Today I’m proud to announce that Patter, the product and productization of my long-running rumination and experimentation in generative music, is available as a Max For Live device in the Ableton store.
Beginning as a series of prototypes for performing live, improvisatory electronic music during my MFA at CalArts, the project metamorphosed, first into the grandiose (an open-source platform! a universal syntax for music!), and then, through a process of conceptual whittling and technological overhauling, into the succinct plug-in form it takes today.
This week I’m thrilled to announce the official release of Alongslide, a responsive, parallax-inspired, somewhat conceptual web reading interface for long-form content as part of Triple Canopy’s new publishing platform.
The official announcement—and the first content produced with the tool!—will be rolled out in the next few days. In the meanwhile, please take a scroll through the demo site.
The complete source will be published in spring 2014, once it has gotten some solid road testing by the editorial staff.
03/13/2013 — generative music · robotics · sound installation · Chrome Web Lab · Work
I spent the better part of last year on a massively ambitious hybrid of a website and museum exhibit conceived by the brilliant Tellart for Google Creative Lab: the Chrome Web Lab, a series of five “experiments” in meshing physical and digital space. My focus was the Universal Orchestra, a mechanical musical ensemble of eight custom-fabricated percussion instruments, playable in open collaboration by museum and online visitors alike. The yearlong exhibit is still up at the Science Museum, London through July 2013, and has earned some very gratifying accolades, most recently winning in the Experimental category at the SXSW Interactive Awards (last night!). But whether or not you’re able to immerse yourself in the live acoustic experience, you can play anytime online—and take part in a 24/7 crowdsourced composition.
Over the past year of generative music experiments in performances and installations, I’ve been chipping away at a homebrew, Ruby-based platform for Ableton Live which I call Loom—named for the textile pattern-generating ancestor of the computer. In hopes of getting more ears on it, I’ve recently distilled it all down to a lean and modular (albeit very alpha) core, and published the source on GitHub, where you’ll also find a slightly more technical introduction than the pontificating, hyperlinking, and screencasting below.
The faint ebb of Steve Jobs’ influence on personal computing this week seems to have set off a moment of reflection and nostalgia on the emergence of a medium and its guiding principles. No better time, thought I, than to self-publish the soul-searching essay I wrote last spring to make sense of a half century of computing, ultimately reading code and computers as, well, texts, media, literary documents.