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- ECHO::Canyon v1.0 was premiered last week at the 4/25/2013 "Music & Games" concert @ccrma. With amazing custom visuals, modeling and rigging by Chris Platz, this environment led us in a whole new direction for interactive musical sonification and procedural music with UDKOSC.
The piece and entire concert are archived up on UStream thanks to Dave Kerr: http://www.ustream.tv/recorded/31968509 (ECHO::Canyon is the first piece of the stream).
Here's a screen-grab of the player "Valkordia" character, floating out by the edge of the environment.
- I went to see a concert of women composers by the Texas Early Music Project with music by Barbara Strozzi, Elisabeth-Claude Jacquet de la Guerre, and Caterina Assandra among others. Some of the pieces were arranged by director Daniel Johnson, who conducted as well.
There was lots of vocal music. Some of the soloists: Meredith Ruduski, Stephanie Prewitt, and Gitanjali Mathur astounded me. The ensemble will do an early music opera concert in September which I very much look forward to.
- composing is hard.
OSCControl is a Ruby-based scripting application that generates UDKOSC-valid OSC control messages out of human-readable motion scripts.
UDKOSC has been updated to allow independent remote control of a primary Actor and Camera view. By sending Open Sound Control (OSC) messages into UDKOSC, users can independently control an Actor as well as that user's attached Camera. At this time only a single actor and camera can be controlled.
- I was a freshman in the year 2000. I lived in Ujamaa and on the way back from one of the trailers parked behind the pomegranate tree on the knoll where I had rented a backpack and sleeping pad for a camping trip I heard the strangest sounds eminating from the old mansion. This was before the renovations and the building was truly creepy. There were owls. I'm synesthetic, so what I saw were these Black black timbres, very low, impossible for a human to produce these vocally, maybe, yet they modulated around like a living thing. I heard some other den
- A while ago George Barth told me about Kenneth Maue. In homage to him,
the player lives a life
a wide array of sources are explored
some things are personal
the player keeps a journal
answers yield more questions
"the pattern is the same it repeats and repeats but small differences make me think anything is possible even leaving shit in. i love you pages without you i'm writing on a screen into nothing but all the things i ever heard not pansy wailing i think that's why i like you the absence of faith."
that's why i like you ... faith --edit
In case you were wondering, all these *LOrk digressions did not come out of nowhere. Many of them are reflections directly connected to my own great experience with SLOrk in the Spring of 2010, when my piece Intellectual Improperty 0.6 was composed and performed.
- The recoup of sound proximity by the performer doesn't come without new problems. A more sophisticated vocabulary of “instrumental” gestures would certainly help to infuse the regained sound localization with new meaning; but a rich gestural vocabulary (if possible at all) has not yet developed, having been limited up to now to relatively simple connections between gesture and sound.