I walked four times around the same place. Four loops. I was wearing binaural microphones. Even at the same place, the sound is never the same. But it is often familiar.

I geologged as I walked. The geologging and the recording were started simultaneously.

View Four Loops – 20090930 in a larger map

Special thanks to Kelly Snook from NASA for loan of the equipment.

Jessica’s talk had some very interesting AV components. At one point, she played a great series of audio samples with accompanying waveplots. I was a little underwhelmed by her engagement with the technical side of her work—maybe she was nervous, but it seemed at times as though she was deliberately trying to sound “technical,” something that makes me immediately suspicious.

Much of Jessica’s talk was about the change in technology from the 1960′s to the present: transistors are smaller, memory is bigger, and the like. It didn’t relate much to anything else, except that it was an interest of hers, which I suppose we did all show up to listen to…at a couple points she used the strange example of cars to compare to the progress that computers have made: cars still do the same thing, cost about the same, run on gas, etc. More than a few people in the (mostly MIT-student) audience looked as confused as I that we were making this comparison.

I’m aware that I’m not saying much that’s positive about Jessica, even though I admire what she’s doing and how she got here. I’m a little puzzled myself as to why I’m dwelling on the negative aspects, and I think the distinction is dawning on me: Jessica Rylan is a good maker of things, and is firmly interested in the dialog surrounding her work. She has a rich relationship to the equipment she uses and the sound she makes (her website is very well-spoken), and is admirably open and involved in helping others have the same experience. Of course, the other side of all of this is that I really don’t care for her actual music—it appears as though she has taken to describing herself as a “noise band” because of the current cachet surrounding this genre, since her music rarely shares the qualities of other groups in that genre.

Altogether, the presentation didn’t go very well. Ms. Rylan’s prepared notes weren’t thorough or focused, and her remarks didn’t really get at the ideas behind her process and her music. Perhaps the entire audience would have been better served if he had made a clear decision either to discuss her artistic intent and motivation or to delve into the technical aspects of her hardware fabrication and setup, rather than paying lip-service to both. I’ve seen from this talk how someone who is otherwise in control of her direction and practice can make the mistake of showing work that is either poorly contextualized or, worse, attempting to capitalize on an audience’s lack of understanding rather than add to such an understanding.

I’ve held off on releasing this post for several months for a couple of reasons, and I’m glad to revisit it, especially since the project I’m working on now has put me in much the same situation: several times in the recent past, I’ve been compelled to “tech it up” when discussing my project with sponsors, press, or visitors. It’s amazing the kind of hyperbolic bullshit one can concoct when watching a sponsor’s interest in your professor’s opera flag before your eyes.

However, these experiences have only strengthened my resolve to be more open when discussing my own work, which hopefully will be soon (Sponsor Week is at the end of October, and I expect to have one or two projects of my own ready to show by then).

My second run of T-shirts went very well – I will be posting photos soon to flickr. The design was an AKA logo called Twin Eurofighters, and most of the shirts from the first run of 9 have been given away. Let me know if you’d like one, and I’m sure we can work something out. Screenprinting is great fun but a bit costly—so far I’m about $300 in the hole from supplies, the sink I had to buy and install, and shirts to print on. Clearly, this is a pursuit that must eventually be monetized.

I’m preparing a very small (but possibly noteworthy) presentation for the Dorkbot “Presidents Day” showing; it is called PissPoll and I’ll have more details soon. You may or may not like this idea. I am concerned that you might not like it.

I was in Harlem from this past Thursday to Monday working on Thenji’s film, which is coming along well. We were supposed to have finished by Monday but the deadline was extended and we’re finishing up next weekend. I hope. My most pressing concern is that I will finish the score and not have a chance to mix it on proper monitors, which neither of us own. Also, the diagetic mix is not yet final, which may affect some scoring stuff. It certainly will be exciting to see it screened, though! (no idea when that may occur).

Harlo was down in New York over the weekend as well; she was filming an interview with DJ/rupture for the premiere episode of share.tv, which airs on Feb 17th on CCTV. I haven’t seen the footage yet, but I’m sure it will come out very well. We went to Raggs of Harlem, a fine old bar, and had a nice evening talking with drunken locals who won money on the Superbowl.

The application
The application is in, and all necessary evaluators have responded. Hopefully, my application is as good as anyone else’s at this point. I am satisfied with my submission, and glad that it is out of my hands.

The Cameroon project
Delightfully, I met Andrew Sempere again recently and he has offered some insight on the chip problem I am having—the one I’m working with is proving difficult to debug. I’ve been working with Harlo on using this power source and looking at other chips that more easily facilitate pitchshifting. I’m considering just gutting this helmet and using it for a cheap pitchshift effect (I assume it can be hacked to change pitches).

The Syncwalk Digital Composition Interface
I’m chomping at the bit to get to the hardware/software part of this but I have committed to do the Cameroon project first. It’s nice, though, to continue to try to refine the operational flow as a background task while walking. I have a pretty complete model in mind now, and it can be implemented in several stages, which will help focus development work along the way.

South Africa Documentary
I’m heading down to New York to finalize the scored parts of Thenji Nkosi’s documentary at the end of the month—there’s also a new song called “Primary Loyalty” that you can hear here:
Primary Loyalty

Screen printing
Harlo and started screen printing this past weekend and had some modest successes.

A Bell
I received a very lovely bell for Christmas and it makes a wonderful sound. I will link to it soon.

The music itself isn’t the most awesome thing in the world, but I certainly am glad that proof of this exists…I really need something from this to put in my portfolio! As I try to write more thoughtfully about this project, it becomes clearer how much this served as an introduction to the world of physical computing and, in a sense, the process involved in working with emerging technology.

The carpet itself was very cool but a bit buggy. Factors like heat and prior use would seriously impact the consistency of the output, and it led to some frustrating but now-familiar debugging issues. Other things, like Teresa’s imminent pregnancy and my own unfamiliarity with the medium made this a frustrating project at the time. Thankfully, Tim Ledlie was around to handle the software side of the debugging and help me retain a sense of perspective.

We only had a week from start to finish to make our performances, and the title of mine (DON’T WORRY ABOUT ME, I’LL BE FINE) comes from the sampleset I was using at the time. Snips from Disney’s version of “Peter and the Wolf” and R+H’s “South Pacific” combined with pretty abstract (and, upon later reflection, boring) drum and toneloops to make an endless, atmospheric performance that did not go very many places.

I think the best thing about this project was finally getting to just play the damn carpet. I spent many, many hypercaffeinated hours before that night pressing on the thing and listening for trouble, and even watching it reminds me of what fun it was to make sounds with something so malleable and strange.

Nowdays I’m working on the following: