UFO, Black Hawk War from CandyStations on Vimeo.

Jaymis Loveday sits down with Deborah Johnson for Create Digital Motion in a conversation about live visuals for music. Deborah (right), aka CandyStation, is touring with Sufjan Stevens, another of our favorite musicians. (If I could come up with more excuses to bring him into a "digital music" blog, I would.)

It really is a conversation, as Jaymis has plenty of thoughts himself, having toured with Australian Idol Bobby Flynn (and I think the two are kindred in aesthetic).

See Deborah’s visuals above, and check out the full interview on CDMotion:

Interview: Deborah Johnson on Sufjan, Singer Songwriters, and Content

Many artists tour with visuals, but use canned material. Seen any particularly terrific shows with live visuals lately? (Maybe someday we’ll be able to get together a matchmaking service for Create Digital Musicians and Create Digital Motionists — speaking as someone who does do both, it’s not always easy to split energies, and collaboration is more fun!)

Breaking story from Messe — the V-4 video mixer, the gold standard VJ mixer that’s almost uncanny in its ubiquitous appearance on live visual sets, finally has a sequel. No word on pricing yet, but the V-8 is already tantalizing in that it ups the input and output count and finally(!) adds a 15-pin connector for computer video. Full details on Create Digital Motion:

Edirol V-8 Mixer: 8 Ins, 3 Outs, Computer Ins Mean V-4, The Next Generation

With this arriving this month and the boutique Vixid mixer to play with, it could be a great year for audiovisualists.

Texas, here we come. Before the armies of bands hit Austin for South by Southwest, we’ve got some events going during SxSW Interactive — the “spring break for Web geeks” festival of online tech.

Laptopists battle it out Saturday night 3/8: The Digital Showcase at the Austin Museum of Art is holding a Laptop Battle for Texan laptop artists. I’ll be judging, along with CDM reader favorite (and reader) proem, and two other judges. The night also  features performances from New Berlin and Richard Gear, plus live visuals from CDMotion contributor Dan Winckler. Details at AMODA, upcoming.org. (A paltry $4-$7, and even 18 year-olds can get in.)

Explore creative interfaces for data Sunday 3/9: My panel with interaction design pioneer S. Joy Mountford (Apple, Yahoo) will look at how Web information can become a fluid, artistic medium for visualization and sonification. Details at Create Digital Motion. (Requires SxSW Interactive badge.)

Live CDM music and motion party Monday 3/10: Bring your musical, visual toys, custom code, and DIY projects and hang out with other CDMers at 8pm, then stick around for live performances from musicians and visualists. Details below; let us know you’re coming at upcoming.org, Facebook, SXSWHERE party guide. Free, no badge required.

More on the CDM party — good chance to chill before SxSW Music unloads on you!

Squarely in the “things Ableton Live was not necessarily built to do”: animating visuals, one frame at a time.

Cousin Throckmorton whipped up a retro visual feast of Space Invaders, Pong, and other games classics, using MIDI to step through frames individually.

You can MIDI sequence Live’s locators to jump between frames, thereby giving the effect of animation. Sprites/frames are drawn using blank MIDI clips; unfortunately, the resolution is limited by the Y-axis size, as Live doesn’t allow you to resize that. Live’s skins are somewhat tied to MIDI already, so you can “ride” the skins field to change background colors (it updates on midi notes on(?) Audio track is made of samples of video games, trails effect at end achieved via hacked Live skin. Sets/skins available for you to toy with at my myspace: myspace.com/cousinthrockmorton

Mind you, this is unlikely to shake the visualists on Create Digital Motion from specialized tools for visuals — and you could just as easily (uh, scratch that for far more easily) use MIDI to trigger a visual app. But the work is really incredible, and I think as Live grows in ubiquity, users will increasingly show their Live chops by hacking harder than ever before.

And for the record, this is the same Throckmorton who gave us a ribbon controller made from a drivers’ license, a drum made from a laser, and pennies as drum pads, among others. More MIDI-as-visual-control tips, too:

db3ll Channel

Prescient spam comment: “i am so lonely, i just broke up with my ex” says cutechick90201. Worry not, uh, imaginary cutechick. You’ll be surrounded by boys as you seduce them with the siren song of your drivers’ license.

Thanks, Cousin!

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]

It’s pretty stunning to watch Brian Eno, one the major pioneers of our time in terms of thinking about musical form, onstage with Will Wright, one of the major pioneers of our time in terms of thinking about game design. Here’s Brian Eno in conversation with Will Wright, chatting about the kind of generative systems that drive their collaboration in Wright’s upcoming game Spore. There’s plenty of Web coverage of the game itself: here, they go the classic generative model, cellular automata, and talk about how an unbelievably simple set of rules can yield immense complexity. CA was developed decades ago, but as we learn more about the power of DNA, that message seems even more powerful today. As Eno succinctly puts it, making art this way is about “seeds, not forests.”

Generative music is, of course, of great interest to game composition, because it makes the musical score as dynamic and unpredictable as the game itself, rather than simply a background of looping music. Whereas some composers are actually looking to more complex recorded scores, others are coming full circle to music more tightly tied to the game.

It’s great to see Eno and Wright return to the simplest of models as a conversation. I’m eager to learn more about the music specifically being composed — or engineered, depending on how you look at it — for Spore, and hope we can bring you more details closer to the release.

Thanks to Synthtopia for pointing this out; they’ve got additional videos with more coverage of Spore itself:

Will Wright and Brian Eno On Spore [Synthtopia]

Lots of other great stuff has been hitting Synthtopia of late, as well, so do check it out!

In other Eno-mania news, Apple has a profile of Eno as visualist, and his new digital painting project 77 Million Paintings. The model in visualism as in music is generative, working with seeds.

Profiles - Brian Eno [Apple.com]

77 Million Paintings [Official Project Page]

77 Million Paintings Interview [YouTube]

Eno’s background was in art, so it’s nice seeing the fusion of music and visuals — something we’re all about.

Anyone else with some good Eno stuff, Spore or otherwise, send them our way!

Linux naysayers get mighty grumpy about all the Ubuntu hype. I can certainly imagine some Ubuntu fatigue, but Ubuntu is actually gaining some real traction in a way that previous attempts to be a “Linux for the rest of us” have not. For that reason, it’s significant that there’s an Ubuntu release for creatives — not just one niche group of people, like audio, but for multimedia creative work in general. We’ve seen Ubuntu Studio before, but the big news is that you can go and download it now, and give it a shot on your Intel Mac or PC:

Ubuntu Studio

Note that there’s no live CD version, so you will have to install it to try it (though if you’re curious about Ubuntu, you could use a live CD of that).

We’ll be testing Ubuntu Studio CDM over the summer, both for the music and motion side. I will say, though, the music and audio end of this release seems to pale in comparison to Ubuntu Studio’s video and graphics tools. There’s Ardour, yes, a terrific DAW, and built-in JACK support. Other than that, though, the choices are generally far weaker than what’s available in commercial and even free closed-source software — or, for that matter, even other Linux audio distros. Compare the 3D application Blender, or Cinepaint for video, which easily stand alongside commercial tools. On the other hand, there are lots of terrific music packages that just didn’t make it into Ubuntu Studio — and that’s okay, because it’s not necessarily that hard to install the other apps. And there is a full complement of JACK audio utilities and some neat toys (trackers and whatnot). The big remaining question will be how the distro itself does in terms of performance and ease of use, which we’ll definitely be testing here.

Looks can be a powerful agent for changing how we think about sound. Pairing liquid, organic speakers with equally fluid and dynamic visualizations, the launch of Muon last month in Italy made this principle readily apparent. I’m all about lo-fi, cheap gear here on CDM, but if you absolutely must launch luxurious aluminum speakers with spectacular animated visuals at a posh party in an Italian salon, I sure won’t complain. Pass the prosecco, please?

Muon Project Page, documentation videos at chrisoshea.org
See coverage at ze | d | esign, toxi’s project blog, MoCo Loco, elsewhere. (Yeah, CDM’s motto is: cover things last. Was a bit busy with Maker Faire!)
Created by Moving Brands

Details on the installation and how it was done: