Digital technology has transformed the listening experience. But there’s little in the way of physical artifacts of that act, and a diminished sense of humanized relationships to an individual being at the other end. From modern radio to Internet-streamed playlists, our listening world is DJed by automated robots in streams that flow through generic, mass-market speakers. The object and the content lack the design intention that imbued, for instance, the gorgeous radio sets of the early 20th Century and the personalities that narrated the programming.

Armed with a lasercutter, designer Matt Brown has a novel concept for how to redesign the act of listening. From the creator’s blog Real Tomato:

For this system, you would have a speaker with an rfid reader, and laser-cut paper radios with rfid chips inside. The radios themselves are designed by musicians, charities, brands, and designers. When the paper radio is placed over the speaker it changes the radio station to what the artist has chosen. Other noises and interactions can be programmed in too. Alec Baldwin’s radio for example could politely ask everyone to turn their lights off from time to time. People could have the paper radios around their house in different rooms. The supremes radio might be a better living room station. This system tries to add a little bit of fun to internet radio, and give people a connection with the artists they choose. The radios themselves would hopefully be cheap and collectible little sculptures, each one accessing unique stations.

The artist, D.A.R.Y.L., is a recent alumnus of Sweden’s Umea institute of Design.

I think we need a new, specialized Creative Commons license that describes “Great Concepts I Probably Won’t Get to Developer Further so Please Go Run with It With Some Credit to Me.” (Okay, maybe with a shorter name.) I love the possibilities this project suggests, if for no other reason than the beautiful sculptures created with the lasercutter.

The works themselves are printed out a single sheet and assembled. THat demonstrates some of the power lasercutters can provide, and the promise they hold for localized production of objects. (Use eco-friendly recycled paper and inks, and this is a consumer product that doesn’t deliver a dropkick to the planet.)

I just interviewed Owen Pallett aka Final Fantasy, and he told me saw a survey that showed some 80% of music journalists listen through music via the built-in speakers in their laptops. That would be terrifying if true – I’m not certain that it is – but regardless, I think there is a clear need to rethink listening processes and objects.

Check out the post and the blog for more inspiring images. Via the wonderful Saturn Never Sleeps blog by Rucyl Mills and King Britt.

Greensboro, NC-based art music band Invisible are indiscriminate about technology – in a good way. Plastic cups, keyboards, typewriters, machines controlled by robotics, if it’s in the trash or at a thrift store, it has a place in the band. Sequences are executed in physical, radial player instruments, without a controlling computer anywhere in site. As voicemail tapes get sampled and typewriters tap lines of absurdist lyrics as each typed letter plays a piano note, something magical happens. Perhaps it’s that, novelty aside, somehow these sound-making objects come together for a reason – the machines assemble in the way the band does. And then a chair is a marimba.

The Rhythm 1001 takes “tangible” to a whole new level — everything sequenced is mechanical, triggering found objects. The video above features the sequencer at Charlottesville, Virginia’s Second Street Gallery. (Gents, if you ever visit Brooklyn…) Thanks to Evan Hill for the tip.

Is it “Digital Music”? I think it is very deeply so, perhaps because the objects get treated as discrete musical events (read: percussion).

Incidentally, guys, I agree with a lot of things you’re saying about the use of computers for music, but HAL here tell me he won’t let me fr

Transmission ends.

slotMusic.org | Press Release

See also GearLog, which notes that SanDisk previously did a free promotional SD of music

Wired News asks, “but why?”, to which I’d answer – it might well be easier to load music onto a phone in parts of the world other than the US, you might more easily distribute videos, and artists looking to increase the value of their CDs could innovate on revitalizing album art.

First, let’s start with the players, as that’s basically the big news here.

Hardware: SanDisk, the folks who invented flash storage and make more of it than anyone else

Labels: A huge set of the majors – EMI Music (which includes the likes of Angel, Capitol, Blue Note, and Astrelwerks), Sony BMG, Warner Music (including Atlantic, Nonesuch, Rhino), and the world’s biggest music company, Universal Music Group

Retailers: Best Buy, Wal-Mart, and other US retailers, with Europe to follow – keeping in mind, Wal-Mart remains the biggest brick-and-mortar seller in the US

When it’s happening: Exact date TBA, but officially by the holidays

Which artists: Most likely, lots of them. An EMI representative who spoke with CDM confirmed two chart-topping examples: Coldplay’s Viva la Vida and Kate Perry’s One of the Boys.

Now, you’d be right to be skeptical of how this format will be received, but it’s certainly a big distribution play with that arrangement of labels and retailers.

The hardware in question is basically SanDisk’s tiny removable flash memory format microSD, rebranded and repackaged as slotMusic. (A representative of SanDisk tells us there are some other subtle technological differences; more on that soon.) The important thing about this is that the hardware you buy has no DRM on it at all; it’s just standard flash memory you can plug into phones and mobile devices, or, via a tiny included USB sleeve, a computer.

SanDisk’s format specifies DRM-free, 320 kpbs MP3s as the music format. Gruvi, SanDisk’s previous attempt at turning their lucrative flash memory business into a music format was a miserable failure, but by contrast, it was locked with DRM features and, excepting a big release by the Rolling Stones, lacked support from labels and retailers. (I see Gruvi has even been largely erased from SanDisk’s website.)

What’s the Business Angle?

My colleague Eoin Rossney sent me this story under a headline on Ireland’s SiliconRepublic.com that screams “SanDisk and big labels in tech deal that could save the music business.” That’s obviously hyperbolic, but it’s also wrong. To me, it seems to be about three things:

1. It’s an experiment. Music labels want their music everywhere they can get it – as, frankly, they should; that’s their job.

2. It’s a massive end run around iTunes. Remember, part of what helped prompt some of the more stubborn labels to remove DRM was the realization that their DRM deal with Apple had placed Apple in the position of dominating download sales for the device most people owned.

3. Most phones aren’t iPhones. Labels will continue to do business with iTunes because iTunes is selling their music – but they’d be nuts to turn their back on the rest of the mobile phone market, which is far bigger. The press release notes 1.2 billion phones are due to ship this year, a number Apple can’t approach even with all their iPods and iPhones put together. In fact, it’s hard to wonder if, on a global scale, iPod won’t slip into the shadows with the number of increasingly multimedia-savvy phones out there.

Despite the hip factor of the iPhone, Apple has a tiny slice of an exploding global market for mobile devices. Instead of using a cable and a fancy vendor-specific store, you can just give people music they can pop directly into their phone, which – from vendors other than Apple – typically has a microSD slot. And as I noted last week, Apple’s alternative is a store/software sync arrangement that they control exclusively.

Music Everywhere, and Back on Objects

I’m not sure slotSD will be the “new CD,” or that it even needs to be. I think it’s better to see this as one of a variety of options you’ll see for music distribution. And, of course, even slotSD is best understood in the context of a growing amount of music showing up on flash memory, because it combines the flexibility of digital formats with physical objects.

“This is one of many initiatives to make our music available in as many different forms as possible,” Jeanne Meyer of EMI Music tells CDM. “Our big MO is to experiment with as many as possible.”

EMI, for one, has a record of trying just this sort of thing. There was a re-release of Radiohead’s studio albums on memory stick, though that seemed to cause some controversy. EMI has even toyed with big retail, with a release of UK superstar Robbie Williams at England’s own big box, The Carphone Warehouse. (It’d be interesting to know what sales were like.)

Of course, you can easily download files. Physical media is all about the object. A SanDisk representative confirms that labels are planning physical liner notes and album art in the package. You can also expect the memory to be loaded with digital extras, in the form of artwork, videos, and the like. Given the middling quality of online video, and the fact that bandwidth costs aren’t going down at the rate many had hoped, I think that could mean higher quality and more access to video via physical formats than online.

Indie Artists and Digital Contents

So, I imagine for many of you not on Sony BMG, and listening to many artists who aren’t, this won’t be terribly earth-shaking news. But I do know SanDisk reassures CDM that they have worked with indies in the past on various promotional projects.

What can artists do with a format like this? Well, they can load it up with goodies that might actually be otherwise rack up bandwidth costs. One excellent example of an artist experimenting with this format is Sound Tribe Sector 9. They sent their latest release, Peaceblaster, to me. It’s loaded up not only with the files for the album, but extra images, podcasts, a screensaver, and videos. We saw these kinds of extras squeezed onto CDs at one point via formats like Enhanced CD, but there’s no question it’s more convenient on USB stick.

I think the big challenge will be how to make these contents interesting and unique, and even with bandwidth costs comparing unfavorably against increasingly high-definition media, how to compete with online alternatives.

Somehow, I imagine the slotMusic format winding up being a plain-vanilla blister pack that, stuck in a dull music department in Best Buy, just confuses consumers. I’m happy to be proven wrong there. But there is, in the meantime, plenty of room for independent artists and labels to innovate with short-run releases and ideas for what to pack inside the digital media that no one has thought of yet. And while majors have earned the skepticism of consumers and artists alike, I wouldn’t be surprised to see majors being more adventurous – especially once they discover that, in addition to the perils digital media pose, there could be a significant profit payoff for those experiments.

Actually, forget everything I’ve said in this entire article, and let me sum it up in one line:

If physical distribution brings art back to album releases, it’s a good thing, and it’ll work.

The generation of music lovers staring into album art wasn’t wrong.

Today’s reflections on the importance of album art:

1. Album art can be beautiful, whatever the recording medium. It can reflect great design, and extend the expression of the album itself (well, and it helps if the album is great). Justin and Colin have created the site Hardformat to celebrate design on everything from tapes and records to new releases. They have a gorgeous gallery of stuff, pictured above. I like what they have to say on their about page:

It seems like everybody’s talking about the end of physical music media. Who knows whether they’re right or not, but Hard Format is a little place we’ve set up to celebrate our love of brilliant music-related design. That means we’re going to focus on records, CDs, cassettes and their like. However, Hard Format isn’t intended to become a dusty museum devoted exclusively to past glories, though there’ll certainly be some of that, we also want to highlight the brilliant new design work being produced right now.

2. Physical objects could be a powerful force in the digital age. Digital downloads are wonderful. But there’s a coming renaissance in physical objects, premium album releases, and oddities. I’ve been talking with people about crazy ideas like DIY Blu-Ray discs or building custom MP3 player kits loaded with music. In the throw-away age of culture, it’s a chance to care about what an object is, who made it, how it got to you, and what it means in your life. And it’s a chance not just to bring back the goodness of the LP’s cover as artistic canvas, but to go beyond that to new expressive forms. Nostalgia is fine; making new things is better. Make the change you want to see. (Apologies to Ghandi.)

3. I really wish the album art on my digital downloads weren’t so $#(*& screwed up. I rip music from CDs, I download through promotions, I use eMusic, I buy from medium to obscure digital stores and digital labels and direct from the artist, and yes, very, very rarely from iTunes. Somehow, about half wind up without embedded album covers, and my iPod touch insists on syncing with iTunes. Has anyone found a good workflow for properly cleaning up your album tags, filling in the missing covers successfully, and syncing it to devices?

Comments welcome on my syncing woes. (Yes, even Winamp and Media Monkey aren’t able to clean it all up, though I do use the latter for clean-up.)

But in the meantime:

Hard Format: Reaching for the Sublime in Music Design

And for more album art collections, see their inspiration page

Or from vintage CDM and the opposite end of the spectrum, Terrible Album Covers, Fugly Bands

What could a pocket-sized computer be? It could be a new kind of album extra (yawn), a new kind of generative musical format that samples and responds to the world around it (whoo). It could be a more effective controller (fun), or an Indian drone (really). The Apple iPod touch / iPhone, as always, brings both wonder (potential as an art platform or recording device) and trouble (respectively, restrictions on who can see your art and problems actually getting mic input or transferring files). So here’s this week’s snapshot of what’s happening on Apple’s micro-sized pocket Mac phone mediaplayer thing.

