In 2011, I was fortunate to be a part of the London Sinfonietta’s Writing The Future scheme which threw me in at the deep end of contemporary classical composition in the UK. In all that time, Thomas Ades, who can perhaps be seen as the lifeblood of that scene in the 21st century, always remained […]
Close to my heart, Rob Saunders and Petra Gemeinboeck’s work strives hard to really make robots that are doing things that make you think about what they are doing, to get a robot’s eye view of the world, best used as a mirror to see yourself in all your mechanistic non-dualist glory. Saunders is the programming talent behind the project, but he also achieves a rare blend by approaching the technical challenges of this art with a deeply philosophical mind-set. Or to put another way, he is a creative practitioner of what the AI researcher Inman Harvey calls ‘philosophy with a screwdriver’.
The protagonist in this series of films (begun in 1995 with London), Robinson, is part tramp, part defrocked marxist intellectual who spends his time musing on the peculiar absurdities that characterise the landscape of modern England.
Sydney produces a kind of minimal improv style that is gorgeous and immersive, made recognisable by bands like The Necks and Triosk. The Pollen Trio are a band picking up this thread in their own special way: modestly stated, calm, not dissimilar from their Norwegian counterparts (it is nice to wonder what kind of geographical […]
Fake Fish Distribution was made by adding a ‘version dial’ to Ableton Live. We wrote the tracks mostly as you would normally do in Ableton, but we made custom timelines that contained different sorts of control data that could be used to remote control different aspects of the track: from the tempo, to choices about what parts were being played, what sounds were loaded into the samplers, what rhythmic stress the drums were playing, and so on.
Alex McLean and Nick Collins are legends of the Live Coding scene, a geekfest of performance virtuosity in which music is made by writing the code that makes the music live on stage. It would be no surprise if Live Coding does not make it to Top of the Pops any time soon, if there is never to be a Steve Vai of the Live Coding world. I’m not even sure if I’m that into what comes out.