Warning: mysql_get_server_info(): Access denied for user 'indiamee'@'localhost' (using password: NO) in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872

Warning: mysql_get_server_info(): A link to the server could not be established in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872
Indian E-music – The right mix of Indian Vibes… » 2017 » October » 18


Mackie’s New Big Knob Series of Monitor Controllers Now Shipping

Delivered... Emusician RSS Feed | Scene | Wed 18 Oct 2017 11:17 pm
Woodinville, WA - October 2017 — The next generation of Mackie's highly acclaimed Big Knob monitor controllers is now shipping worldwide. The newly expanded Big Knob series includes three models -Big..

S-Modular is the latest modular synth for iOS, but the first semi-modular

Delivered... Ashley Elsdon | Scene | Wed 18 Oct 2017 9:30 pm

Let’s face it, modular is very popular and it has been for quite a while now. In the mobile world we’ve had a few modular synths and some really spectacular ones in that group. Now we add a new app to the list. S-Modular is a semi modular synthesizer for your iPad. I’m not sure that I’ve seen an app that quite described itself that way before. S-Modular comes from the developer behind PRFORM, WubSynth and Synth Automata, although they have many more in their portfolio.

According to the developer:

S-Modular has been designed to have everything on one screen to make patching quick and easy. Drag from one jack port to another to make a connection, tap a plugged port to change the wires color instantly.

S-Modular has a unique and vintage sound quality, reminiscent of synthesizers from the 70s, warm and rich in character.

Here’s a quick view of the app’s features

  • Audiobus 3
  • IAA (Inter-App Audio)
  • 2x oscillators
  • 24db/oct ladder filter
  • Resonant hi-pass and low-pass filter
  • 2x LFO
  • 4 step cv sequencer
  • 4 track Mixer
  • Audio and cv spliter
  • 2x AHR envelope generators
  • Delay

I have to say that it looks really interesting and I’m quite tempted to go take a look and see what it’s like.

S-Modular costs just $3.99 on the app store now:

And finally here’s what it sounds like …

The post S-Modular is the latest modular synth for iOS, but the first semi-modular appeared first on CDM Create Digital Music.

Court Rejects Appeal of FCC Decision Not to Mandate Multilingual EAS Alerts – Highlighting Requirement that Broadcasters Report To Their SECC in Early November About Emergency Information to Non-English Speakers

Delivered... David Oxenford | Scene | Wed 18 Oct 2017 5:08 pm

The United States Court of Appeals yesterday issued an order denied the appeal of an FCC order that rejected a requirement that multilingual EAS alerts be provided in every market.  We wrote about the FCC’s proceeding here and here. The Court upheld the FCC’s decision as reasonable, finding that the Commission did not have enough evidence to determine how such alerts should be implemented on a nationwide basis, and noting that the FCC was still reviewing whether to adopt requirements that broadcasters provide alerts in languages other than English in the future. That decision should serve as a reminder that in the FCC order rejecting the call to mandate multilingual EAS alerts in all markets, the Commission did call for broadcasters to supply more information – information that is due in early November.

In 2016, when the FCC rejected the imposition of multilingual EAS alerts, they imposed an obligation on broadcast stations to report to their State Emergency Coordinating Committees (“SECC”) information about what the stations are doing to implement multilingual EAS – including a description of any plans they have to implement such alerts in the future, and whether or not there are significant populations of non-English speaking groups in their communities that would need such alerts. We wrote about that obligation here. The one year deadline would seem to be November 3, one year after the FCC’s order was published in the Federal Register (though an FCC small-business compliance guide summarizing the obligations, released in August, available here, states on the top of page 3 that the deadline is November 6).  In any event, given the Court’s decision relying on the FCC gathering information about the provision of emergency alerts to non-English speaking communities, it is important that stations provide their SECCs by early November.  The FCC’s Small Business Compliance Guide is a good summary of what is required.

Yesterday’s Court decision was a 2-1 decision, with a dissenting judge finding that the FCC already had asked for information about multilingual EAS alerts several times, and did not get it. The dissenting judge thought that the Court should have found that the FCC was unreasonable in once again saying that they were looking for more information with no guarantee that they would receive that information. This dissent highlights the importance that seems to be placed on the upcoming submission of this information to state EAS committees.

Broadcasters need to find out who heads their SECC, and get them the information about multilingual EAS alerts in the next few weeks, so that the SECCs can review their state EAS plans and, where necessary, make changes by next May based on the information in the November reporting, so that broadcasters can better serve non-English speaking populations with emergency alerts.

Let’s talk craft and vision in live audiovisual performance, media art

Delivered... Peter Kirn | Labels,Scene | Wed 18 Oct 2017 2:23 pm

We’re gathering with top digital media artists this week – and you can tune in. Here’s a preview of their work, on the eve of Lunchmeat Festival, Prague.

