When you’re recording out in the real world, one of the hardest things to do is to keep your mics pointed the right direction to get stereo sound while not introducing noise through the otherwise-imperceptible bumps. What you want is a pair of ears that you can precisely and improvisationally place, either while holding it comfortably for hours or on a tripod.
This is the Phaser, which I designed for this function.
My nibling seems to carry some of the George Clinton spirit in them. They love talking about space adventures into a voice box, creating planets and casts of alien characters. So I’m building them a digital voice box.
For about six months I’ve been working with the plugdata graphical audio programming project to help develop the language for not only my personal sonic experimentation, but also to come to understand it well enough that I can use it as a tool for all sorts of digital experimentation and exploration.
This video is a … do we call this kind of thing an “instrument”? It has its own opinions about what it should sound like from moment to moment… and yet, you can collaborate with it. It’s not intelligent, but it makes patterns that you can somehow understand.
I recently received a truly resplendent gift from my friend Kate: an ARP 2600 synthesizer, owned by their dad, who died recently. It’s in OK shape, but parts of it don’t work, and I’m doing some research to figure out when it was built and what has happened to it since!
And I’m going to get it back in working condition so I can make R2-D2 say whatever I want.
I think that nonlinearity is critical in the study and practice of art; figuring out the relationship of one thing to another without falling on the prejudice of zero-sum duality. You can see that in Shock: and in The BLOODY-HANDED NAME of BRONZE as well as my music.