First, some quick updates that I’m genuinely pleased about:

Controller Updates

A lot of you have been having a great time with OpenSoundControl and the OSCemote tool released last week. It’s worth noting that even if you don’t have an OSC-compatible app, you can use a tool like OSCulator (Mac) or GlovePIE (Windows) to use this as a controller.

But here’s some more good news: the iTouchMIDI apps are making their way onto the iTunes app store, now under the name “iTM.” You no longer need Leopard to run the Mac client that receives MIDI over wifi, and creator Nonnus says a Windows client is coming soon, too. iTM MCU, the all-in-one software controller, is available now (pictured above), as are a number of apps including the free iTM MidiLab. Well worth giving these a try; I expect to post hands-on information soon.

Version 1.3 has made improvements in reliability (see Palm Sounds for more). By working with Mackie Control, you can integrate more tightly with software like Ableton Live, Apple Logic, and the like.

i, Art Platform?

I’m hearing a lot of speculation that Apple’s mobile devices could be a platform for artwork. I certainly like the idea of having a mobile palette to create intimate digital performances; I wondered this aloud on Create Digital Motion after seeing a mock-up of a sensor-driven, faux 3D animation. With tiny devices, tiny screens, and tiny projectors, the idea of creating something personal has some appeal. But as I hear more word of people making this kind of work, I wonder: if exclusively targeting Apple’s gadgets, isn’t there a danger not only of limiting the audience to gadget owners, but becoming overly tied to Apple’s proprietary platform?

With that caution in mind, here’s a very interesting app called RjDj that makes use of the accelerometer to respond to surroundings and even samples sounds via the mic:

And here are some folks playing with it:

(See coverage on Making Music, and screen shots and lots of info on the RjDj blog.)

The idea is not just a single work, but a collection of works by different artists which you can manipulate — work that’s never the same twice.

Most interesting, the RjDj team is using Pd (Pure Data); not only is it open source and multi-platform, but Pd’s scenes structure is perfectly suited to this kind of generative, interactive music. (No accident that Pd was also used in the creation of the generative Brian Eno soundtrack for the upcoming game Spore.) I’m quite eager to hear how he’s able to make Pd work and get this approved on the App Store, but we’ll see. Expect more detailed coverage soon, as I’m really looking forward to having a conversation with the developers about the possibilities of non-linear, generative, and interactive musical works, on mobile devices and beyond.

While on the subject…

He tends more toward the visual side, but Chris O’Shea reflects on the possibilities of software art. So far, Andreas Muller and Golan Levin each have works coming, though interestingly just ports of previous works, not actually new stuff for iPhone.

Snow Patrol and More

MusicRadar reports that SnowPatrol are planning an iPhone app release with their album. Wired’s Listening Post reports that this is just the tip of the iceberg; expect iTunes releases to have accompanying apps with interactive album extras.

Okay, I’ll say it: this sounds actually pretty dreadful. The iPhone and iPod touch already have online connections, yet I imagine many of these “apps” will simply duplicate existing content. If these really extended the album artistically in the way that brilliant album cover art did, that’d be one thing, but it’s hard not to be skeptical. And everyone seems to forget that this idea has been tried before, with various takes on “enhanced CDs.” I owned quite a few of these back when we are all buying CDs. I don’t think I ever saw the feature used in an interesting way, and the storage capacity wasn’t actually all that different.

That said, I’d love to prove me wrong. Speaking of Brian Eno, maybe a fully generative EnoApp? Or perhaps Laurie Anderson releasing some cool interactive experience? (Anyone remember the Puppet Motel CD-ROM from Voyager, or was I one of the only owners?)

Still, here’s my bet: the really smart artists will unshackle themselves from Apple distribution altogether, and release “content” on formats that allow a more expansive experience. Think DVDs or Blu-ray discs in hand-crafted cases, or limited prints, things that are the tangible counterpart to the digital realm.

A Visualizer

I wondered if someone would figure out a way to do this: iQualizer is a visualizer for your phone. I imagine this won’t do wonders for your battery life, but having spent more than my share of time blissing out at my computer monitor when the first mass-market visualizers appeared in the 90s, I can see the appeal.

iQualizer, via Palm Sounds

Next step: an easy tool for developing your own, so you can use the video out jack of an iPod or iPhone to add live visuals behind your band.

Recording

It’s kind of silly that Apple leaves out recording to begin with, and even skimps on including a mic at all on the iPod touch. But filling the void is Plum Amazing’s Plum Record:

Plum Record Page | iTunes Download Link

Now, that leaves only two problems. First, there’s the mic. I spoke to Plum’s Julian Miller, and he confirmed that you should be able to use the app on an iPod touch by buying a third-party mic (which could theoretically improve upon the iPhone mic’s quality, as well). But Plum hasn’t personally tested these, and neither have I — anyone out there gotten one of those mics?

Second, there’s the issue of how to get the files to and from your computer. In their infinite wisdom, Apple has decided you shouldn’t have any way to get files on or off their device outside of iTunes. Plum has a “server” app that you run on your computer to make this happen — Mac only for now, but with Windows and Linux coming soon.

All in all, it’s anything but an ideal recording situation, but if you just want to make a quick recording of a musical idea or practice session, it could do in a pinch. And I love the interface. This could be a fantastic way of keeping an audio “diary” of sorts, if we could just solve the mic problem.

Let us know if you try any third-party mics.

Go Indian: Sruti Box

Finally, here’s an app that’s actually unique: Sruti Box emulates the drone used in Indian music and spiritual practices. Creator Henry Lowengard writes, “It’s pretty simple: 12 virtual reeds, four interval scales, chorus, random interval perturbation, timbre adjustment. In this case, simplicity is good.”

US$2.99, available now:

SrutiBox Product Page | iTunes Link

Update: There’s a new release that came out as I was writing this (there’s a bit of lag as updates head over to Apple, before they get posted). Henry writes:

version 1.0.1 is available in the AppStore.
SrutiBox 1.0.1 is a minor update from 1.0:

• less off-centered icon (can’t tell from the store, but trust me)
• slower chorus speeds available
• lower base frequency now: 10 HZ (you can get some interesting beating with a low frequency mixed with high harmonics)
• changes to the Instructions.

Known annoying thing: I left in an extra ‘<' in the Instructions page's tuning description table. That is gone in the next version, which may be called 1.1.0, since it's got a lot of changes.

That’s it for this week’s round-up. Releases are settling down a bit, which means time to actually use this stuff and make some music. iPod/iPhone owners, let us know how your experience with these and other apps we’ve mentioned on CDM are going. Non-iOwners, we’re curious to hear what mobile apps and tools you’re into, so let us know that, too.

More iPhone/Touch Music Stuff

Last week’s round-up: iPhone/Touch Roundup: BtBx Acid Bass, iDrum Workflow and Babies, OpenSoundControl App

Mobile Music Platform Survey Results, Plus Beatmaker MIDI Export

iPhone News: iDrum, BtBx In; Mixtikl Out Citing Apple Rules

Pro Tools Controller for iPhone, iPod Touch Available; More DAWs Coming

Noise.io, “First” Synth for iPhone/iPod Touch, Will Bring Gestural FM Synthesis Control

BeatMaker for iPhone: Upcoming Features Q&A, Video Review

Despite the name, the Bent Festival this year promises to be about not only circuit bending, but DIY sound in general. (Circuit shaping? Circuit straightening? General circuitration?) Our friend and CDM regular Mike Una has put together fantastic art installations for Minneapolis. Workshops in NYC and LA dig into the mysteries of sensors and tubes, the potential of video bending, and giant, battery-powered noise to drown out the rest of the world. And there are gobs and gobs of performers.

