[Julian|Abraham]

[book : electronicfordu**ies]

Julian Abraham — Fri, 14 May 2010 14:08:35 +0000

Another starter for electronic project

[book : The AOE]

Julian Abraham — Fri, 14 May 2010 13:48:29 +0000

To anyone who interested in electronic and art = music as an example, and intend to build your own electronic music device, this book will guide you to the unlimited journey. Here we go : Read it, Share it!!!!

[.....]

[puredata=>knowledge]

Julian Abraham — Mon, 10 May 2010 17:19:03 +0000

Halo. This is a list of books about Pd [Pure Data is a real-time graphical programming environment for audio, video, and graphical processing] :

1. The Theory and Technique of Electronic Music by Miller Puckette
2. Bang by Wolke Verlag
3. Puredata FLOSS Manual by FLOSS MANUALS
4. LOADBANG ! Programming Electronic Music in Pd by Johannes Kreidler
5. Designing Sound: Procedural audio for games and film by Andy Farnell

Hopefully this post will help you to understand more about Puredata. For more info :

http://puredata.info/

[book : remix]

Julian Abraham — Sun, 09 May 2010 19:03:03 +0000

The argument in favor of reforming our legal attitude toward
remixing is a thousand times stronger than in the context of p2p
file sharing: this is a matter of literacy. We should encourage the
spread of literacy here, at least so long as it doesn’t stifle other forms
of creativity. There is no plausible argument that allowing kids
to remix music is going to hurt anyone. Until someone can show
that it will, the law should simply get out of the way. We need to
decriminalize creativity before we further criminalize a generation
of our kids. [....]

[book : freeculture]

Julian Abraham — Sun, 09 May 2010 18:54:49 +0000

Then all of a sudden a lot of basic civil liberty protections evapo-
rate to one degree or another…. If you’re a copyright infringer,
how can you hope to have any privacy rights? If you’re a copyright
infringer , how can you hope to be secure against seizures of your
computer? How can you hope to continue to receive Internet
access?…Our sensibilities change as soon as we think, “Oh,
well, but that person’s a criminal, a lawbreaker.”Well, what this
campaign against file sharing has done is turn a remarkable per-
centage of the American Internet-using population into “law-
breakers.” [.....]

[book : noise_and_capitalism]

Julian Abraham — Sun, 09 May 2010 17:30:35 +0000

How does digital Noise performance mesh with information-based businesses, spurred by developing cyber-technology, military research, or computer-driven control operations geographically separated from production? The question is legitimate since music as a cultural form is imbricated in economic production. How does this imbrication in the late capitalist mode of production impact digital performance and the structures of feelings Noise creates in the listener? That there is a certain unease about the digitization of Noise among its performers has been reflected in the revival of analogue composition. Vintage synthesizers are used both live and in recordings. The Locust features one member on an ‘old-fashioned’ Moog, White Mice’s Anonymouse uses knobs and wires, Stereolab rely on a mixture of electronics, Astro (Hiroshi Hasegawa) generates ambient analogisms, DJ Jeff Mills ‘spins’ minimal techno, Vibracathedral Orchestra record their live shows directly to two-track tape with guitars, violins, cello, banjo, recorders, and Casio toy organs, and Masonna kindles a ‘warm’ psychedelic sound with his Space Machine project. Others like Yasunao Tone subvert the ‘intentions’ designed into digital devices by using a Scotch tape to confuse the laser reading a CD, thereby creating a wide array of glitches. [.....]

[book : davidtoop:oceanofsound]

Julian Abraham — Sun, 09 May 2010 15:50:00 +0000

In his time, McPhee was a pioneer among musicians who had fallen, or were to fall, under the spell of Indonesian music. Varying degrees of gamelan influence can be detected in the work of John cage, Harry Partch, Lou Harrison, Philip Corner, Olivier Messaien, Steve Reich, Gavin Bryars, Terry Riley, Peter Sculthorpe, Wendy Carlos, Don Cherry, Jon Hassell and, in very recent times, Australian composer Paul Schutze and london sampling band Loop Guru. A sound akin to Javanese and Balinese gamelan filtered through dense layers of contemporary sources suffuses feature-film scores such as Ryuichi Sakamoto’s Merry Christmas Mr Lawrence, Maurice Jarre’s The Year of Living Dangerously and Yamashiro Shoji’s Akira. This last, a Carmina Burana for the electronic, post-linear, folk-digital age, hypnotically counterpoints a relentless dark rush of Manga apocalypse imagery with hyperactive percussion, electronics and “Balinese Tantra” (whatever that may be), courtesy of Ida Bagus Sugata. [......]

[book : C+geTalk_Dialogues With]

Julian Abraham — Sat, 08 May 2010 20:00:20 +0000

[ When Syvilla and I were discussing her graduation concert, I said she could have two or three pieces written for her by different composers available from the music department—and John was one of them. She had to prepare the rough outline of the dance so they had something to see, and then she worked with the composers. John came to me after seeing the dance and said, “I have to have a gamelan orchestra.” I laughed at him and said, “John, you’re absolutely crazy— we can’t even afford fifty cents!” We had no budget whatsoever. He said, “But she’s done an absolutely beautiful work called Bacchanale, which has many textures that would be so right with the gamelan.” So I said, “It’s not possible, we can’t even buy a gong.” There were a few old instruments around that we could borrow. John played for class on a beat-up grand piano—the dance studios tended to get the leftovers from the music students. It wasn’t in the greatest condition; I had a little box behind the piano where I kept all the nuts and bolts and things that fell off! ] [.........]

[book : Visble Deds 0f M*sic]

Julian Abraham — Sat, 08 May 2010 19:50:19 +0000

[ The relationships between music and visual art in the first half of the twentieth century are the subject of this book. From Richard Wagner to John Cage, The author explore a number of themes that emerge in the consideration of modernism on the nexus of sight and sound, the spatial and the temporal. This work is not an attempt to cover all instances of art and music’s inter relations in this extraordinary period. Rather, it addresses the media bias of discussions of modernism through consideration of a number of key moments—between c. 1860 and c. 1960, when the purism of modernism (especially in the writings of Clement Greenberg and Michael Fried), in terms of definition through media specificity, is contrasted with the more hybrid and ‘‘theatrical’’ manifestations of practices that operate under the ‘‘surface’’ of this paradigm of modernism ] [........]

[pd_GUI_art_VJ#01]

Julian Abraham — Sat, 08 May 2010 16:32:24 +0000

[pd_GUI-art_VJ NUMBERONE]