Where do you get your ideas? Sometimes, it can be a challenge just to start a track, or can simply feel a bit, well, lonely. Finding fellow music makers can solve that. Artists gathering around SoundCloud and online ambient music chronicle Disquiet work together, with inspiration from recording ice to ancient found samples of music and spoken word. Disquiet itself has challenged artists with Instagram photos and the city of Lisbon. The results are imaginative, varied, superb music. And they’ve been surprisingly popular, earning lots of ears and inspiring still more music.

Now, given the Instagram sale for US$1 billion, I would value the free compilation inspired by its photo sharing at least a couple of million dollars. Finding a welcoming community both to spur on new musical ideas and share the results? Priceless.

And, okay, while perhaps they haven’t netted any massive Facebook buyouts, the past months have proven that ideas like this can motivate music makers and listeners alike.

The Disquiet Junto, started by Disquiet and its editor, Marc Weidenbaum, describes itself as “a collaborative music-making space in which restraints are used as a springboard for creativity.” New projects are announced on Thursday, and then you have until the following Monday just before midnight to upload tracks. In just fifteen weeks, that’s inspired some 700 tracks – not bad, especially considering ambient music, lovely as it is, is hardly considered a hot commodity as genres go. (Non-ambient submissions are welcome, too, so long as they fit the brief.)

This week’s challenge, for instance, due Monday the 23rd of April, starts with samples of a piece of sandpaper and a pair of dice. The challenge: make one the foreground, and one the background. (The samples came from free sharing site freesound.org.) Previous challenges including Shostakovich and old rural music, bird song, a spoken word Benjamin Franklin autobiography, and old Edison cylinders as source material, and challenges like working from recordings of ice in a glass.

Weidenbaum has also been assembling some lovely compilations. The most recent “remixes” the city of Lisbon, entitled LX(RMX). Marc explains:

It’s 16 tracks, two each by eight musicians — each musician recording one under a pseudonym, and one under their own name, all exploring the sounds of urban Lisbon:

http://disquiet.com/2012/02/14/lxrmx-lisbon-remixed/

The 17th track is the source material.

Here’s what the resulting tracks sound like:

A separate compilation from the end of last year explored the notion of using photos on Instagram as source material. In two separate conversations, artists told me recently they felt that we lived in a “visual” culture, one in which the image was more important than sound. I’m still not convinced that’s true, or even how this oft-repeated statement is evaluated. But on the other hand, finding visual inspiration for music is a compelling exercise, a change to feed one part of the mind with stimulus from another.

Marc reflected on the project when I spoke with him in January – long before Instagram became part of business history, and when the Junto group was just starting:

The first week of release of Instagr/am/bient was much more intense than I had expected — intense in terms of how quickly it garnered an audience. The first week it averaged over 2,000 listens per day, not counting downloads (which I posted over on Archive.org). I had hopes that the mix of visuals and sound would be of broader interest than some of this music (drones, abstractions, extended phonography) might be on its lonesome. Apparently that proved to be the case. Clearly, tying it to a familiar software (Instagram) helped ground people’s imaginations, as of course did the visuals. I think there’s a lesson in that. The correlation also functioned thematically: not just how the music was inspired by the photos, but how Instagram images and ambient music both involve, in their own ways, filters/processes that alter existing documents (photographs in one case, often field recordings in another).

It was interesting as well how the musicians acted on their assignments. Each of the 25 sent to me an Instagram photo they had taken. I then gave thought as to how to disperse them, sometimes assigning one to a musician whose work I thought it shared an aesthetic with, sometimes to a musician for whom I thought the image would provide a creative
challenge. For example, I gave the image to Evan Cordes that showed the wheel of an office chair against floorboards. To my eye, the lines of the floorboards resembled sheet music, and indeed when I later discussed the project with Cordes he confirmed that he had interpreted it as a graphic score.

This project differed from past Disquiet.com projects in that it was looser. The assignments were fully conscious, but in the end one has less overall control over something when 25 geographically dispersed musicians working from 25 different source subjects are involved, versus when a dozen musicians are involved. The next major Disquiet.com project is very controlled, just eight musicians, all with a very specific assignment. It should be out in a few weeks.

The relative openness of the Instagr/am/bient project inspired me to push the idea a step further. So, I created a Soundcloud group for communal sound experiments, which launched today. It is called Disquiet-Junto. It already has 40 members, which is great. The idea is that I come up with a sound/music assignment and post the idea on a Friday, and then Monday by midnight the groups’ members post their recordings in response to the assignment. Already there are a half dozen tracks based on the first assignment, which is to make music from the sound of ice in a glass.

The aftermath of the Instagram compilation is itself a fascinating story. The compilation captured the imagination of writers well outside the world of music. But most tellingly, you can read how the group of 25 musicians worked to translate what they saw into sounds of their own creation – whether in the microcosm of technical details (gear used and such) or bigger ideas of how to work between the visual and aural media. Their reactions are sometimes formal, sometimes emotional, intuitive, or fanciful.

Evan Cordes even posted video of his Pd patch, ticking away:

Hilobrow has this revelatory review:

Imagine receiving a postcard in the mail. Ok, back up: remember the mail? Remember postcards?

Right, now imagine them. On one side, an image: a faraway place, an iconic sign, people smiling, a sunset. Perhaps someone has even scribbled on it, adding their own moustaches, thought bubbles, or other postal graffiti. “Having a wonderful time,” it inevitably says, “wish you were here.”

Or, does it? Turning it over, ostensibly to read, you find instead that it — sings.

But, Instagram hype aside, consider what this could mean for finding inspiration anywhere, for reinvigorating your musical process. Actually, don’t think about it too long – just go do it.

You can check out the Juno group:
http://soundcloud.com/groups/disquiet-junto

And read up on the two curated compilations – each released under a Creative Commons license:

LX(RMX) / LISBON REMIXED

INSTAGR/AM/BIENT: 25 SONIC POSTCARDS

http://disquiet.com

Note, too, that the SoundCloud Meetup Day is on the 17th of May. I expect to be keeping tuned into what’s happening in Berlin and involved in something in London, but wherever you are in the world, I’d love to hear what ideas you have for exchanging sound, and if you’ll be doing something to celebrate if you’re a SoundCloud user.

SoundCloud Global Meetup Day May 17th: Get Involved!

“Handmade music” has now been taken up by groups in cities around the world, without any central organization. It’s an open celebration of experimentation in music making and sound. Here, we get a look at the event series we’ve been running here in New York that helped spawn those others.

Part of what I like about playing live is that it is unpredictable. We get to get together and try things, play wildly divergent styles of music, and explore ideas for what to play, all with a friendly group of people. So, here – thanks to the lovely videography of our friend Thomas Piper, himself a terrific musician – we have footage of an all-MeeBlip performance, Michelle Temple & Aiwen Wang-Huddleston’s startling Diptych with paper and contact mics and speakers, and, below, Philippe LeSaux and Chris Gilroy with live electronics. (There were other, dancier, Game Boy-ier acts, too, though we don’t have video of those.)

It’s a variety show, so each night can be completely different. If you’re in NYC, mark your calendars for Saturday, April 2 at Culturefix. But wherever you are, we can find some ideas about how to imagine live electronic playing today.

And for a completely different take, at the bottom we have the latest video from Porto, Portugal’s own Handmade Music.

Photo Slideshows: Handmade Music NYC, Plus Open Lab

This installment, we also led an “open lab” at which people could bring in and hack any project they like. We got a MeeBlip assembled and tested, we had monome artists modifying patches (including none other than proto-monomist Daedelus), we had strange NES and Arduino creations … check that out, as well.

Handmade Music Porto, Portugal

Digitópia, at Porto, Portugal’s hulk of an arts space, Casa da Música, runs their own show-and-tell. What’s special about this performance venue is that, situated in the lobby of a set of theaters, it’s completely open to the public. (By contrast, walking into, say, the Disney Hall or Lincoln Center typically requires tickets.) And they’re doing terrific research and creation, too, as part of their series. I hope we get to check in with them soon.

What if you could have any musical technology you wanted – if you had only to imagine something, and it appeared? That was the somewhat insane notion behind the Dreams Competition CDM organized with Rui Penha of Casa Da Musica’s Digitópia research and education program in Porto, Portugal. Earlier this week, Rui and I sat down on the banks of Porto’s famed Douro River with Paulo Maria Rodrigues to pour through stacks of imaginary instruments. Some proposals read like wish lists composed to Santa Claus. Others included exquisite renderings, mock-ups, and even video that made them into serious, near-finished product designs. In the end, we attempted to choose the ideas that seemed the most surprising and original, including a winner that – with some limitation of its scope – would be feasible to actually build.

Far from just being idle fantasy, the winner will be realized by a team of developers as an open-source, free project. And I suspect some of the other entries may yield real tools, too. The line-up offers plenty of indications of what matters to people, and what’s possible. Here are some of our favorite entries out of an impressively high-quality bunch, plus, of course, our winners and the grand-prize selection that will inspire a real project.

Winner: Dream Synthesizer, Andreas Paleologos

The “Dream Synthesizer” lives up to its name: it embodies a laundry list of ideas about how to make a more interesting synth. Building the whole instrument would be wildly impractical for this project. But one central concept caught our eye as both practical and innovative. The idea is, touch interaction with an array of LEDs creates envelopes that provide a single metaphor for all sound design. Those envelopes aren’t just one paradigm among others: every sound parameter is accessed with gestures.

To realize this idea, we’re directing the Digitopia team we’re assembling for this project to focus on the LED array itself, and working with software to produce sounds. The very limitations of the LED display itself have some appeal, even in this age of multi-touch displays. Furthermore, the constructed physical object should produce a reusable part that other people interested in building their own hardware can reuse. Mapping different software synthesis methods, all built in free software, to touch gestures means the sound side should be reusable, too.

Making a project “free and open source” isn’t just about a license; it’s about choosing something that could be a building block for a wide range of ideas, and making that building block as usable and friendly – from engineering to documentation – as possible. Here’s how Andreas describes his concept, the spark that most inspired us:

My Dream Synthesizer has 3 sound modules that together generate the sound.
Digital Sound Module.
Physical Sound Module.
Vocal Sound Module.
They’re high-quality software modules with a lot of identity. The sound is constantly routed through all three
sound modules, whether generating sound or silent.
It has a big Low Resolution LED screen, covered with a transparent high resolution multi touch film for on
screen interaction with support for up to 3 fingers.
Draw the waveform on the screen and get instant control of the sound.
Use one finger to manipulate the Digital Sound Module.
Use two fingers to manipulate the Physical Sound Module.
Use three fingers to manipulate the Vocal Sound Module.
The envelope is basically ADSR, but with looping sustain. Draw your envelope curve.
You can record and automate all waveform and envelope changes making really complex sounding sounds
with just a finger stroke, recording your particular timing.
Select whether all automation should be triggered once or whether it should loop.

There are more details in the proposal we’ll share soon. And since the project is open, it’s one I hope that we’ll share with the CDM community on an ongoing basis, including getting reactions and ideas as the project is implemented.

By the way, check out Swedish-born, Norwegian-resident Andreas’ artist site, Cuckoo — cool stuff:
http://cuckoo.no/

First Runner-Up: Odu, Nicole Weber

Nicole Weber’s (Germany) Odu was probably the most stunning design work in the lot, including a full physical mock-up and UI design concepts. It’s an unusual combination of physical interface and Web-based sonic engine. On the Web side, users find sample content through a browser interface. On the physical side, a handheld interface turns those samples into tangible objects for manipulation and performance.

Nicole describes her “modular” project thusly:

programmer

• With the programmer the user is able to program the controller with samples
• Ships with a sample archive, e.g. created in collaboration with freesound.org or similar
• The user is able to archive and search own samples
• Optional community feature like competitions are provided via the software interface

base

• The base has all the basic features like USB connection, volume and connection ports for effects or other modules
• Integration of sensors in the controller body, e.g. tilt sensor or accelerometer

See her full proposal:
http://topotropic.de/odu

Honorable Mention: Fabric Ghost Controllers, Tycho

Tycho (Germany) sent what was perhaps the most evocative idea. It’s one I hope actually will be realized, but I think one that involves very specific skills. (Our friends the Grant Sisters of felted signal processing have been working on this very problem.) Tycho writes:

I have a dream.
I imagine when playing electronic music live I have sort of a display beside keyboard and computer where seven colored silk scarves are hanging. The cloths are maybe half a meter long, they are square and fixed with their center at a pole or something, their four corners loosely hanging down. It looks remotely like seven ghosts in a row. You get the picture?

These are the scarf ghosts controllers! Blowing against the scarves or touching them of fanning at them, maybe even squeezing them for extreme results shows that all seven of them control parameters of the actual sound(s) playing.

I do sleep concerts with very very low volume electronic music in Berlin, Germany. I believe such a “silk scarf ghost controller” would be perfect to accompany my music. During my nocturnal seven hour concert (plus some wake up music) I refer to (and sort of musically render) the seven chakras––so I would choose the number seven and the six rainbow colors plus white for the “ghost controller”.

But can a cloth be a controller? I learned of a Doepfer device that transforms a signal of 0 to 5 volts into the MIDI range. Unfortunately I have no idea how to make a scarf turn out volts when blown at or touched or squeezed. Could you work in a metal wire or something? Plug in little invisble batteries?

I had the idea just a few days ago when I heard of your competition. Maybe you would like such a beautiful and subtle “ghost controller” as well. I had even the vision of using it as sort of wind chimes: hang it in a breeze with my equipment rigged up in nature and let it produce generative sounds.

Its main purpose is being a live controller though that maybe look like decoration at first but turns out to affect the sounds and music. (As such it’s naturally highly lightweight and portable: Just fold the scarves.) They maybe even interact when one scarf touches another.

And imagine taking the pole into your hand and swinging it gently all seven the scarves flapping in the air! What a finale!

More Terrific Ideas

There are really too many interesting proposals to list here, but just to give you a taste:

The Wheel Array and the Ball Array, Stefan Blixt (Sweden): Blixt proposed a kinetic interface involving physical wheels. The idea is novel and a tangible contrast for the increasingly-minimal digital interfaces in our world.

Vitus, Michael Oneppo (USA): Vitus is a “controller” suite of connected, wireless objects.

each performer has a foot panel that controls expression, recording, looping, and effects for his or her performance. through the panel, the performer can enable or disable effects, modulate parameters of the effects, and mix up to four loopable performance clips on the fly.
a number of different wireless connections are provided that allow any microphone, guitar, keyboard controller, or other instrument to be wirelessly connected to the system. in addition, these interfaces provide a one button control for activating the instrument for recording and looping with the foot panel.
finally, a main controller panel is available for the controllerist/mixer of the group. this unit provides a master view of all performers’ clips and settings, and also allows the performer to manipulate these clips to make unique mixes. the interface is an array of hybrid button knobs, which present the performer with endless possibilities and configurations. the panel instantly slices any clip into eighth notes segments that can be triggered in monome-style phrasing across the button/knob grid.
all devices are truly wireless, eliminating any messy cords and freeing the performers. being battery powered, each unit recharges inductively through a storage case that can plug into any outlet.

Boulier, Yann Girard (France): Boulier has an ingenious take on how to maximize musical functionality in an array of encoders: use color to denote pitch. Someone may have thought of this before, but the execution is lovely.

LUM from Alfredo Duarte on Vimeo.

LUM, Alfredo A. Duarte Jorquera (Chile) is already, in this mock-up demonstration video, a compelling demonstration of the use of the Sony PS3 Move controller for music. Max Mathews, maker of the Radio Baton, would be proud. I hope Alfredo continues with this project, because I think he’s got a clear vision of how it can work. Updated: that’s an actual demo, so the work has already begun! Go forth!

And the rest…

Jacob Adler (USA) easily wins the honorary Luigi Russolo Award for craziest idea. I think you can agree from the first line:

I want to turn a mountain into a giant organ.
In the millennia-old tradition of organ building, I propose to develop a new kind of instrument – one constructed from powerful train horns and heard in an open desert space. The performer of such an instrument will actuate the valves of multiple air compressors remotely through a digital signal processing program and midi keyboard controller (when an E is pressed, the corresponding horn will sound). The harmonic richness of train horns are beautiful and I believe they can be used to create a new kind of music in
vast spaces. The instrument will be mobile and may be installed in any natural, open space for a series of concerts. One ideal location for this instrument is the south face of Papago mountain in Phoenix, AZ – the
mountain itself is visually beautiful and the park is acoustically ideal.
With a rank of 48 horns (corresponding to four musical octaves), free community concerts of new and old music will be performed. Every stage of the project should be documented through digital video, audio, and photos.
Throughout the organ-building process there will be many issues that will need to be resolved such as power/air-pressure requirements, acoustics in relation to topography, tuning, scaling, voicing, shape of the pipe/horn body, aesthetics of the organ case (if any), and design of the overall instrument. I have a background in working with pipe organs (performing and maintaining), and I would love to work in close collaboration with engineers and musicians. Visually, I would like to base the design of the instrument
after a famous antique organ case in Alkmaar (Netherlands) – the Schnitger Organ in St.
Laurenskerk<http://upload.wikimedia.org/wikipedia/commons/6/62/Alkmaar_organ.jpg>.
However, the design and materials used will harmonize organically with the desert landscape.

At the opposite end of the spectrum, Steppophonic Looperformer, Per Boysen (Sweden) is a very practical-looking approach to step sequencing, and is labeled “please steal this!” It’s well within the range of things readers here could accomplish, so perhaps take the creator’s invitation — write back with the results!

Other ideas, like an OSC sequencer or modular musical/MIDI hardware seem like things that are destined to happen, even if this isn’t quite the forum for those problems.

A big thanks to everyone for compelling, creative contributions. If you have any more ideas or questions, if you missed this round and want to continue the conversation, the grand project of dreaming up the future of music tech is an unending one.

Want a flying car? Dream of the flying car. Build the flying car.

A competition I’m hosting with Digitópia, the musical-technological community of Porto, Portugal, extends to readers worldwide a challenge to dream up the digital musical instrument/interface/creation you want. Got something practical you wish could be built? Got something impractical and bizarre? Either way, articulate it in the best way you can — images, words, videos, mock-ups, stop motion animation, beat poetry, whatever you think is best — and send it in. We’ll share the most interesting entries, and pick one that the folks at Digitópia will actually build. (So, if it is unfeasible, we’ll have to find one that at least can be made feasible.)

I hope it’s just the beginning of this kind of big-picture thinking in digital music.

Here’s organizer Rui Penha on the concept behind the call for entries:

Digitópia = Digital Utopia. We strongly believe in the power of communities, of open source endeavors, of sharing and spreading inspiring ideas, either simple or utterly crazy ones. Our goal is to empower the individual with means to achieve a more fulfilling, rewarding and personal musical expression, regardless of his or her experience and motivation. New interfaces and instruments can overcome the steep technique obstacles of some old ones and create new musical languages and thus we want to make them available to everyone. We want to help you build your idea and, together, we’ll share it with the whole world!

We want your ideas, but you have to act fast. The deadline is this Saturday, midnight GMT, April 3.

Submit ideas via email to competitions@digitopia-cdm.net, using whatever medium of illustration you wish. Works will be judged on innovation, originality, feasibility and inclusive potential. If you win, you get your instrument, built for you.

http://digitopia-cdm.net/competitions/

Full rules after the break / bottom of this post.

By the way, if you’re near Porto, Portugal, there’s a Handmade Music event this Saturday 3/27! Go, take videos, photos, enjoy! Details:

In Portugal, Now

Por favor divulgue. Obrigado! / Please spread. Thank you! (english version below)

A quarta edição da Handmade Music Porto terá lugar já no próximo sábado, dia 27 de Março, na Digitópia: uma festa que junta um mostra&conta a uma jam session com instrumentos únicos. De hardware a software feito em casa até circuit bending, kits personalizados ou instrumentos acústicos originais, todos estão convidados a aparecer na Casa da Música pelas 21h30 para montagem de instrumentos. Estarão disponíveis algumas mesas e tomadas, contudo os canais de amplificação serão muito limitados, pelo que será melhor vir prevenido. Pelas 22h abrimos o evento ao público geral – a entrada é livre e recomenda-se -, ocupando a Digitópia e a zona do bar do Foyer Sul. Contamos convosco!

Teremos dois convidados muito especiais: Rolf Gehlhaar e Luís Girão, que trarão alguns dos instrumentos criados para o projecto “instruments 4 everyone”, no âmbito do Festival Ao Alcance de Todos, edições de 2009 e 2010, que agora começa.

Rolf Gehlhaar – http://www.gehlhaar.org/

Luís Girão – http://www.artshare.com.pt/

——

The fourth Handmade Music Porto, a party + show&tell + jam session with unique instruments, will take place at Digitópia next saturday, March 27th. From handmade hardware or software all the way to circuit bending, customized kits or original acoustic instruments, everyone is welcome at Casa da Música around 9:30pm for assembling the instruments. We’ll provide some tables and power sockets, but only a few channels for amplification, so it is advisable not to rely on them. At 10pm we’ll open the doors – admission is free and we’ll have a bar! See you there!

We’ll have two very special guests: Rolf Gehlhaar and Luís Girão, who will bring some of the instruments made for the “instruments 4 everyone” project, part of the Ao Alcance de Todos festival in 2009 and 2010, starting this week.

Rolf Gehlhaar – http://www.gehlhaar.org/

Luís Girão – http://www.artshare.com.pt/

——

You may view the latest post at
http://digitopia-cdm.net/2010/03/handmade-music-digitopia-2703/

Entering the Competition (worldwide)

Rules (PDF download):

RULES · Digitópia Dreams Competition · Digitópia 2010
1 ·
WORKS
1.1 · Entrants shall submit an idea for their dream instrument, interface or software.
1.2 · Only original and yet to be materialized ideas will be admissible.
1.2 · The winning entries shall be developed under a Creative Commons license – http://creativecommons.org/about/licenses .
2 · SUBMISSION
2.1 · Works shall be submitted by email to the address competitions@digitopia-cdm.net , with the contact information of the
applicant – full name, nationality, date of birth, email address – on the email body.
2.2 · Each applicant is free to choose the best way (text, schemes, videos, etc.) to present his or her idea.
2.2 · The closing date for entries is 03/04/2010, at 23:59 GMT.
2.3 · All successful submissions will receive an auto-reply by email.
2.4 · Each applicants may submit up to three ideas.
3 ·
JURY
3.1 · The jury will be comprised of Peter Kirn (president), Paulo Maria Rodrigues and Rui Penha.
3.2 · Judging will be based on each submission’s innovation, originality, feasibility and inclusive potential.
3.3 · The jury will announce its decision on 02/06/2010, through Digitópia’s website – http://digitopia-cdm.net .
3.4 · The jury may decide that none of the works submitted merit selection.
3.5 · The jury’s decision shall be final.
4 ·
PRIZE
4.1 · The winning applicant will be invited to collaborate with Casa da Música and Digitópia’s team on the development of his or her
project.
4.2 · At least two copies of the project will be built, one for the applicant and other for Casa da Música.
4.3 · The complete process will be documented and shared under a Creative Commons license – http://creativecommons.org/
about/licenses attributed to the applicant.

Good luck! I look forward to the results.

What if a competition didn’t just encourage entrants to try to make a better product? What if it encouraged friendly rivalry between makers to produce entries that were also shared across the community?

That’s the idea behind Digitópia’s upcoming series of competitions, now entering its third year. Digitópia itself is based in Porto, Portugal, at the Casa da Musica. But even if Portugal isn’t exactly in your neighborhood, entrants and onlookers alike can benefit from shared, open sourced contributions.

In fact, even the prizes itself are open projects. The simple, anthropomorphic-looking controller above is a free project. It’s dead-simple, a combination of an IKEA salad bowl, a potentiometer, and ultrasonic distance sensors. But as a result, it’s also inexpensive, simple to use (particularly with the addition of Digitópia’s custom-developed software), and a flexible starting point for further work. (Actually, handling multiple ultrasonics is a bit tricky, too, relative to things like infrared, so that’s a particularly nice addition.)

First up: Max and Pd patchers, your pride is on the line.

Think your Max/MSP or Pure Data multimedia patch is the most original around? Prove it. An international competition will find the best patches, and all of them (whether made in Max or Pd) will be released under a free software license. A panel will judge the results, led by Pedro Rebelo, composer, digital artist and Director of Education at the School of Music and Sonic Arts, Queen’s University Belfast. New deadline: February 14. (That’s right, polish off your best patch, send it into battle, and then take your pumped-up sense of masculinity / femininity out for a fantastic Valentine’s Day dinner.)

There are other competitions, too. The third-annual Musical Miniatures Competition is looking for musical works or “gestures” of 15 seconds or less. (If you’ve ignored other calls for works, this one should leave you no excuse.) The sounds will be licensed under a Creative Commons license for freesound.org, adding to that communal repository of sounds. Bram de Jong, legendary developer and freesound.org guru, will judge the results. Deadline: May 28.

Produce the best sound or the best patch, and you get the controller above and accompanying software. But the for third competition, you get the futuristic controller of your dreams. You submit the idea, and Digitópia builds the results. The entrants are judged on “innovation, originality, feasibility and inclusive potential.” (Yes, it needs to be feasible in order for them to build it — no electronic music equivalents of The Homer.)

Oh, yes, and the Dreams Competition has me as the judge. Deadline: April 3. Keep a dream journal.

The beauty of all of this is that these are contests that give back. We’ll have sounds, patches, inventions, and hardware documentation for the prize and the entrants; stay tuned as that documentation becomes available.

Speaking of getting something out of this for yourself… don’t have any dream ideas? No good at Max and Pd patching? For an absurdly-cheap €15 for three whole days of seminars, Digitópia will teach you patching skills in these two tools. Jeez, for that price, you could afford a flight to beautiful Portugal and still come out ahead. No details on the new seminars for spring up yet, but I’ll put up a notice when they are. (I’m also teaching a seminar at Digitópia the first week of June.)

Digitópia Competitions 2010

Digitópia – Platform for the Development of Digital Music Communities

Sonoridades Líquidas [Liquid Sounds] from Rui Penha on Vimeo.

Wonderful work in sculpting sound into beautiful handmade electronic-acoustical instruments is pouring out of Portugal. Now we get to see more of that work – and if you are in Portugal, you can share in person at a new event.

The Handmade Music project and community has found its second home – Porto, Portugal, at the massive Casa da Música! The first event will be held Tuesday, July 21. (Full announcement, English/Português).

De hardware a software feito em casa até circuit bending, kits personalizados ou instrumentos acústicos originais, todos estão convidados a aparecer na Casa da Música pelas 21h30 para montagem de instrumentos. Pelas 22h abrimos o evento ao público geral – a entrada é livre e recomenda-se -, ocupando a Digitópia e a zona do bar do Foyer Sul. Contamos convosco!

To celebrate the new party, organizer Rui Penha sends over a survey of some of the instruments and sculpture that are being homegrown in Porto. And yes, even first-time-creator high school students can make fantastic work (see after the jump). At top:

An interactive installation made for Casa da Música – Porto, Portugal – with João Ricardo de Barros Oliveira and Luís Girão. Shown here is the algorithmic composition and synthesis patch I made in Max/MSP and the Arduino-based sensor system, co-developed with Luís Girão.

Lula · robotic Hang player from Rui Penha on Vimeo.

This robotic Hang player is called Lula (Squid).
It was, designed, built and its algorithm was created with a group of teenagers participating in a four-day workshop called OrCA – Orquestra de Computadores e Autómatos (OrCA – Orchestra of Computers and Robots), at Casa da Música – Porto.
It was made with picaxe, servos and ultrasonic sensors.

Correntes Sonoras from Serv. Educativo Casa da Música on Vimeo.

João Ricardo constrói instrumentos-esculturas a partir de materiais das mais diversas origens: pedaços de metal, bocados de madeira corroídos pelo tempo, objectos usados e danificados, provenientes de contentores do lixo, da rua, da natureza. As esculturas têm sons complexos, poéticos, muito diferentes do habitual e são um desafio à imaginação, aos sentidos e às convenções daquilo que é um instrumento ou daquilo que é música.

A ExposiSom [Correntes Sonoras] explora diversos espaços da Casa da Música e é concebida como um percurso de descoberta da arquitectura e da relação do som com o espaço que ele habita.

Sonoridades Líquidas from Serv. Educativo Casa da Música on Vimeo.

A ExposiSom [Sonoridades Líquidas] estabelece uma ponte entre a escultura sonora, a música e a arte digital e permite a descoberta do edifício da Casa da Música através de um percurso onde o público interage com o conteúdo sonoro, transformando assim a Casa num mega-instrumento. A ExposiSom [Sonoridades Líquidas] usa um conjunto de cerca de 50 objectos idênticos [esculturas sonoras] que servem de «interface» com um computador. Explora-se a ideia de elicitar sons ou algoritmos que geram som, a partir de um estímulo muito simples: a vibração causada por uma gota de água que cai sobre uma pele de um instrumento de percussão.

We hope to send out some resources for folks working to plan Handmade Music in other places, too. Here’s the running list of locales we know have expressed interest – and yes, I’ll be following up with you folks later today!

• Machester, UK
• (city TBD) North Carolina, USA
• Toronto, Canada
• Argentina
• Chicago, USA
• Berlin, Germany
• San Francisco, USA
• Joinville, Brazil
• Greece
• Los Angeles, USA
• Washington, DC, USA
• Austin, TX, USA
• Detroit, USA
• Boulder, CO, USA

Not on the list and interested in organizing an event? Fill out the form on Google Docs.

Stay tuned for coverage of the upcoming NYC and Portugal events here.

What does it mean to truly democratize technology? When is DIY more than just the creation of an object? That’s the question asked by our friend Julià Carboneras, who curated the new Nerdeferences feature of the OFFF digital design conference in Portugal last week. DIY is more than just cool devices, argues Julià: it’s social hacking, too. He brought together myself, Instructables.com founder Eric Wilhelm, and musical inventor and artist Gijs Gieskes (who stole the show, showing some creations live onstage). But there was a bigger picture, too, that I wanted to share.

Julià wrote, in Catalan and English, an introduction to the idea for the conference catalog that I thought was really compelling. OFFF has allowed this text from their catalog to be reprinted here, and Julià has given us a Spanish translation, as well. (Spanish first, English second.)

I’m actually pleased that on CDM we have the chance to talk about radical DIY and open source ideas alongside more traditional commercial projects. In that way, you see design in a larger context. You can see the tools that allow people to be creative alongside one another. And my sense is that people do find ways to build business models and economic independence around notions of open source and DIY, which is vital in the capital-driven world in which we live. What draws together people, whether using commercial tools or building their own, is some desire for real independence instead of dependence, for expression and not just consumption.

I’ll let Julià take it away, though, because the issues he raises goes well beyond the insertion of some of these ideas (and some very nice, loud sounds) into a design conference. I know many of you working in communities and events elsewhere are thinking along similar lines.

(Photos here from the event itself; we expect to have additional video, too, soon. Let me know if you were there in Lisbon!)

NERDFERENCES [ESPAÑOL]

Desde sus inicios la llamada “democratización” de la tecnología ha estado limitada por demasiados factores para poder considerarla genuinamente democrática. A pesar de que realmente la caída de precios ha permitido un acceso más amplio a sofisticados dispositivos digitales, también ha determinado la manera de utilizarlos impuesta por sus fabricantes. Hoy en día, miles de usuarios están rompiendo estas limitaciones a través de la ética del DIY (háztelo tu mismo).

Desde que Reed Ghazala acuñó el término “circuit bending” en los años sesenta para referirse a la modificación de la circuitería de aparatos electrónicos para generar sonido, la influencia del movimiento DIY en la creación contemporánea ha sido obvia, y algunas de sus invenciones y descubrimientos se han convertido en recursos básicos en el arte digital actual, como el software Processing o las superficies de control Monome. Pero no podemos pensar en el circuit bending y en el software de código abierto como meras técnicas o dispositivos. La naturaleza de su propia existencia está fuertemente vinculada a ideologías que se asocian a movimientos sociales y políticos alternativos. Frecuentemente relacionado con el punk y los movimientos anticapitalistas, el DIY es, ante todo, una postura en contra de la producción en masa y las políticas de comercio multinacional. Pero lejos de usar técnicas de confrontación abiertas y directas, su beligerancia se expresa principalmente a través de estrategias de “copia y mejora”: algunos de los dispositivos más famosos que han nacido del DIY tienen sus orígenes en la reformulación o modificación de tecnologías ampliamente conocidas vendidas por multinacionales. En realidad, cuanto más popular es el producto, más atractivo es piratearlo.

A Gijs creation. Photo courtesy OFFF Festival.

Nerdference es un nuevo panel enfocado al DIY digital que se presenta en el festival OFFF: un movimiento social, ideológico y tecnológico bajo el cual pueden encontrarse múltiples formas conceptuales a través de disciplinas como el circuit bending, el software y hardware hacking, el desarrollo en código abierto, superficies de control de fabricación casera, entre otras muchas. Nerdference es una oportunidad única de dar una visibilidad física y una exposición offline a un fenómeno que vive mayoritariamente en internet. La red ha permitido desde el desarrollo de proyectos colaborativos tan grandes y conocidos como Linux a poder compartir con el resto del mundo dispositivos caseros realizados individualmente como hobby. Una red internacional de tecnologías de dormitorio que ha contribuido substancialmente en la evolución de las herramientas digitales usadas ampliamente en la creación con nuevos medios actual.

Nerdference es un amplificador para una generación de artistas con voz propia. Una generación nacida con un portátil bajo el brazo; adolescentes que han aprendido a programar de forma autodidacta y se han convertido en hackers famosos; músicos que elaboran todo un proceso de producción, con suficiente imaginación y conocimientos técnicos como para crear desde sus propios instrumentos hasta sus redes de distribución musical; artistas que desarrollan su propio software y lo distribuyen libremente…

La primera edición de Nerdference en el OFFF Oeiras 09 tiene el honor de presentar a Eric Wilhem, Peter Kirn y Gijs Gieskes.

Eric Wilhem es el fundador de instructables.com, un web de referencia mundial donde todo aquel que quiera puede mostrar sus dispositivos caseros hechos por ellos mismos. Instructables.com es, tal como Wilhem declara, “el web de Muestra y Explica más grande del mundo”, y se ha convertido en la Biblia del DIY. En él se puede encontrar lo más inimaginable: desde como se diseñó y programó la propia web, a como customizar instrumentos musicales o como fabricarse uno mismo el detergente para lavar la ropa. Esta será una oportunidad única para disfrutar del amplio conocimiento de Eric sobre DIY.

Peter Kirn es el nombre que está detrás de createdigitalmusic.com, createdigitalmotion.com y
createdigitalmedia.com. Estos blogs son puntos de encuentro esenciales para artistas, programadores y VJs, y son una guía para conocer las últimas novedades tecnológicas y de DIY. Y por último, pero no menos importante, el artista holandés Gijs Gieskes nos mostrará como lleva el circuit bending al extremo en Nerdference. Aprenderemos como concibe, diseña y construye sus extraordinarios artefactos y software de modificación de navegadores web.

Julià Carboneras

NERDFERENCES [ENGLISH]

Since day one, the so-called “democratization” of technology has been constrained by too many determining factors as to be considered genuinely democratic. Although it’s true that the prices drop has improved a wider access to sophisticated digital devices, it also has determined the way of using them through the limitations set by their manufacturers. Today, thousands of users are breaking these limitations through the DIY (Do It Yourself) ethos.

Since Reed Ghazala coined the term “circuit bending” in the sixties to name the modification of electronic devices internal circuits to generate sound, the influence of the DIY movement in contemporary creation has been obvious, and some of its inventions and discoveries have become basic resources in today’s digital art, like the Processing software and the Monome control surface. But we can’t think of circuit bending or open source software as mere techniques or devices. Their most intimate nature, their existence itself, is strongly connected to an ideology that deals with alternative social and political issues. Often related to punk attitude and anti-capitalist movements, the DIY is, first of all, a stand against mass-production and mainstream trade politics. But far from openly confrontational techniques, its belligerence is mostly expressed through copy-and-improve strategies: some of the most famous devices born in the DIY scene have their origins on the re-formulation or modification of already existing and well-known technologies manufactured and sold by multinationals. Actually, the most popular the product, the most attractive the hacking.

Nerdference is a new panel at OFFF focused on the digital DIY: a social, ideological and technological movement whose multiple formal and conceptual traces can be found on disciplines like circuit bending, software and hardware hacking, open source development and homemade control surfaces, among many others. Nerdference is a unique opportunity to bring physical visibility and offline exposition to a phenomenon mostly living on the Internet. The net has been a determinant platform for the development of so big and well-known community projects as Linux or the worldwide sharing of self-made devices made out by individuals all over the planet. An international bedroom technologies network that has become a substantial issue in the evolution of digital tools massively used in today’s new media creation. Nerdference is an amplifier for a generation of artists with an already own voice. A generation born with a laptop in its hands; teenagers who learned how to program by their own and have become famous hackers; self-taught music producers with enough imagination and technical skills to build up their instruments and create their particular distribution networks; artists that develop original software and give it out to like-minded others.

Nerdference’s first edition at OFFF Oeiras ‘09 proudly features Eric Wilhem, Peter Kirn and Gijs Gieskes.

Documenting process via Instructables. Photo (CC) Anna Fuster / Tartanna.

Erik Wilhelm is the founder of instructables.com, a world reference site where anyone can show his / her self-made devices and applications. instructables.com is, as Wilhelm himself declares, “the world’s biggest show and tell website”, and it has become the bible for the DIY believers. It covers almost every imaginable topic: from designing and programming the site’s pages themselves to customizing musical instruments and creating your own washing powder. This will be a unique opportunity to enjoy Erik’s broad knowledge of the DIY industries.

Peter Kirn is the man behind createdigitalmusic.com, createdigitalmedia.com and createdigitalmotion.com. These blogs are essential meeting points for artists, programmers and Vj’s, and extremely useful guides to check today’s DIY state of the art.

Last but not least, Dutch artist Gijs Gieskes will show his extreme take on circuit bending at Nerdference. We’ll be able to learn how he conceives, designs and constructs his amazing artifacts and web browsers modification software.

Julià Carboneras

More resources:

Instructables.com

Trackmate Tangible Controller: A terrific example of documenting a tangible music interface project via Instructables (which in turn this group linked back to their Sourceforge page, a case of using the right tool for the right job)

Gijs Gieskes

Links from my presentation:

Adobe Rants Produces Unexpected Glitch Art
(proof that having tools that don’t always work perfectly, or that can be pushed past the point at which they function properly, can make them more powerful)

TUIO + reacTIVision: a protocol and open source vision library for touch, tangible interfaces

opensoundcontrol.org: a means of making devices and software more intelligent, more expressive, and more connected in a way that benefits artists and musicians

Save that Old PDA: Run Reware, Play Pd Musical Creations, Android (OFFF, NYC) – a way to harnass open source software to make supposedly “disposable” devices powerful again

handmademusic.noisepages.com: an opportunity to work on this stuff with other people, live, in person – and a call to extend this around the world, beyond Brooklyn, has already resulted in a number of cities in the US, plus London, Berlin, and Porto, Portugal

http://paia.com a source of DIY kits, including solder-free, business-card-sized kits that can be used to teach kids about electronics and sound early

Finally, here’s my presentation via SlideShare, complete with (some) of the embedded videos: