If you want new ideas about design and interaction, ask a musician. Before the Wii remote, the iPhone, Microsoft’s Surface, and Minority Report, musicians were trying oddball ideas for music performance. That hasn’t slowed down, either, from the futuristic and space-y to down-and-dirty acoustic techniques. We’ve got quite a gamut coming up for our madcap, sound and noise-packed hour of competition happening this Saturday at NASA’s Ames Research center during Yuri’s Night, and we’d love to share them with everyone online.

For starters, here’s the rundown of the projects with links to project sites and artists, and all the judges:

Futuristic Music Design Challenge: Meet the Competitors, Judges

Join the event on Facebook

The projects: the Bubblegum Sequencer (previously on CDM), The Box custom hardware with colored lights + Reaktor ensemble, the surface-temperature tangible interface table Weather Report (previously on CDM), the strange polygonal Kromatron wireless instrumental interface, the Thimbletron gloves-as-samplers with lab coated performers project (previously on CDM), the bicycle wheel and analog tape Looping Pedal (previously on CDM), the computer-powered musical saw WaveSaw, the 28-string just-intoned microtonal casmolyra, the turntablist custom software ammoBox and the GrooveStep DS pattern maker (previously on CDM).

I’m also pleased to announce…

The judges:

• Roger Linn, father of the modern drum machine (in my opinion, anyway) and creator of the MPC60 for Akai, plus recent creations — and he plays the mandolin
• Liz Enthusiasm, lead singer of Freezepop (check out their albums or just play a Harmonix game) and evidently an expert on Dr. Pepper
• (Matt) Ganucheau, a mastermind of Yuri’s Night’s music and art, a composer and sound designer (and teacher of sound design for games), an electronic musician, and creator of the NSFW "foreplay robot" Moaning Lisa
• … and yours truly as emcee

Speaking of Roger Linn, Tom at Music Thing just posted an auction on the pre-Akai prototype.

Hopefully we’ll get to do some quick interviews with the judges, as well, for Planet CDM. Stay tuned on yuricdm.com.

The exceptional Masayuki Akamatsu, best known around these parts as the maker of the wonderful aka.objects for Max for hooking into Wii remotes, Space Navigators, MacBook motion sensors, and more, gets an in-depth interview over at the Make:blog. They even manage to bridge the language barrier and translate to English.

“Made in Japan” Interview: Masayuki Akamatsu

The digital maestro talks about Max, the future of technology in the micro- and macrocosm, and his live-soldering electronic Breadboard Band.

He also has this to say about the darker side of technology in Japan:

This depends on the generation, but I think that in particular young people in Japan for most part think of electronic devices as being disposable. The pace of consumption and greed is pretty astonishing, and they probably aren’t even aware of it consciously.

I think there’s a growing awareness of this issue here, as well.

One bone to pick: he claims Max, compared to the open source Pure Data, is “overwhelmingly better in terms of function, extendability, etc.” I think that easily applies that to the areas of interface and documentation, but Pd has some functionality and extensibility tricks of its own — more “different” than “better” (and arguably, Pd is better in some areas). But he has done some fantastic things with Max, so I certainly see no reason to argue with his choice of tools.

Thanks, Make, for the great interview. Anyone you’d like to see on CDM’s interview list? Any volunteer translators for people of the rest of the world?

We live in an age of disposable electronics. iPod battery wears out or new prettier iPod arrives, and old iPod gets tossed. Or, if you’re Norwegian sound artist and musician Espen Sommer Eide, your iPod could live a second life far more interesting than its first.

The Slåttberg is a custom musical instrument fashioned from an iPod running Linux, pdPod, the iPod-ready version of open-source multimedia patching software Pure Data, a 60s-era loudspeaker cabinet, an internal amp, and, most importantly, a big crank. Plugged into a Moogerfooger FreqBox, the resulting instrument feels like a reimagined analog Hurdy-Gurdy. Espen says he was inspired by deconstructing Norwegian fiddle music, and it comes out in the instrument not only in the sound but in the sense this creation is something Norwegian ethnomusicologists might collect, alongside ancient Scandinavian flutes.

Those of you in Norway, let us know how the premiere goes, and what else happens at the festival — sounds terrific. Espen writes:

Hi being a regular reader of your site, and since your article about the pdpod a while back inspired me to use my old ipod for this project - I thought you might be interested to check it out. A preview video of a custom built musical instrument by Espen Sommer Eide, artist and member of Alog and Phonophani. The Slåttberg will premiere at the Borealis Festival for contemporary music Bergen, Norway late february 2008.

alog.net

Alog, by the way, is the acclaimed duo of which Espen is one half. And anyone who makes use of Duck-Rabbits (the “famous gestalt psychological figure representing both a duck and a rabbit depending upon the point of view”) wins still more bonus points.

CDM contributor, mic flag fabricator, beat bicyclist, and sound artist extraordinaire Michael Una has been up to more sonic magic-making in Chicago. He showed two recent creations at MGFest 2008 — that’s MG as in “Motion Graphics”, not, sadly, the car, though I think sound art would also go deliciously with MG automobiles.

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.

Any CDM readers who live in Chicago should check this out- it’s a weeklong festival exploring/celebrating sound design, motion graphics, and the overlapping regions occupied by both.

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]

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:

The ways in which people can reimagine the beloved turntable seems boundless. We’ve seen bass guitar turntables, computer scratching visualizations, turntable-controlled vibrating chaise longues, and turntables embedded in tree trunks as art installations. Still, there’s more:

TurntablistPC is an ongoing art project coupling a vintage turntable with a vintage PC, creating a hybrid, record-playing server that can be controlled remotely by remote websites around the world. It’s the creation of artist Mogen Jacobsen, and it’s currently being exhibited as part of a show called Webscape at the Art Museum of West Sealand, Denmark. What? You’re not planning to pass through West Sealand this fall? The museum still wants your help: embed a piece of code, and visitors to your own website will trigger manipulations of the turntable based on geographic position.

TurntablistPC Project Page
The TurntablistPC spins again! [Networked Music Review, my new favorite source for artsy music tech!]

Thanks to our artist friend Michael Una for tipping us off. I’m not sure I’ll be building anything of this sort soon, but what I do like about it conceptually is that it returns playback devices — increasingly abstract and virtual in the age of the iPod — to the realm of mechanical instrument. I think we may see all sorts of strange, new, hybrid digital/mechanical instruments in the coming years.

Of course, if you can’t figure out how to turn a turntable into a hybrid server art installation, you can always just don your black vinyl jumpsuit and strap your turntable to your back. I think Numark’s idea here was to somehow promote their turntables, but to me, they may have stumbled onto a new, futuristic couture in which we wear heavy objects as fashion statements. And for whatever reason, I’m game! (People could, you know, come up to you … I’ll scratch your back if you scratch mine sorta thing?)

Making_sound grabbed this shot and sent it to our Flickr group; thanks!

Maybe it’s something about music making in the digital age, the alienation of music technology. Or maybe there’s just something fun about mechanical objects making sound on their own. Whatever it is, artists lately have been fascinated by mechanical instruments. Here’s yet another one:

French artist Saadane Afif makes sometimes-chilly installations out of musical objects, like a minimalist collection of guitars and amps, strummed by mechanical apparatus, in his piece Power Chords. Or, in art world-speak, he…

…works with notions of displacement and contrast. His pieces, vibrating with multiple meanings, function by using collusion as their driving force. He employs objects, scale models, installations, sounds, and writing to classify the unclassifiable and mirror-in the work of art itself - the dialog that arises between the viewer and the artist. This dialog is continuously fueled by various allusions and is infiltrated on every side by historic, psychological, social, and cultural elements.

It always has to be about displacement, doesn’t it? Always has to be the dialog between viewer and event? Darned art writers.

Anyway, in plain English he puts 13 guitars in a room and they play mysterious, ethereal strumming sounds as you walk through, a bit like a minimalist haunted Guitar Center.

It’s the music of the spheres. Or at least, the music of the various, floating geometric shapes, bouncing around a virtual galaxy with gravity simulation. Kepler’s Orrery is a (newly) open-sourced generative music maker, based on a gravity simulation algorithm. As bodies collide, they make sound; it’s a bit like what would happen if you crossed a music box with a snow globe. Different worlds represent different songs. You can reach in and grab some of the objects, so it’s possible to “perform” with the project.

The application runs directly in a web browser (assuming your Java is up to date), and since it’s open source, digging around in the code could inspire your own Java-based musical environment.

Kepler’s Orrery Project Page, with notes, source code, and a live applet
Creator Simran Gleason Talks About the Project on java.net in a podcast (MP3)

And yes, there are some similarities here to the generative music of Brian Eno (soon to be heard in the upcoming Will Wright game Spore) and sound artist/composer Toshio Iwai’s ElectroPlankton game. Perhaps we have a whole genre of musical creation in the works here.

Related:

• Flash-Powered, Animated Musical Painting: Visual Acoustics
• NuSofting’s Collide and Play plug-in uses a similar, physics-inspired interface
• Videos and more featuring Nintendo ElectroPlankton and Tenori-On creator Toshio Iwai
• Why ElectroPlankton is wonderful — but falls short of being the music tool it could have been
• Brian Eno, with Will Wright on Spore and Generative Systems, Sound, and Paintings

Music itself may be ephemeral, but it’s deeply connected to the spaces in which it’s performed and heard. You’ll notice that space all the more readily if it’s, say, a giant, cavernous grain silo, and you can access the space not only in person but over the Internet. And, really, you can’t call yourself an audiophile if you don’t have a grain silo handy for listening.

JollyRogered writes with this gem from the Audiooddities list. It’s a chance to hear an online performance of the digitally-connected grain silo, the Silophone:

Announcing a special online performance by Lee Rosevere, scheduled for July 16, 2007 at 9:30pm EST.

The performance will be an exclusive live internet event, where Lee will perform new original material from his home studio and stream it to the Silophone.

The Silo #5 is an abandoned grain storage facility in the port of Montréal. From the website: