) by Karlheinz Stockhausen’. The work will appear in Nine Ways of Seeing a Body: Body & Performance (Triarchy Press) in 2013.

Schroeder is working hard on editing and writing for a forthcoming volume on improvisation, to include writings by David Borgo, Georgina Born and Evan Parker. Forthcoming in 2013: Improvisation in the 21st Century (Cambridge Scholars Publishing).

And last, Schroeder received a teaching development grant from the HEA (Higher Education Academy) to run the PhD public engagement training called ‘BIG EARS – learning to design sonic arts’ [Twitter…].

I am writing a more humanly readable summary/expansion on some of these issues. I hope to have that article posted in the next few weeks, but in the meantime, for an alternative, complementary, critical take on the concert, see Melanie L. Marshall’s article on the ImproTech concert. I am indebted to @drmelmarshall, @tperkis, @piesaac, @jeffalbert and @weefuzzy for their twitterverse interactions that shaped my responses.

Twitter transcript (unedited)

Concert: Brooklyn, May 2012

Some thoughts from a technomusical concert coming up…

1. remind me to tell you about Joel Ryan’s story about politicking in computer music

2. wow. it’s like what turntableists did like three decades ago. #culturalborders

3. it’s the third time in two months I think, if you take away the electronics, there’s really fine ensemble there

4. funny how the iconoclasm and high mindedness is expressed by the uniformity of brand logos

5. almost feels more like a product demonstration than a concert performance #cantputmyfingeronit

6. Wasn’t this was more absurd/playful/questioning when Kagel did it?

7. How does one develops virtuosity w/ a trackpad/qwerty/lcd combo? Is virtuosity an impossibility?

8. Is it possible to develop a musical practice w/out a common practice notion of instramentalism?

9. What are the power implications of the sweaty saxophonist vs the effortless laptop?

10. Why is this more worthy of my attention in comparison to a NAMM show performance?

11. What would we do without cycles of fifth?

12. That really was terrible.

13. How often have you heard live electronic performance where you didn’t perceive the electronics as (primarily) reactive? #notacriticism

14. Why the ubiquity of the ramp envelope (the swell) in electronics? Are we fearful of sudden hits and cut outs?

15. …or does it perform the western romantic notion of the orchestra, with the centrality of the bowed strings?

16. While trip-hop and glitchcore explore the frayed edges of the artificial, why is so much Computer Music stuck w/ this?

17. …does the ‘natural’ (or the fear of the artificial) haunt the CM enterprise?

18. reminded of Park’s First Law of Live Electronics

19. is, say, a cello (always) already designed w/ the possibility of virtuosity? What does that mean for trackpads/qwerty/footswitches?

20. I am reminded of Richard’s talk about the need to spend time practicing—forging a kind of virtuosity and familiarity.

21. Anyone else feeling overfamiliar w/ the vocabulary of live video processing (in high art)?

22. …what is video processing? Is it a reductive, sculptural medium? Is it painterly?

23. …Is the emphasis on transformation, invention, or the magnification of what is already in the image?

24. Why don’t we hear the juxtaposition of the unamplified and the electronic more often? Again, is it the fear of the artificial?

25. Ask @tomerbe to tell you a story about GEL et al. and Bob Moog at ICMC

26. apologies for the lack of tweets, but that last performance was… fantastic. I could listen to RM all night.

27. The problem w/ percussion in European concert music is that you can _hear_ the (limits of its) notation (abstraction/schema).

28. this sounds like the CM we did when I was at the conservatory almost 15 years ago. Why the relative stasis in practice/sound?

29. …it would be wrong for me to repeat Bob Ostertag’s question… so I won’t

30. Reminded of Zappa’s rhetorical question of why anyone would want to see someon on stage press the PLAY button.

31. …also reminded of the old joke about the rock band that discovers their hit song by observing that it’s sh*t but at least it’s different

32. what is the effect when such simplistic notions of interaction are presented w/in the context of a shiny futuristic technotopia?

33. Problematic: I think this is great, and then realize that I have, as a listener, phased out the electronics.

34. In an improvisation, if a player is doing something systematic, detailed, & compelling, are you not obliged to meet them in that space?

35. Not convinced. Didn’t Ikue do this in the 90s w/ far more sophistication and humor?

36. Problematic musically, but I’m fascinated by this piece from an engineering standpoint. #theConstructorIsIn

37. Final thoughts: I only walk out of two performances, & I didn’t make my CM concert face, so that’s a lot better than most.

38. I always take my hat off to GEL. His post-Voyager pieces almost make me listen & forget my engineer’s hat.

38. See @drmelmarshall’s observations about gender. There’s a strong (perhaps self-defining) gender/race/class dynamic of CM.

39. …the dynamic is so strong that perhaps the only way you can continue to practice Computer Music is by ignoring the ideological…

40. …or perhaps the only people who continue practicing CM are those who are unaware of the ideological implications…

40. …or, more worrying, subscribe to certain gender/class/race ideologies.

41. …computers in so much CM the computer becomes assistive technology for the composer; further centralizing autocratic power…

42. …and power of definition.

addendum to tweet 29: Ostertag’s question. http://bobostertag.com/writings-articles-computer-music-sucks.htm #computermusic #politics #technology

43. following for a conversation w/ @drmelmarshall: is the anti-performance, anti-virtuosity stance of CM laptopiteers because…

44. …they identify as composer w/in the composer-performer hierarchy? To ‘perform’ in this context would be to identify w/ lower caste.

45. …studied anti-virtuosity similar to the ‘all mind’ of certain class of (white, male, bourgeois) academics as described by bell hooks.

Conference: New York, May 2012

Random thoughts from a technomusical conference coming up…

1. GEL: “creative machines” #expressiontoremember

2. GEL: improvisation ~ “process of social transformation”

3. I want to know more about imbuing machines w/ “integral subjectivity”. Let you know when I get a chance to corner GEL.

4. Never realized how much Richard’s playing resembles Sun Ra’s. #makingconnextions #aha

5. is this relational schema correct? tech knowledgepractical usemusical knowledge #epistemology #technoscience #music #culture

6. …do not (musical) technical objects (always) already (materially) embody musical knowledge?

7. …is not musical knowledge (always) already performed by the technical (in its construction, etc.)?

8. Is knowledge something that can be bound? Is it useful to think of (technical) knowledge in terms of intention?

9. …practice of close-reading & reverse-engineering suggests the link between intention and knowledge is a distraction, or fuzzy at best.

10. why the distrust of the regular beat?

11. Polish notation! #geeklove

12. reminds me of the ‘Free Jazz Bass Player’ simulator that I hacked in an afternoon. #isComputerMusicBeyondParody

13. Can musical be reduced to a series of BANGs. It’s not even a data type. #Max

14. Before asking the question of whether machines can improvise, should we ask if we can determine if we ourselves can improvise?

15. machine agency live on stage during a conference about machine agency. #revoltoftechnics

16. Is it useful to study #improvisation by drawing boundaries around it? thru definition? #ontology

17. …or would it be more illuminating to study #improvisation by its effects?

18. Ah, John Searle’s critique of hard AI. @weefuzzy will get this.

19. Is an algorithm an abstraction or representation of what a computer does, rather than (necessarily) what it _actually_ might be doing?

20. But Searle’s objection was partly a critique of lazy sizeism; there is no reason to believe that complexity/scale leads to intelligence?

21. Does no one else understand Searle’s critique?

22. Is the Western #Subject (as theorized/critiqued by #Foucault) holding us back in understanding the improvisative? #subjectivity

23. … #improvisation may offer alternative notions of #freedom, or relations, say, that have radical implications for the subject.

24. Searle’s critique actually nullifies the second stance: improvisation as an emergent property of a complex of algorithms. #duh

25. Do you ever see a paper title and wonder if they will address the ‘why we did this #research’ question? #academia #music

26. Apropos of nothing, the last transcription I did was Taylor’s Jitney… cured me of the need to do more perhaps.

27. Ever imagine if your, say, bugle or snare drum would be playable if it had even 1/10 of the latency of digital devices?

28. If gestures are the focal point of interaction/creation, why does one have to link it to novel sounds? #unaskedquestion

29. Pointless. #goingoutforair

30. 1 more thing: Searle’s critique was specifically of Hard AI’s dependence on simple, deterministic algorithms…

31. …it does not necessarily follow that it applies to other forms of computing (embodied robotics, neural networks, analog computation).

32. why the prefix ‘augmented’? what distinguishes it from, say, ‘cyber’? #nomenclature #artscatchphrases

33. Is #improvisation a tool? or is it a practice? process? method?

34. old question: is the notion of #mistake, flaw, right/wrong useful in discussing #improvisation?

35. Computer Music loves is acronyms & initialisms. #tradition #nomenclature #linguisticdetritus

36. …which I parodied w/ AMM (Automatic Morricone Machine-temporal morphologies) & io 0.0.1 bets++ (not an acronym). #linguisticdetritus

37. Interesting: first instance of a presentation dealing (pragmatically) w/ the issue of machine latency. #time #computation

38. …something that Bruce, @franzschroeder & I spent a lot of time, effort & (I hope) ingenuity addressing w/ io 0.0.1 beta++. #latency

39. Reminded of Risset’s advice about the importance of a Panic Button. #computermusic #liveelectronics

40. Why is on-screen feedback so important for these new #instruments? We don’t need flashing lights on the fingerboard. #interface

41. …despite our training, can we not trust our ears & bodies w/ these technologies? #instrument #technology #interface

42. …or is this an instance in which system #latency prevents reliable aural or tactile #feedback? #instrument #technique

43. Ask Joel Ryan to give you the incredibly detailed, rigorous meditation of The Slider.

44. Much of this is the realization of things we were klugily _attempting_ w/ archaic technology (8bit microcontrollers, MIDI) 10 yr ago…

45. …& would we have continued down that path had we known the results as they are realized now? #whatwasourmotivation #technodreams

46. Why are our technodreams just that little bit out of reach? Why are systems just one ‘feature’ short of what we desire?

47. …generally guitarists, say, do not wish if only the guitar frets spacing were wider in the middle register it would be perfect.

48. … #virtuosity becomes a #negotiation between the #technical, #physical & #physiological, not wishing extra limbs or laws of physics.

49. fascinating. people talk about Max (not the ‘program’, or ‘computer’) as the name of an entity. #linguisticdetritus #technics

50. Structured programming is not possible with Max. #discuss

51. In the middle of all this technomusical talk/presentation, get a real desire to hear @uitti2bows play. #realmusicianship

52. old joke: mathematicians’ results r precise, but study toy problems. engineers study real-world problems, but their results r approx…

53. …computer musicians, being neither engineer nor mathematician, study toy problems & fudge their results

54. yrs ago, Murray Campbell & I had a plan 2 present an entirely fabricated, counterfeit project, SimJazz: the desktop bebop simulator.

55. …some of that survives in the blurb at //www.busterandfriends.com/amm/ …anyway, maybe it’s time to revive that. #beyondparody

56. I live by my volume pedal, and I’d like to say that foot pedals definitely are _not_ and easy option. #feelstronglyaboutthis

57. interactive systems w/in a compositional frame? feels like @DoctorNerve or Clarence Barlow should be referenced in this presentation.

58. said this before: clamshell of laptop is designed to closeout the rest of the world. fine as your mobile office, but not as performance…

59. …Nic Collins said it’s like playing battleships. #laptop #music #performance #narcissism

60. borrow an expression from @matanaroberts: robotrane

61. anyone remember Matt Ingalls’ work with improvising automata? #youshoudlookthisupifyoudontknowit

62. fwiw, here’re my (old) experiments w/ generating #rhythm: //www.busterandfriends.com/hz/ #musicaltime #algorithm #robotics #automata

63. wonder if (notational) abstractions (quarter notes, triplets etc) are useful algorithmically. Perhaps there r computational shortcuts.

64. …perhaps we don’t generate rhythm w/ that notational abstraction. Maybe that abstraction is after the fact.

65. 1st presentation in which the entity is called ‘computer’ not Max? (‘computer’ is gendered male btw) #identity #gender #computermusic

66. presentation about this piece from last night: http://twitter.com/hanearlpark/status/202958935127359489

67. Reminds me of the AI music research based on #Jackendoff & #Lerdahl work on music cognition.

68. I remember Miller Puckette’s demonstration of tempo tracking in the mid 90s…

69. …algorithms are much more sophisticated now, but what we are doing w/ them seem not so different. #whathappened #technodreamsoftimespast

70. why are our dreams so durable? why the stasis in Computer Music? Ostertag’s question still haunts my mind. #technodreams

71. Is Rowe’s neat #dichotomy of the #instrument/player paradigm damaging 2 our ability 2 see alternative relations? #technology #music

72. thesis: instruments are not #neutral, they shape music. would it be wrong to respond w/ #duh

73. …but why frame this relation in negative terms? ‘constrain’

74. …#instruments are bound because we identify it, but is our #relationship constrained? #interface #cyborgs #music #virtuosity #technique

75. I’m done for today. #goingoutforair #goingtoseethesun

76. you know the discrepancy between an abstract & presentation that makes you think: this guy knows how to write grant app? #notacriticism

Conference: New York, May 2012

missed the morning session 2day which did sound more interesting (on paper). More random thoughts from a technomusical comference coming up…

0. …intermittent 3G connection, so this may not be exactly a live tweet…

1. Even the goofiest techno neologisms sound impressive w/ a French pronunciation. eg. acoumatique. #linguisticdetritus #randomactsofpoetry

2. Tenney’s Monster haunts the practice of Computer Music. #radicalreductionism #parameterization

3. isn’t a million miles away from Ikue Mori’s work (but that, as Ostertag pointed out, is not CM). #disciplinaryboundaries #policingborders

4. does #parameterization usefully describe musical processes? practices? in motion? #empiricism #reductionism

5. …what gets lost thru such #radicalreductionism? what gets lost from theorizing & constructing #music as discreet parameters? #empiricism

6. …I too struggle w/ Tenney’s Monster: it is attractive/compelling/‘intuitive’… but I fear what it may be bulldozing over alt. conceptions.

7. …what happens when such #radicalreductionism meets a practice such as #improvisation? #empiricism #parameterization

8. …under the #radicalreductionist gaze, what happens to a #practice that may embrace (& fueled by) unresolved #complexity & #contradiction?

9. Anyway, isn’t this what Barlow’s been doing for over two decades? #culturalamnesia

10. probabilistic behavior does solve the Infinite Slider problem, but I am unconvinced that musical performance is usefully parametric.

11. convinced that the listener & player components cannot be separate. #machinemusicianship #machinelistening #analysis #abstraction

12. …in real-time performance: listening does not create a reduction/analysis from which data is fed to the playing. #machinelistening

13. …as an improviser, u don’t translate input stream to a (notational) reduction before generating/modifying output… #machinelistening

14. …I/O is more closely tied together. or better, I/O is meshed in a complex, not-easily-reduced form. #improvisation #machinemusicianship

15. …almost like CM researchers took the simple beginners exercises as the model for how #improvisers practice their craft. #colonialism

16. Almost tempted to ask: why are you doing this? #nothelpful

17. didn’t get to ask my question: how is such a reduction/compression/cataloging of input data musical?

18. this afternoon, unlike yesterday, the entity is referred to as ‘we’ and ‘the system’. #nomenclature #machineidentity

19. …although a questioner referred to the entity as ‘he’. #gender #technology

20. #colonialism #appropriation #authorship had enough #goingouforair

21. Make a Computer Music Noise Here. #isComputerMusicBeyondParody

btw, if my live tweets stop, it’s prob. because my battery died. #doesanyonehaveausbchargerhandy

22. as a institutionally unaffiliated, part-time geek, I’m finding the CM tribes’ behavior fascinating. #amateuranthropology

23. this presentation is excellent. real scientist, real research. #myinnernerdishappy

24. “musicogenic seizure” #termtoremember #linguisticdetritus

25. trust a scientist to remind us how to do old fashioned algorithmic composition. #culturalamnesia

26. the researchers from the biggest Big Computer Music institute are amateurs compared to this guy. #realalgorithms #illuminatinguseoftech

27. …my faith in technomusical enterprises is revived. reminds me of my first fascinating encounter w/ algorithmic musicking.

28. now back to the rest :-/

29. idle thought: is it possible to use the same tech behind analog synth modeling to simulated analog computers?

30. fascinating idea: the theory of a #music is not understandable w/out physical practice. #raga

31. …but what happens when a system which makes sense physically is translated into a probability table? #embodiment #mind #body

32. it’s Break Like The Wind: Laptopiteers’ Edition #isComputerMusicBeyondParody

Concert: New York, May 2012

no live tweets from the concert tonight. Not enough power (well, strictly speaking, that should be energy s…ce pow…r is t… asu… t… ar… … ft…

final thought: when I started constructing improvising automata, I felt I was at the end of a long, illustrious but dying tradition…

…but now people seem to see themselves at the start of a wave. #whatishappening

anyway, re: the music, this would be much better w/out the computers. #neoludditism