Merzow-Japanese Noise musician

drunk object in Maxmsp

Drunk takes a random walk. Seems like it deals with the audio input and output of the Maxmsp.

Below is the explain from the help file in Maxmsp.

Drunk takes two optional arguments. The first argument is a range specification, the second is a step size. Drunk does a random walk, constrained between zero and the range (here 128) and step of up to one less than the maximum step size. The maximum step size can be changed via the inlet with an int and int output is produced by inputting a bang in the inlet. The default range is 128, the default current value is 64, and the default step size is 2 (steps of 0 and 1 are allowed). A negative step size is the same as a positive one, except that steps of size 0 are never made.

Noise/music

Noise/Music

The argument always exists since the noise music has been invented by a group of musicians. It is really interested me that noise music is new form of musical art, although lots of people can not accept it. Music has its own definition, but noise is sound that has sound pressure to human.

Cage said, he is not worry about the future of music because there is sound all the time.

I know there is no place extremely quiet. Sound/noise is the natural music without artificial manufacturing.

Audio+visual experiment

iTune visualizer

iTunes visualization is really cool. Press"Ctrl+T" and the come out is just amazing. I am thinking that create a digital visualization to response the noise that people can not accept. The noise is the sound from everywhere, from the surroundings. So that both sound and vision will evoke an aesthetic experience for the audience.

Maybe people will get different feeling with the noise.

Create digital motion

Sound=Music?

What is music? Music is considered as an aesthetic art form that made of sound. Common elements of music are pitch, rhythm and etc. Music is the strictly organized composition and presents the emotion of the musician and artists. Music is always ordered and pleasant to hear. It is considered as an artificial interaction between audiences and sound.

Why not leave music away from the purely scientific definition? As John Cage said that sound is the music itself, everything we do is music. There is no noise, just music.

Actually, we cannot define music as a single and intercultural universal concept. We just expect it as sound through time.

John Cage 4'33"

“In 1948, Cage joined the faculty of Black Mountain College, where he regularly worked on collaborations with Merce Cunningham. Around this time, he visited the anechoic chamber at Harvard University. (An anechoic chamber is a room designed in such a way that the walls, ceiling and floor will absorb all sounds made in the room, rather than bouncing them back as echoes. They are also generally soundproofed.) Cage entered the chamber expecting to hear silence, but as he wrote later, he "heard two sounds, one high and one low. When I described them to the engineer in charge, he informed me that the high one was my nervous system in operation, the low one my blood in circulation." Cage had gone to a place where he expected there to be no sound, yet sound was nevertheless discernible. He stated "until I die there will be sounds. And they will continue following my death. One need not fear about the future of music." The realization as he saw it of the impossibility of silence led to the composition of his most notorious piece, 4′33″, in which the audience sits in the concert hall for 4 minutes and 33 seconds listening to creaking chairs, sneezes and coughs, or whatever other spontaneous sound may arise.”

－John Cage, Wikipedia.com

John Cage about silence

John Cage’s words in the video:” When I hear what we call music, it seems to me that someone is talking. It is talking about his feeling and talking about his ideas of relationships. But when I hear the traffics here when it is 6, 7pm. I don’t have the feeling that anyone is talking. I have the feeling that sound is acting.

And I love the activity of the sound, what it does id getting louder and quieter, and it gets higher and lower, and it gets longer and shorter. It does all the things that I completely satisfy; I don’t need sound to talk to me.

We don’t see much difference between time and space. We don’t know what begins and the other stops. So most of art we think of is being in time, and most art we think of art is being in space. That is called as time art and space art…

Different sound come from different spaces and lasting, producing a sculpture which is sound art and which remains. People expect listening to be more listening…”

“I believe that the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.”—John Cage The Future of Music: Credo (1937)

Reference:

1. John Cage, The Future of Music: Credo (1937) in Silence: Lectures and Writings (1973) by John Cage, Wesleyan University Press

signal/sound/noise/music

Noise project

John Cage

Japanese noise music

noise/signal

NOiSE/MUSiC

John Cage: Experimental Music

John Cage broke the mold on what was considered to be music. His compositions using non-musical items led many to argue that his idea of music was not music at all.

Japanese noise project

JAPANESE NOISE PROJECT

"Noise" music in Japan is one of the most experimental and boundry-pushing efforts in modern music since Jazz. Despite growing to mammoth proportions in Japan and gaining a cult following internationally, the Japanese brand of Noise music remains misunderstood and unexplored. This film is working to give full resonance to the Japanese noise scene while shining a light on its history, personalities and community. Through exclusive interviews and filming at significant locales, this film explores in depth, the older and newer phases of Japanese "Noise" and Avant Garde and the path to becoming a vibrant international export despite remaining somewhat shrouded domestically. It will show the global influences which Japanese "Noise" has absorbed and show the ideas and power it has reverberated back.

"Noise" as a musical genre is as hard to define and categorize as "Jazz" once was (and still is)- it encompasses a wide range of experimental music, sound art and music concreté. However, suppose to a musician you’d classify their music as "noise" and it is safe to doubt the response would be more congenial than the question. Conscious of that, it is a working term we’d like to play with.

Noise is pure sound and pure energy- in a twilight zone between art and sound and consciousness and no one inhabits and enthuses these qualities with as much imagination and ferocity as the Japanese. The music is as diverse as the people who make it and yet, very few have ever heard these artists speak.

PROJECT1 requirements

PROPOSAL | 4 weeks | Assessment: 40%

Building your proposal will require:

• Selecting your topic
• Researching your topic
• Developing a research question
• Outlining methods for developing your project
• Creating a timeline with milestones
Goals
The goal of this project is to narrow the scope of initial brainstorming and delineate the mode of production. The path for the successful conclusion of the project should be well established in the hand-in. It is important that your proposal clearly outlines the concept of your project, links to important precedents, and presents an indication for the aesthetics for the forthcoming work. Depending on the nature of your topic, it may be necessary to have an animatic (for animation), prototype (for interactive work), model, storyboard, and/or flowchart.

possible production methods:

2D: print media, web design and linear video production with or without some simple form of interactivity

3D: game design, 3D animation, or any design approach that is thought of as immersive or virtual

4D: tangible (physical) computing, wearable computing, and any other design approach that uses technology, but is not focused on a keyboard/mouse/screen means of engagement

Project Topics:

Cyber-Therianthropy. Therianthropy refers to various myth and folklore where beings are part human and part animal. This category requires designs that utilize technology to assist animals, either individually, or pan-species.

The Somatic Web. The WWW, with all of its social networking tools, eCommerce portals, and troves of information, performs as a mental space. We easily forget the materiality involved: energy used to support these virtual systems, the proximal and distal effects WWW transactions relay to our personal bodies and personal relationships. Projects addressing this theme should deliver a somatic Web presence. In other words, projects addressing The Somatic Web theme should focus on the physical.

Mitigating Adversaries. The recent Uighurs/Han conflicts in Western China, the mongoose and the cobra, signal and noise, life and entropy: our universe is full of opposing forces. Create a design that interpolates and mollifies the tension between two chosen adversaries - human, chemical, galactic, moral, philosophical or of any other dimension you chose.

Objectives
1. Topic selection: Choose your topic from the above areas.
2. Research: Inform your concept by looking at literature and other design precedents.
3. Proposal: Create visual (and possibly interactive) documentation to support your initial findings.
4. Presentation: Present your proposal to the class for feedback and critique.

Hand-ins
Blogging: Each part of this project must be uploaded to your blog using clear and concise entry headings. Your blog will serve more than just an organization and presentation tool for your project; it will act as an access portal for grading – use it to fully describe your research and production processes for all phases of your project. Think of your blog as a ‘hand-in’ basket: If it isn’t on your blog, it won’t be graded.
Media: Make sure you include your surname in all file names for hand in. e.g. easterly_doug_412P1.mov (use your own name)
• Still images: 3 images of your project at 300 dpi; at least 4000 pixels, but no more than 8,000 pixels in width and height.
• Video: up to 30 seconds of video documentation, 720×576 aspect ratio, stereo sound, .mov file format saved with H.264 codec. Do not use sampled musical soundtracks unless approved beforehand.
• Text: Write a 300-400 word description of your project saved as a .doc or .rtf file.
Evaluations are based on the timely completion, mastery and creative approach for all aspects of the above objectives and hand-ins.

Final paper!!!!!!

T2 DMDN 412: Emergent Aesthetics

Coordinator: Doug Easterly

Exploring complex contemporary issues in the field of digital media theory and practice, Emergent Aesthetics and Hybrid Methods (events/ installations/ objects) is structured through a matrix Final Year Project. A series of lectures of theoretical readings, workshops and a colloquium of invited guest speakers will cover a range of fields including:

• interaction design
• experience design
• tangible media
• ubiquitous computing
• experimental gaming
• expanded cinema

that represent the development of the Bachelor of Design. Through each student's own independent studio practice and vision, students will be expected to create

• their own briefs
• exhibit formal projects
• construct a 'show reel' documentary form

to complete the degree. Invited critics will moderate the eligibility for graduation.