As if Remute’s music wasn’t weird enough already, up creeps the Hamburg-based producer with a positively macabre low-fi video for his new single ‘Absolutely’.
At the end of a corridor we find a masked goon playing with a large medicine ball, before he’s unexpectedly strangled to death. Then a hatchet goes to work, cutting out his insides to reveal some raw meat, before it’s tossed into a frying pan with a sprinkling of salt and pepper. Mmm, tasty?
Cannibalism aside, the track itself is a rocking filtered house cut that ties in nicely to Remute’s label, which in the past year has shifted closer to the fuzzy grey area in between techno, house, and nu disco.
From the creator of Pepper Knuckles and Music Blocks comes this wild and crazy table for your music collection. It’s called “Amusity” and it’s rather full of music and amusement, if I do say so myself. The designer Idan Arbel says that this is a tangible user interface coffee table for your entire music library. Toss it all on there and let the circus begin.
You can play music videos, access information on the artist, song, album, etcetera, and using such information control the flow of the songs. Meta data like popularity and genres control the way the music is displayed, with popular songs in the center, rarer songs emanating outward.
Activating one song or video will reveal a list of possible paths you might take toward other recommended songs, and then there’s the objects.
The objects are what control the music and video. The circle pieces are the speakers (really nice speakers it seems from the video) – wherever you place them on the board, that’s what song plays.
The Rectangle with antenna are the ones that activate the music videos. You can place them both, or just one at a time. There’s a plus object that shows textual information, and a dome that controls the view of the whole situation, allowing you to zoom in or out.
if you’ve got time and patience, this experimental music film is worth checking out. if you’ve got one but not the other, the beats get going around 9:45.
This is a fulltime multicam edit of a performance designed for opening a screening of Dziga Vertov’s “Man with Movie Camera”, commissioned by ATV and Teatro-Cine TV.
The music is fully made in realtime, by sampling the 8mm projector with piezos and a zoom h4n, and then looping and modulating the audio.
This performance is somehow a stage zero of a more complex and longer performance i want to do in the near future, based on the same principle.
A video on Casa da Música’s Robotic Gamelan, developed by myself, José Luís Azevedo and Miguel Ferraz in 2008/09. It started as an evolution of ‘Lula’ – vimeo.com/1379563 . The sound is awful, sorry about that!
A network of several independent robots play some of the javanese gamelan instruments: 2 bonangs, 2 demungs, 3 kenongs, 1 saron, 2 peking and 1 slentem, some gongs and an additional slentem in the near future. This network is controlled by a computer sending serial information using Max/MSP.
In this specific case, all the robots are being played using custom controllers made out of an Ikea salad bowl, an Arduino and two ultrasonic distance sensors.
‘MStretchSynth’ uses multi-point (multi-touch) data streams to create a synthesis instrument driven by the relationships between points. Instead of mapping touch positions (X and Y coordinates) directly to synthesis parameters, relationships such as angle, distance, and velocity compared to other points are used.
‘MStretchSynth’ uses angle, distance and total velocity between points to map to synthesis parameters pitch, amplitude and delay depth.
Director Quentin Tarantin’s “spaghetti western but with World War II iconography” sets the stage for a stellar soundscape produced by his talented sound team. In this sound for film profile we talk with Sound Re-Recording Mixer Michael Minkler, Sound Re-Recording Mixer Tony Lamberti, and Sound Designer Ann Scibelli. A basterd’s work is never done
You’ve been to some shows. People up on stage singing and dancing, bands playing amazing music with some lights behind them. Have you seen Slayer? They’ve got a gigantoric screen behind them. Not only does their music explode people’s eardrums, the visuals explode their eyeballskins. What’s new in that? It’s faderTouch. A rear projection touchscreen interface developed by VJ Fader, aka James Cui.
With a 400 lumen projector and an infared touch screen panel, you’ll be bright. With a steel frame construction and collapsibility, all carried easy by a turntable road case, you’ll get reeespect.
slayer uses this? a fucking heavy fucking metal fucking touchscreen? in a halliburton? damn.