Like the North American air currents, Bent begins in the West, moves across the Heartland, and into New York City. (Okay, actually, when I first reported on this year’s Bent, the dates were different, so pay attention!)

LA – April 17 – 19

New York – April 24 – 26

Minneapolis – May 1 – 3

And lest you think Bent isn’t as Bent this year, there’s still a Furby Orchestra to cap it all off.

Bent Festival site has the whole scoop, plus Flickr, Facebook, MySpace, and whatever else you crazy kids use today. (Hey! Where’s the AOL keyword?)

If you make it to any of the festivals and document — or if you’re playing/presenting — do share.

How nerdster-chic is this: a global convergence of the exploration of space exploration, ecological savvy, technological innovation, and musical-motional performance, in honor of Russian Cosmonaut Yuri Gagarin launching the first-ever human flight into space? Described as “Cinco de Mayo” for space, Yuri’s Night is a 35-nation cosmorave. It was big last year. It’s going to be much bigger this year.

What’s all this space stuff got to do with music and motion? Everything: music and visual performance are a big part of this party, as Sun Ra-loving, space-inspired, Space Age technologist artists push creative tech. (Amon Tobin is headlining, Will Wright is keynote speaker.) Winter Music what? I want my space fiesta.

Attention, Cosmonauts

CDM is involved, and you can be, too, wherever you are in the world:

California, here we come: If you’re anywhere near greater San Francisco, you’re going to want to clear your calendar on April 12 for Yuri’s Night Bay Area at NASA Ames Research Center. It’s the main party, right in NASA’s Earth-bound back yard. There’s a massive musical lineup and various live visuals and interactive installations, plus space geekery galore, and Will Wright (he wowed NASA’s real-life space scientists with his procedural virtual cosmos in his upcoming game Spore). Buy those tickets while they’re still available.

We need help, Californians! Photographers and videographers, we can use your help covering the event. Like much of this event, it’s volunteer-only, but if you send me a link to some of your past work, I can help secure an official press pass for CDM; if you’re a pro, I’m happy to help promote your work. Drop me a line. I can’t get press passes for everybody, so definitely send some samples — and everyone else, we’ll have a group on Vimeo and Flickr.

Online coverage: Stay tuned to CDM for the latest on how visual and sonic technology and artists are connecting to outer space. We’ve got a new, dedicated site in collaboration with the folks running the flagship Yuri’s Night Bay Area — yuricdm.com — so we can talk to the artists and cover all the projects.

In your part of the world: Wherever you are, you can launch your own Yuri’s Night party. Host a party and register it with the global network (see how to party info). It’s a bit late, theoretically, but we’ve thrown together some cool CDM events in short order and we’ll help you promote your event here on CDM. Judging by Google Analytics, I know we have a lot of CDM readers in London, Sydney, Paris, Chicago, Berlin, Melbourne, and Seattle. (No, really — in that order. Go figure. Moscow’s there, too — #42, getting beat by Atlanta, Georgia, so I think we need some Cosmonauts getting involved.)

Hello, Ames Research Center!

Yuri’s Night will be happening worldwide, but the lineup for the Bay Area flagship event is looking terrific. Amon Tobin joins Tipper, John Tejada, Lusine, Scuba, Digitonal vs. Posthuman, [a]pendics.shuffle, Deru, Tycho, Mr. Projectile, Dr. Toast and our friend Ganucheau — and that’s just electronics. Live vocal/instrumental music includes Freezepop (as made infamous by various Harmonix games), avant-garde cello and guitar, and the 17-member marching Gamelan X, among others. Game maker Will Wright joins NASA astrobiologist Jonathan Green and eco-friendly scientists.

We’ll be posting updates to the lineup at yuricdm.com — you’ll hear about it there before anywhere else. Check out the lineup so far, but I know of some interesting installation and art pieces that aren’t there yet.