Transmedia work and live visual performance exist at sometimes awkward intersections, caught between economies of the art world and music industry, between academia and festivals. They mix techniques and histories that aren’t always entirely compatible – or at least that can be demanding in combination. But the fields of media art and live visuals also represent areas of tremendous potential for innovation – where artists can explore immersive media, saturate senses, and apply buzzword-friendly technologies from AI to VR in experimental, surprising ways.

Our goal: bring together some artists for some deep discussion. And we have a great venue in which to do it. Prague’s Lunchmeat Festival has exploded on the international scene. Even sandwiched against Unsound Festival in Krakow and ADE in Amsterdam, it’s started to earn attention and big lineups, thanks to the intrepid work of an underground Czech collective. (The rest of the year, the Lunchmeat crew can usually be found doing installations and live visual club work of their own.)

Heck, even the fact that I’m stumbling over how to word this says something about the hybrid forms we’re describing, from live cinema to machine learning-infused art.

Since most of you won’t be in Prague this week, we’ll livestream and archive those conversations for the whole world.

Follow the event on Facebook for the schedule and add CDM to your Facebook likes to get a notification when our video starts, and stay tuned to CDM for the latest updates.

To whet your appetite (hopefully), here’s a look at the cast of characters involved:

Katerina Blahutova [DVDJ NNS]

Let’s start for a change with the home Prague team. Katerina is a great example of a new generation of artists coming from outside conventional pathways as far as discipline. She graduated in architecture and urbanism, then shifted that interest (consciously or otherwise) to transforming whole club and performance environments. She’s been a VJ and curator with Lunchmeat, designed releases and videos for Genot Centre (as well as graphic design for bands), then went on to co-found LOLLAB collective and tour with MIDI LIDI.

Don’t miss her poppy, saturated, post-Internet surrealism – hyperreality with concoctions of slime and object, opaque luminosities and lushly-colored, fragmented textures. (I can rip off this bit of the program; I wrote it originally!)

Oh yeah, and she made this nice teaser loop for this week’s festivities:

teaser loop from upcoming vj set for @malumzkole at @lunchmeat_cz #dvdjnns #wip

A post shared by Katla / DVDJ NNS (@katlanns) on

Ignazio Mortellaro [Stroboscopic Artefacts, Roots in Heaven]

Turn that saturation knob all the way down again, and step into the world of Stroboscopic Artefacts. Ignazio is the visual imagination behind all of that label’s distinctive look, from album design (as beautifully exhibited) to videos. He’ll be talking to us about that ongoing collaboration.

In addition, Ignazio is doing live visuals for a fresh project. Allow me to quote myself:

Roots in Heaven, a label owner and accomplished solo artist hidden behind a mesh mask and feathers, joins visualist Ignazio Mortellaro to present a new live audiovisual work. This comes on the heals of this year’s Roots in Heaven debut record “Petites Madeleines” (a Proust reference), out on K7! offshoot Zehnin. The result is a journey into “concentrated sensory impression” in sound, light, and sensation.

Gregory Eden [Clark]

One of the goals Lunchmeat’s curators and I discussed was elevating the visibility of people working on visual materials. But unlike the ‘front man’/’front woman’ role of a lot of the music artists, the position some of these people fill goes beyond just sole artist to broader management and production. Maybe that’s even more reason to pay attention to who they are and how they work.

Greg Eden, who’s at Lunchmeat with Clark, is a great example. With a university physics degree, he went on to Warp, where he developed Clark and Boards of Canada. He’s now full-time managing Clark, and in addition to that … uh, full time job … manages Nathan Fake (with visuals by Flat-e) and Gajek and Finn McNicholas.

Visuals are often synonymous with just “something on a projector,” live cinema-style. But Clark’s show is full-on stage show. For the stage adaptation of Death Peak, the artist works with choreographer Melanie Lane, dancers Kiani Del Valle and Sophia Ndaba, and lights from London’s Flat-E. Think of it as rave theater. That makes Greg’s role doubly interesting, as someone has to pull all of this together:

Novi_sad [with Ryoichi Kurokawa, SIRENS]

The collaboration between Novi_sad and Ryoichi Kurokawa is one of the more important ones of the moment, its nervous, quivering economic data visualization a fitting expression of our anxious zeitgeist. Here’s a glimpse of that work:

Ryoichi Kurokawa and Novi_sad have worked together to produce an audiovisual show in five etudes that produces a dramaturgy of data, weaving the numbers of the economic downturn into poignant, emotional narrative. Data and sound quiver and dematerialize in eerie, mournful tableaus, re-imagining the sound works of Richard Chartier, CM von Hausswolff, Jacob Kirkegaard, Helge Sten, and Rebecca Foon. Novi_sad is self-taught composer Thanasis Kaproulias, himself coming not only from the nation that has borne the brunt of Europe’s crisis, but holding a degree in economics. As a perfect foil to his sonic landscapes, Japan’s Ryoichi Kurokawa has made a name in expressive, exposed digital minimalism.

Marcel Weber (MFO) [Ben Frost] / Theresa Baumgartner [Jlin]

Ben Frost is already interesting from a collaborative standpoint, having worked with media like dance (Chunky Move, Wayne McGregor). The collaboration with MFO brings him together with one of Europe’s leading visual practitioners; Marcel will join us to talk about that but hopefully about his work for the likes of Berlin Atonal Festival, as well.

MFO has also designed the visuals for the sensational Jlin, but Theresa Baumgartner is touring with it – as well as working on production for Boiler Room. So, we have Theresa joining us from something of the in-the-trenches production perspective, as well.

Gene Kogan

VJing and live cinema are rooted in conventional compositing and processing. Even when they’re digital, we’re talking techniques mostly developed decades ago.

For something further afield, Gene Kogan will take us on a journey into deep generative work, machine learning and the new aesthetics that become possible with it. As AI begins to infuse itself with digital media, artists are indeed grappling with its potential. Gene is offering talks and workshops both here at Lunchmeat and at Ableton Loop next month, so now is a great time to check in with him. A bit about him:

Gene Kogan is an artist and a programmer who is interested in generative systems, artificial intelligence, and software for creativity and self-expression. He is a collaborator within numerous open-source software projects, and leads workshops and demonstrations on topics at the intersection of code and art. Gene initiated and contributes to ml4a, a free book about machine learning for artists, activists, and citizen scientists. He regularly publishes video lectures, writings, and tutorials to facilitate a greater public understanding of the topic.

I’ll be reviewing the resources he has for artists soon, too, so do stay tuned.

Gabriela Prochazka

Also coming from Prague, Gabriela has been guiding the INPUT program for Lunchmeat this fall, as well as being one of my collaborators (our installation is part of the exhibition this week). Its contents are mysterious so far, but a live AV work with Gabriela and Dné is also on tap.

See you in Prague or on the Internet, everyone!

Follow the event on Facebook for the schedule and add CDM to your Facebook likes to get a notification when our video starts, and stay tuned to CDM for the latest updates.

http://lunchmeatfestival.cz/2017/

The post Let’s talk craft and vision in live audiovisual performance, media art appeared first on CDM Create Digital Music.

The Politics of Folk Dances

Delivered... Johanna Hilari | Scene | Wed 18 Oct 2017 6:00 am

«Somos Sur» by Ana Tijoux, featuring Shadia Mansour, is an anti-colonialist statement of autonomy. To underline this, the video clip re-contextualizes two significant folk dances, which historically are linked to both socio-political identification and struggle. From the Norient book Seismographic Sounds (see and order here).

Film still from Ana Tijoux & Shadia Mansour (Music) and Ana Tijoux (Video): «Somos Sur» (Chile/Great Britain 2014)

Tinku is a South American folk dance, which is an adaptation of an Andean ritual from the Bolivian region of Northern Potosí. The Quechua word «tinku» means encounter, and its ritualistic practice is obviously older than Spanish colonization. Accompanied by festive music and dance, one aim of this ritual is the corporal fight between members of different communities («ayllus»). Any blood shed during these violent hand-to-hand duels is considered a sacrifice for mother earth («Pachamama»). When translated from ritual to folk dance, the choreography became frontal directed. It operates with offensive and provocative dance steps, maintaining a cheerful and festive character.

Originated in a Peasant Social Practice

The Arabic «dabkeh» is shown mostly during Shadia Mansour’s part in the video. This folk dance is practiced largely in Palestine, Lebanon, Syria, Iraq and Jordan and is originally part of joyous social encounters, such as weddings. Male and female participants dance together in a round or a line holding hands or shoulders. As a synchronous performing whole, the dancers combine different jumping, stamping and kicking sequences. More specifically, the dabkeh also plays a major role in the construction of a national and political Palestinian identity, since it is declared a national dance. It therefore developed from a peasant social practice to a performative collective identification.

Film still from Ana Tijoux & Shadia Mansour (Music) and Ana Tijoux (Video): «Somos Sur» (Chile/Great Britain 2014)

Towards a Coherent Community of the Global South?

«Somos Sur» represents Arabic and South American communities identifying themselves through cultural practices of pre-colonial origin. The two folk dances tinku and dabkeh aim to highlight the insubordinate character of a heterogeneous but nonetheless coherent community of the global South. Social cohesiveness is staged through a joyful and combative manner. While Ana Tijoux and Shadia Mansour appeal to autonomy in their lyrics, a cheerful tinku and dabkeh dancing crowd visualizes the fighting spirit of their words.

Watching the video clip «Somos Sur,» the impression of a joyful and festive but also very confident and determined southern entity is given. However, is this video a pure and generic demand towards western societies for a more autonomous South? Does it more essentially voice the desire for the construction of a unitary political identity of the South? And if so, how does this reflect on the cultural heterogeneity of southern societies?

This text was published first in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Ariel Altamirano V.: «The CNN of the South»
> Ariel Altamirano V.: «Five Video Clips from Chile»

TunePlus Wordpress Theme