Entries tagged with "music"
Wednesday 19 November 2008
Minimal means and meanings
Salon 21 is a wide-ranging series of informal talks by composers and musicians put on by new music org Soundstreams. Last night we heard an appreciation of the music of Arvo Pärt by composer, conductor and Laurier professor Glenn Buhr. Buhr’s enthusiasm made for an engaging introduction to the music, providing lots for a musicology geek like me to enjoy without getting too technical.
One particular aspect that interested me was Pärt’s use of process, following simple, deterministic procedures to generate stirring music from extremely limited material. It’s similar in some senses to Steve Reich‘s phase pieces, or Brian Eno‘s loop-based ambient works, but there are big differences.
Reich’s phase music uses short loops, whether that’s (physical loops of recording tape, percussion or piano figures that are simply repeat throughout the piece. These fall in and out of phase with each other, shifting from unison to a subtle echo to cacophony to tightly interlocking patterns, and finally come back into phase again, bringing the piece back to where it began.
Eno’s ambient pieces, such as Music For Airports, were inspired by Reich’s work, but use loops of uneven length that will practically never repeat. Eno’s self-stated goal was to create pieces that were effectively infinite, something he was able to explore further once computer music technology allowed it — he coined the term “generative music” to describe it. It comes as no surprise, really, that Eno’s designing the chimes to be sounded by the 10,000-year Clock of the Long Now.
But where Reich’s pieces are cyclic and Eno’s aspire to being infinite, Arvo Pärt’s music is more fatalistic. We heard a recording of his Cantus in Memoriam Benjamin Britten, which uses as its basic material a descending A-minor scale, with violins moving fastest and lower strings moving progressively more slowly. The whole piece is relentless in its finality, moving inexorably downward until at last the high strings linger on their notes, waiting for the basses to catch up, and the long final chords boil with a kind of dread — fitting for a meditation on death.
The Estonian Philharmonic Chamber Choir close out their North American tour with a stop in Toronto tomorrow night, but sadly, I won’t be there. My consolation: we’ll be in the studio mixing the new Flickershow CD!
Sunday 9 November 2008
Goodbye, physical music media
Sean and I are moving into a new place in Leslieville in less than a week, and we’re well into the exhausting task of tossing things we no longer need (the new house is rather smaller than the old) and boxing up everything else. This time around, I finally bit the bullet and got rid of all my CDs and vinyl, except for discs by friends’ bands and the occasional rarity. Since I listen to everything on my computer or iPod these days, my collection had been sitting in boxes in the basement for a couple of years already.
I’d been avoiding the issue for a long time, but today we had a truck rented to do a Goodwill run, and I made the decision to let them all go, pretty much on the spur of the moment. It was actually the first time I’ve been in a CD store in years, and aside from the occasional gift, I don’t imagine I’ll have any cause to do so again. I felt more than a little awkward walking in there with all my boxes — while I was giving them a lot of good stuff (several hundred dollars’ worth, in fact), I was essentially renouncing their services as well.
Aside: my first musical purchase, to my memory, bought at a little shopping mall music store: a cassette of 1000 Airplanes on the Roof by Philip Glass (having been mesmerized by a clip of Koyaanisqatsi on TV).
I don’t remember what the first vinyl I bought was. My mother and I used to park at Yorkdale and ride the subway down to Osgoode to shop at the book and music shops along Queen West, and I picked up lots of Eno, Tomita and Jean-Michel Jarre at Driftwood Music.
First CDs: Electric Cafe by Kraftwerk, The Shutov Assembly by Brian Eno and a 4-track sampler from Hi-Tech/No Crime, an album of YMO remixes by contemporary (ca. 1991) UK electronic acts. The last CD I bought for myself was Komeda’s Kokomemedada.
The hardest part: letting go of all the vinyl box sets of classics Sean’s late father collected and treasured, which we’d had for ages but never played. In the truck, we agreed we’ll have to download some of his dad’s favorites — he was fond of the Russians, especially Shostakovich, and loved opera too. Perhaps something to listen to as we unpack and settle in.
Tuesday 8 July 2008
A successful few days in the studio
Over the past couple of weeks J and I have spent another few days in the studio, without playing a note. Yes, it’s session-player time. In particular, we’ve now got:
- electric guitar (a Dano 12-string jangle on “Invincible” and some sweet swell-pedal action on “Still Life") courtesy of Dominic;
- more drums and percussion by our engineer/producer Don
- violin on “To The Nines” by Andrea and more on the way for “Aphrodite”;
- crazy undersea bowed-string noises and vocalizing on “Siren” from Rami
- organ, piano and harpsichord, courtesy of Richie; and
- a suitably over-the-top trumpet section on “Mute” all played by Stefan.
Who knew just sitting and listening could be so much work? We’ve learned a lot about listening, and coming up with musical ideas on the fly, not to mention guiding other people into realizing those ideas. It’s a fun challenge, communicating musical concepts to other people through words, singing, vocal noises, and occasionally, actually writing things down.
Julian had always had a trumpet melody in mind for the bridge on “Mute”, and wanted big, bold chords for the ending. I added a harmony to the bridge, and started fleshing out the “chords” idea with a swingy rhythmic motif… and then realized I was going to have to write the thing out. I’d composed the part in Logic, and couldn’t get the program’s “Score” view to output anything that made any sense. So I summoned up every last bit of music theory I’d ever taken, and wrote the whole thing out. Took a couple of late nights, and I worried that it was illegible, but our players approved.
Here’s the bridge from the demo version, with lovely synthesized trumpets: Mute (trumpet demo, 880k)
Not everything we did could be scored, of course, but regardless, we found it really, really helps at least to have a clear idea of what you’re after before you start. When Rami came by to play, bringing with her an Iner Souster creation called “Fat Bob”, we didn’t have parts written out - Bob, having one string and no fingerboard, isn’t particularly suited to playing melodies, anyway - but I think we had a strong idea of the texture and atmosphere we were after. J quickly joined in, offering images of a ship breaking apart at sea, the creaking of the rigging, the cracking of the timbers and the crashing of the waves. I’m really looking forward to sifting through the resulting noises and building them up into a soundscape.
Lots more to go: more drums, keyboards, backing vocals, violin and percussion - not to mention mixing and mastering. But it’s all starting to come together nicely.
Thursday 5 June 2008
Notes from the Open Everything unconference, and a proposal: the Really Open Stage
Lots of good conversations at Open Everything today. The Toronto event took place today at the Centre for Social Innovation, a community space and incubator for social entrepreneurs, and further events around the world are scheduled for the rest of this year.
It’s all about the concept of “openness” - as in open source software, as in open models of government (check out Melbourne’s city planning wiki), as in the growing movement for open science.
Among other things:
- Dr Sara Scharf spoke about modern nomenclature in biology (you know - kingdom, phylum, class, order, family, genus, species) and how it came about through a process akin to open source today. I want to find out more about these parallel, failed attempts that tried to create unique names by encoding all distinguishing features of a species in the name itself, but I haven’t found anything online yet.
- Marsha Cummings is working on a documentary about Station 20 West, a community health and social services centre in Saskatoon, which includes a co-op grocery store in a neighbourhood where the last commercial grocery stores have pulled out.
- Jane Farrow spoke about Jane’s Walk, a day of self-organized neighbourhood walking tours in honour of the late Jane Jacobs. Held in May, the event has spread to other cities across Canada, and is starting to spread to the US as well.
- Mark Kuznicki told us about Metronauts, a unique experiment in civic engagement being carried out by Metrolinx, our fledgeling regional transit authority.
- Dan, one of the denizens of the Centre for Social Innovation, introduced us to the Open Salad Club. We’ve got a lunch club at my office, where several people take turns making lunch, but somehow the idea of preparing a big dish, even if it’s only every couple of weeks, seems a bit intimidating to me. But bringing in two ingredients for salad? Easy.
Perhaps most interesting of all was hearing from David Patrick about how he, a filmmaker by trade, happened to found the
Linuxcaffe - to my knowledge, the world’s first “open source” coffee shop. Everything’s open - from the recipes to the software that runs the till. And naturally, there are open stage nights, not to mention DJ nights featuring Creative Commons-licensed music. But, I thought, what about a
really open stage?
Some hastily scribbled notes: Collaborations of all sorts would be encouraged. Performers could share words and music, free for others to jam on, revise and rework. Recordings would be available online to listen to and remix, and on-line contributions could feed back into the open stage. There would be show and tell time for homemade musical instruments and other gear (not coincidentally, Richard Bishop has installed one of his wonderful basses in a lamppost just outside the Caffe). I’m not sure yet what structure, or how much structure, would be needed to get such an event to work well and flow. Just something to experiment with. Stay tuned…
Friday 30 May 2008
Authenticity in pop music, primitivism, and Zen aesthetics
Just finished reading Faking It: The Quest for Authenticity in Popular Music by Yuval Taylor and Hugh Barker. It’s an examination of the history of ideas about musical and personal authenticity, from the dawn of blues and country to the rise of disco, punk and sampling. I’m finding the topic completely fascinating - which is perhaps amusing given the name of this site…
I first heard about the book via an interview with Taylor on a public radio show from the States called The Sound of Young America. Since the book came out Taylor and Barker have continued to explore the topic on their blog, also called Faking It.
Some questions that occur to me: how has the idea of authenticity played out in other cultures? Only one chapter really gets beyond North America and the British Isles, and it restricts itself to the intersection of Western music with world music (Buena Vista Social Club, Graceland).
How universal, for example, is the celebration of primitivism - as in punk and other “back to basics” movements in rock - as more “authentic”? I’m thinking especially of an early chapter in Caetano Veloso’s Tropical Truth where he writes:
[B]ossa nova’s revival of samba evolved from a refinement of musical tastes that was influenced by high-quality American songs of the thirties and by the cool jazz of the fifties; by contrast, rock in its essence was a rejection of all sophistication, and continually proves to be so whenever it seeks its own reaffirmation… While rock was simplistic, repudiating the elegance and elaboration of a Porter or a Gershwin, with their symphonic orchestrations, Miles Davis, or Bill Evans, in João Gilberto one was witnessing an almost antithetical impulse, a continuation, rather than a suppression, of musical history… [p. 23]
On the other hand, this sort of elevation of the primitive, the artless, the naïve, is present from at least the Romantics onward - you can see it in the Fauvist painters, and in Picasso’s fascination with African tribal art. All of them yearned for a connection with something primal and natural, and saw evidence of it in art from less “sophisticated” cultures.
There’s also a parallel in the development of Zen aesthetics (I’ve also been reading Andrew Juniper’s book Wabi Sabi recently - see the Wikipedia entry for Wabi sabi for a quick intro to the topic). In a similar reaction to the ultra-refined craft that accompanied the spread of Buddhism from China, Japanese monks strove to cut away all the fussy, meaningless trappings and strike directly to the essence. The arts they cultivated, from calligraphy to pottery to the tea ceremony, were pared down to their essence, and aspired to the artlessness of nature.
Where these parallel lines diverge, perhaps, is in the realm of personality and ego. Where most authenticity-seeking artists in the West seem to strive foremost for self-expression, the Zen practitioners would seek to abandon the self, to focus on nothing but the creation.
In their discussion of Kurt Cobain, Taylor and Barker suggest that the inevitable gap between ideals and real life was what killed him in the end. They don’t offer any way out of this trap, but if there is one, it’s probably close to the Zen approach of abandoning self, ego, and all expectations - both your own and those of the audience.
Lots more thoughts to organize on this topic, but that’s enough for now. I’m off to play Rock Band with my housemates.
Tags for this entry:
aesthetics,
art,
authenticity,
craft,
japan,
music,
pop music,
psychology,
sociology,
wabi sabi,
zen
Friday 16 May 2008
Back after a long hiatus: a new job, a new album underway, and a visit to San Francisco
A quick summary of an eventful season:
I’m settled into my new position as web maintainer for Evergreen, an organization focused on environmental education and community-based greening initiatives. It’s a fine bunch of people, and the work feels much more worthwhile than almost anything I did working on the “agency side”.
We’ve been dropping into Don Kerr’s studio every few weekends to record the new Flickershow album - we have ten songs in progress, with vocals, guitar, bass and drums complete on almost all of them and keyboards on about half. I’m currently working on the trumpet arrangement for a recent song called “Mute”. We’ve also played a whole pile of gigs, most notably busking in front of Pages Books on Queen St, and a swell gig for Earth Hour which included an hour-long, completely acoustic songwriters’ circle.
Sean and I spent a few days in San Francisco last month - he was there to attend a couple of different conferences, and we got to visit his sister, her partner and their two black cats (it seems to run in the family). I spent several days walking all over the downtown area, and up to Fort Mason, where I visited the Long Now Foundation’s museum and shop. Spent many hours checking out every sound-related exhibit at the Exploratorium. I came home with far too many books, and a new pair of shoes - my old pair having disintegrated completely after several dozen hills too many.
Much more to come - more musical experiences; several books to discuss; and my obsession with ruins continues.
Sunday 13 January 2008
Video shoots, lightning strikes, and a red dress
The dust’s settled on 2007 at last, and does it ever feel like a new year now. Here’s a few highlights, including some stuff I didn’t write about the first time round:
January: Spinglobe moves into a brand new office in a neat building in the east end. One of the first projects is a music video for the Mahones. It’s a takeoff on that Fellini scene where la Saraghina dances the rhumba on a Mediterranean beach - except it’s January, on Ashbridge’s Bay, and the warm spell of the previous week is most definitely over. We should have called the production Minus 8½. We freeze our collective asses off, but the video ends up looking pretty darn fine.
February: Played in the band for a musical revue put on as a fundraiser by some friends - my first time playing Broadway style is a fun challenge; I stress way about it more than I have to. Reconceived long-running audio drama idea as a podcast; later in the year would reconceive it again as a comic. Expect it to morph into a novel, a musical extravaganza and finally a series of haiku in 2008.
March: In the studio with Ellen Carol to record bass tracks for her new CD, produced by Don Kerr. Restarted work on Flickershow CD; we get some solid demos done and some cool results on a trip-hoppy new song called “Hold Up Donny”. It doesn’t last, however; I end up firing myself as producer later in the year. If all goes well we’ll be recording with Don in 2008.
May: Played with Flickershow at the Sammy Sugar Day Festival, the kickoff for Ellen’s fundraising bike tour of Eastern Canada. Finally launched a site for Presonance, a collaboration with Rezo Largul.
June: Attended OpenCities, an “unconference” about the convergence of civic engagement and the open source movement. Among the topics are the waterfront revitalization, public space, DIY electronics and public art, dancing in the streets. Coincidentally, the next day, Flickershow played at Pedestrian Sundays, a monthly car-free event in Kensington Market (other events occur in Mirvish Village and on Baldwin Street); our first outing with keyboard player Rich.
Later in the month, Sean’s mom comes up from Pennsylvania for a visit. Tuesday we’re at work while she takes it easy; she’s out having a smoke on the front porch when lightning strikes a tree two doors down, and a gale-force gust of wind tears off branches for several blocks. We return home to find our street a maze of police tape, tree limbs and downed power lines. Neighbouring streets are almost unaffected. “I didn’t do it,” she pleads.
July: Played Newmarket and Brampton - our only out-of-town gig prior to this was our TVO appearance taped in Parry Sound. First steps toward developing an analog-to-MIDI interface using that splendid new toy, the Arduino.
August: Cottage outing with co-workers. Lots of laughs, plenty of good food and drink, and some cool photographic exploration of natural forms and painting with light.
October: A week from hell. Two or three clients go through reorganizations, and a number of key projects go on indefinite hold. Contractors removing a cellular tower break a sprinkler pipe and flood part of our office. None of this registers, however, because our co-worker’s 21-year-old brother has just died in his sleep. Things are very quiet for several days.
November: Two good friends of ours invited us to play a song at their crazy cabaret-style lesbian wedding. The only question was what to wear. (As MC for the evening, Sean had no such dilemma, since they’d put him in a rather lovely kilt and feather boa.)
At the end of the month, a beautiful, awe-inspiring, mad trip to Marrakech with Sean, his mom and stepdad, and a new friend, the irrepressible and energizing Katie. We stayed in the heart of the medina, a maze of winding alleyways full of people, tiny shops, mopeds and stray cats. A handful of local kids kept asking for money; Sean juggled for them instead (years ago he did it for a living in Dallas) and became an instant hit. Later, we drove through the Atlas Mountains to ride camels into the desert and sleep in a tent. Beautiful country, lots of wonderful people. And occasional strange family moments.
December: The partners make the tough decision to sell the company to a bigger firm. Some of us move over, the video business splits off (taking on the name Robotnik Films), and I start looking for work. I’ll miss the place, and I’ll miss working with the Spinglobe crew. But it’s a huge opportunity, both to find work in a field that’s important to me and to have some actual free time again. Here’s to the new year!
Monday 10 December 2007
Arabic, plus musical dos and don'ts
I may have spoken too soon, in that little outburst the other day. Wrapping up final projects for work has been taking up a huge amount of time. Having most of a weekend to mull things over helped, but I still have a lot of thinking to think. More about this soon.
In the meantime, some things I have learned over the past few weeks.
- The Arabic alphabet actually isn’t that hard. I’d always wanted to learn it, because I like alphabets and lettering - not to mention the fabulousness of Islamic calligraphy… but for some reason I’d expected it to be tough, probably because it’s joined up and reminded me of Gregg shorthand. During our trip I started to decode some place names and brand names.
- On the other hand, the Arabic language? Oh man. I just found out that numbers not only have gender, but for the numbers 3 through 10, they have polarity - if the noun they refer to is masculine, the number is feminine and vice versa. Perhaps I’ll work on mastering French first and move on when I’m feeling brave enough.
- Peel-top cartons of yoghurt do not travel well in a backpack.
- Do not watch the video for the Shins’ “Phantom Limb” moments before a meeting. Crying in front of a client can be awkward.
- “The Weight” by The Band is more complicated than I remembered, especially after half a pint.
Friday 23 November 2007
Lady Sovereign and Joss Whedon's Sugarshock! on the playlist
It’s been a hell of a week at work - hell of a month, really, which is partly why updates here have been so scarce. There’s been no time for music, electronics, or much of anything else. And so I finally snapped and had to find something new to add to my usual music playlist. Out of curiosity I started catching up on more grime from the UK (favourite track so far: Dizzee Rascal’s “Everywhere") and eventually happened on Lady Sovereign.
I’d first heard her months ago in a remix of “Fit But You Know It” by the Streets and wondered who she was. A tiny white girl from London, it turns out; named for the ring she wears prominently in many of her performances.
A brief digression: I’ve always been intrigued by the sounds of Jamaican dancehall (quite apart from the lyrics and culture, which are pretty notorious for being shallow, oversexed and sometimes violently homophobic - I won’t get into that here). There’s something gripping about the texture of it all: relentless, dissonant, ominous, with vocals delivered in a kind of bellowed sing-song. Often the vocals are double-tracked too, adding an even more unsettling edge.
Sovereign borrows some of these elements and adds her own spin: these, along with her winningly bratty persona, are very much in evidence on “Random” and “A Little Bit Of Shhh” (links are to YouTube).
Her best video so far, though, is “9 to 5”, which I won’t ruin by describing. I’ll just mention that I alarmed my co-workers with my giggling. (Of course, that could also be a sign of a nervous breakdown due to stress.)
Speaking of giggling, as well as cute and irrepressible female vocalists, not to mention music in comics - Sugarshock!
Dark Horse Comics are publishing a series of free webcomics on MySpace, and this one’s written by Joss Whedon, of Buffy fame. Sugarshock is a band consisting of three peculiar young women and a robot, who get the chance to play in the ultimate “battle of the bands”.
The comic lives up to its name, too - without the need to carry on a bigger story or ground his characters in the everyday world, Joss serves up 24 pages of concentrated, hyperactive silly with an extra helping of Whedonisms. That’s all there is for now, but there’s been talk of bringing the characters back somewhere down the line. AUSPICIOUS!
Part 1
Part 2
Part 3 (Flash interface)
Tuesday 13 November 2007
From the What I Been Listening To department:
For unfathomable reasons, I’ve been hooked on a show called Blue Jam. Aired in the late ‘90s, it was the brainchild of Radio 1 enfant terrible Chris Morris, whose earlier pranks had included a discussion of ludicrous methods to obtain a legal high, and most famously, the “non-announcement” of the death of a still-living cabinet minister. After the latter incident, BBC censors clamped down hard; why they ever let him back through their doors is a mystery.
Blue Jam is a deeply disturbing show, but utterly hilarious. Sketches and monologues drift in and out amid music of all sorts, starting with an always-different introduction delivered by Morris in a sinister monotone (“When thrapping door-knock brings not chums with cakes, but friends of Sweaty Fred, full madding because you failed to sell… welcome in Blue Jam...”) and quickly descending into a nightmarish world of misfits and psychopaths.
Almost every character we meet is unhinged: the doctor who amuses himself by humiliating his patients and prescribing useless treatments; the parents who belong to a baby-fighting ring; the avant-garde artists who disembowel a man and put him in a display case (much in the fashion of the art-murders on David Bowie’s album Outside). Some favorites: Maria, the four-year-old hardened criminal, Rothko the doberman, and the inexplicable club-scene and style roundups from Michael Alexander St John.
Some of the best sketches were spun into a six-episode series on Channel 4 called simply Jam, and lots - probably most - are up on YouTube. I’m almost afraid to link to any, but here’s a typical opening, and a sketch about a television repairman. Browse the Related Videos at your own peril. Expect mayhem, blasphemy, dead babies, dead dogs, sexual deviance and bad language.
UK radio comedy review site radiohaha offers this appreciation of Blue Jam. Torrents of it and other Chris Morris shows are available at the fan site Cook’d and Bomb’d.
Wednesday 24 October 2007
Wanted: self-similar audio waveform generation
I’ve been listening to a podcast from last year featuring Will Wright and Brian Eno, talking about generative art, and it gave me an interesting idea.
There have been a lot of attempts at so-called “fractal music” (here’s a bunch of links to several such projects), but all the ones I’ve heard just take a chunk of data from, say, the Mandelbrot set, and map it to one musical scale or another. It’s hard to really hear any self-similarity happening.
Which seems a lost opportunity. Think about it: sound waveforms themselves have fractal properties, because phenomena like vibration, resonance and oscillation happen on all physical scales. Speed up a thumping rhythm far enough and eventually it turns into a tone. And any waveform can theoretically be expressed as a mix of sine waves of different pitches. Fractal generation software lets you zoom in and out to see different fractals in near-infinite detail. What if we could do the same by speeding up or slowing down a piece of audio?
A big challenge, of course, would the problem of resolution. Whether you’re working with analog or digital audio, as you slow it down you’ll eventually start to lose detail in the high frequencies, until it all goes muddy. It’s akin to blowing up a photograph, until all you can see is the grain, or a bunch of great big pixels - or conversely, shrinking it until you run out of photograph. You could always pack in more data to describe a chunk of sound, but you’d end up with a gigantic file, and you’d always hit a wall somewhere. For best results the sound from our hypothetical audio-fractal would have to be computed on the fly.
Not a new idea, but as far as I know no one’s done it yet. There’s an entry for something called “All-Music-Set Player” at Halfbakery (a “communal database of original, fictitious inventions") which is pretty close to the mark. I’m not interested in generating all music, just creating interesting sounds to explore.
Controls: speed, perhaps other parameters like density or default shape. It’d be interesting to work in some sort of “scrub” control too.
Issues: what language to write such a thing in? How do you describe the waveform? (some sort of generative grammar that sums wavelets?) How do you set up such a generator so that you can calculate a value for a sample at an arbitrary point on the time axis? Is it even possible? The fact that I can’t find any examples of fractal audio generators makes me wonder if the obstacle is simply one of processing power…
(The podcast that sparked all this, by the way, is from a seminar series put on by the Long Now Foundation: Ogg | MP3 | text summary I’m afraid of Spore. I think it might eat me.)
Monday 22 October 2007
One of the comics I’ve been keeping up with online is Sordid City Blues. It stands out among the throngs of webcomics out there, with a cast of smartly written and charmingly drawn characters wrestling with issues of love, faith and art. The author, Charles Schneeflock Snow, is taking a few weeks off to work on other projects, and recently put out a call for guest artists to fill in for him on the web site. So I chipped in with a page, and went for the most obvious subject: Luther and his bandmates. (Luther’s the one in the blue hat - the central characters in SCB are colour-coded.) Here it is!
There are some references to earlier stories - particularly Chapter 43, which deals with the origin of the mural. The conversation about the bass is one I’ve had several times (the Fury LS-4 I play has an unusual headstock which tends to attract the attention of gear nerds) but also, Barkey does play a rather odd-looking bass.
(Like SCB? The first collection of stories is available in book form… help support independent artists!)
I’ve played around with comics before but never in a big way. And I’ve used Adobe Illustrator for years, but this is one of the few times I’ve actually been using it for hand-drawn illustration. Lessons learned: use layers. Lettering using a tablet is a pain in the ass. Background detail really helps a panel to spring to life (as was the case with the graffiti and cinder-block wall in the second panel). Also, it’s really freeing to write in a different voice for a while, and play with someone else’s characters. I did my best to capture a little of SCB’s look and its rhythms.
For quite some time I’ve been tossing around some story ideas, but I’ve never settled on a satisfying way of telling them. The format and characters keep shifting around on me - first it was a series of radio plays, then it was going to be podcasts, or maybe just short stories, and now I’m thinking of doing it in comic form. It may end up being a combination of all of the above. This has been a good chance to test the comics waters, and see if I’m really up to the task.
Some of the characters I’m developing are musicians as well, which means that at some point there will be music played. Which brings up the fascinating question of how to represent music in a silent, static medium. Usually comic artists just resort to a sprinkling of eighth-notes and some lyrics. But what about taking a crazy graphical approach, one that breaks out of the usual rhythm of panels, the way a big number in a musical jumps out of the “real world” of theatrical/cinematic structure?
The example that springs to my mind at the moment is Hot Jazz by the ever-wacky Hunt Emerson. I don’t know a whole lot about comics history, so I’m sure there are others… Any suggestions? I should probably look into some Matt Howarth, for instance.
In the meantime I’ve been hunting through The Beatles Illustrated Lyrics (see here for images, mostly the ones by Alan Aldridge). I’ll have to have a look for What The Songs Look Like too, which does the same for Talking Heads… and I wish I had a copy of More Dark Than Shark, a collection of artworks created by Russell Mills inspired by Brian Eno’s early “rock” albums, now out of print and hard to find.
My next comic-related project, then, is going to be this: pick a few songs that really inspire some visuals, and do one or two pages for each one. Strong contenders for the first couple: Stereolab and the Pixies.
Thursday 18 October 2007
Every once in a while, one of those music memes sweep through the blogs I read: put your music-player software on shuffle mode and list the first 20 tracks that come up, that sort of thing. Here’s a twist: keep track of the songs that are in your head at the moment you wake up, and post a list. Here’s mine over the past few weeks. Make of them what you will.
- Dexys Midnight Runners - “Come On Eileen”
- Franz Ferdinand - “What You Meant”
- Massive Attack - “Risingson”
- Peter Gabriel - “Steam”
- XTC - “Limelight”
- Little Eva - “The Loco-Motion”
- Bruce Springsteen - “Dancing In The Dark”
- Steelye Span - “Bachelor’s Hall”
- King Crimson - “Dinosaur”
- Rowlf the Dog - “Cottleston Pie”
- Komeda - “Elvira Madigan”
- The Shins - “Phantom Limb”
- David Bowie - “Life On Mars?”
- Mashup: Depeche Mode - “Get The Balance Right” vs Franz Ferdinand - “Jacqueline”
- Jazzanova - “Mwela”
About half of these are things I was listening a day or a few days previous… but the more interesting ones are the ones that seemed to come out of nowhere, like “Dancing in the Dark”, or “Cottleston Pie”, which I hadn’t heard since I was a kid. (And by the way,
here it is on YouTube. A lot faster than I remember - my mental recording seemed to be more wistful.) “Loco-Motion” and “Bachelor’s Hall” are in there too, certainly.
Try it! It’s a cross between “what you’ve been listening to” and “where’s your head at”.
Friday 5 October 2007
Pine cones, glitches, and bringing video to the wilderness
Dorkbot Toronto, the local chapter of the network of “people doing strange things with electricity”, has a new slate of presentations, and last night was the first.
Patricia Rodriguez presented some of her video work using all sorts of cameras - film, video, digital - and taking advantage of each one’s unique features and most interesting ways of failing.
Cary Peppermint and Christine Nadir’s work is about breaking down the perceived borders between nature and the human-made world, using electronic media installations in unexpected places. Wild Information Network, a solar-powered streaming audio server installed deep in the woods of the Catskills, plays sound pieces submitted by various artists, all with the notion of humans broadcasting to the broader environment, or vice versa. It and other pieces are catalogued on their site: EcoArtTech.net.
Stan Krzyzanowski showed his time-lapse work, ranging from handheld still camera shots, to mesmerizing animations created from successive sections of wood and other materials (notably vegetables and marbled cheese), to his recent projects involving cones from various sorts of tree. Pine cones, see, open up as they dry and fold closed again if you get them wet. And when sped up, the waving of a big pine cone’s scales takes on an eerie, almost animal aspect.
It’s beautiful stuff. Interval is a rather huge archive of all his experiments - click some of the “special sets” on the lower right. Most of the best stuff is on the “Favorites” page.
The sessions are held at InterAccess, a gallery at Queen and Ossington devoted to electronic media art. They offer a very cool series of workshops on topics like microcontroller programming, introductory electronics, pinhole photography, and hacking your bike to turn it into a mobile piece of sound art. I’m hoping to attend the ones on Pure Data and creating “resilient outdoor works”.
Tags for this entry:
animation,
art,
audio art,
dorkbot,
electronics,
food,
music,
natural structure,
nature,
physical computing,
public art,
time lapse,
toronto,
video
Wednesday 13 June 2007
Two new toys, and no time to play with them…
One is that Evolver I mentioned. It’s the desktop version, a monosynth with no keyboard. First impressions:
Sturdy metal case. Knobs are rotary encoders, i.e. the clicky digital kind, and are a little dodgy - maybe this will improve with time? Cleverly designed interface cuts down costs and space by packing dozens of parameters into a matrix so you can adjust them all using eight knobs: hit a button to select a row, then turn the corresponding knob. It takes a little getting used to, especially since half of the parameters also require you to hit the Shift button to get at them.
It can make pretty analogue sounds, and glittering digital sounds, and frightening noise. It has two audio inputs for use as a signal processor, and it can do some wonderful spacy things to a fretless bass. Here’s one minute of me goofing around, using it as a bass synth, a ghostly lead, a crunchy bit-hacked rhythm, and some other effects. A bit of echo, reverb and compression added in Logic.
2007_0612_Evolved.mp3
The other toy: an Arduino USB board.
Essentially, it’s a little computer processor on its own board. You can program it from a Mac, Windows or Linux box using a simple language based on C. It has a whole bunch of digital input/output lines, and six analog inputs that can double as pseudo-analog outputs (pulse-width modulated and not suitable for audio, but they work fine for dimming LEDs, for example). If you don’t need the USB interface, there’s a tinier, even cuter version.
More sounds and updates to come.