On display in Chi-town: giant pods to fill rooms with sound, and a man in a sound-induced, hypnotic blizzard of milk. (Yes, they have winter in northern Illinois.)

Snowy Day at MGFest 2008 from Michael Una on Vimeo.

Octophonopod at MGFest 2008 from Michael Una on Vimeo.

Behind-the-scenes commentary is available on Mike’s site, not to be confused with the domain-squatting personals site that you get if you leave out the hyphen. (Will, someday, an entire romantic community be devoted to Una Love? I wouldn’t rule it out.)

One lesson learned: milk can be incompatible with electronics.

In addition to the week’s worth of discussions and skillsharing classes, there will be two “showcase” nights, Saturday Jan. 19th and Sunday Jan. 20th. For those interested, I will be exhibiting two audiosculptural pieces, Octophonopod and Snowy Day during the event on Saturday. There’s a riduculous amount of talent on both nights, amounting to some of the most fresh and innovative people working in sound and motion graphics today.

[- Michael Una]

A full week of buzzing digital media creation will be showcased starting Tuesday, January 15th through Monday, January 21st 2008, at several venues downtown Chicago.

MGFest 08 features two world-premier theater screenings, multiple post-production studio tours, audio/visual art exhibits, a/v performances, six days of motion design / sound design / and motion programming classes.

These events celebrate creative minds and bright ideas within the emerging media landscape. Whether your a hard-core geek, a dedicated composer, a designer, film-maker, artist, engineer, programmer, educator, aficionado, prosumer, hobbyist, or just someone who likes being close to the creative community, mgFest is for you. The festival has become a destination for creative professionals from all over the Midwest and the nation by attracting the meshwork of companies and individuals that surround creative motion-picture design.

Socialize at one or all of the night events while experiencing multimedia art, video and sound in synch. Watch some of the past years most creative shorts or travel thru alternate dimensions in video art. Come mingle with local art directors and advertising executives, or discuss the technical operations of a professional edit bay and graphics shop with seasoned veterans of the industry. Listen to panels on the newest advancements in delivery technology affecting every media professional. Attend cutting edge classes of your choice within the realms of motion design, sound design and programming. Awaken your creativity at the Imagination College.

( Design | Sound | Code ) .: in motion

Check out mgFest.com for the most current festival information. 

Musician, composer, and musique concrete artist Henri Chopin has died, writes Seth:

he has been and remains a figure whose sound work is very important to me, so i thought i’d share it with you all.

he was a sound poet who used reel-to-reel tape as his paper, performance instrument, and collaborator.

Chopin is lesser-known than some artists even in the concrete world, so if you don’t know his work, there’s no time like the present to discover it — quite a lot is available online.

Videos and comments at WFMU Beware of the Blog

Lots and Lots of Sound Files at UbuWeb

His work spanned more than just experiments with audio tape, as a graphic and visual artist and even a typographer. His poems took striking shape as visual art, like the dagger formed with a typewriter, at right (via the dbqp blog, below). As a magazine publisher, he brought together works by characters from William S. Burroughs to the Fluxus gang. I have to admit, much as I love some of the power of the blog world, I don’t think we have anything approaching the insane avant-garde magazines of the 20th Century. (But, then, maybe we’re just waiting for the 21st Century’s Erik Satie. Or maybe we need to spend more time learning from the likes of Chopin — Henri Chopin, that is.)

So far, I see these obituaries; please feel free as always to add other comments, memories, reflections, or links. Via Harriet, we learn that Chopin died peacefully at home with his family in England at age 85:

Henri Chopin (1922-2008) [obituary by Kenneth Goldsmith, Harriet blog (Poetry Foundation)]

Tribute to Henri Chopin [Soul Sphincter]

When Sound Ends, Vision Endures [words, images, and more following his death, from dbqp: visualizing poetics]

And you think you can do strange things on a mic? Watch this: