“WORM is a Rotterdam based non-profit foundation and a multi-media alternative cultural centre focused on experimental, avant-garde and underground art, primarily music and movies. WORM is funded by the Triodos Bank and part of the culture nota 2009-2012 from the Dutch government. The foundation has received the Pendrecth Culture Price and it’s venue is part of the Rotterdam culture plan.
WORM organises festivals and concerts, movie nights, runs an independent record label, a radio station. Part of the organisation is also a media lab, a hackspace, and a music studio. The media lab and music studio both run free artist in residence programms for artists and experimental musicians. Experimental musicianLukas Simonis is the programmer of the artist in residence programm for the music studio. The studio has a large collection of vintage analogue synths such as the ARP 2500 inherited from the Centrum voor Electronische Muziek (CEM) and a collection of experimental musical instruments built by Yuri Landman.”
Its a fortunate turn of events which has led up to this. Last year I mixed front of house for Liquid Architecture 12 in Melbourne and Sydney. I got to meet Lukas playing some incredible collaborations with Dave Brown. I just needed to get there so when earlier this year Back to Back Theatre asked me to tour with them in Cardiff and London, i knew what to do.
Thus begins the apocapella series, which sets out to document my interest in voice, popular form and sampler.
The set is a live recording made while rehearsing for Racket 19 in Feb 2012.
Just returned from Berkely, California where i attended CNMAT’s Jitter Night School, taught by Andrew Benson. At first i was worried that things might be a bit basic but halfway through the second day i was well deep. Andrew is a great teacher and is able to talk well about jitter and these things in general, which is undoubtedly a skill! My thanks to him.
Now, I’m going to post a visualisation here which actually didn’t take too long. its a grid of vertices (xyz) being operated on by sound in real time. What did take me a long time was to try and get it looking good online. SD looked crap now matter how i compressed it, so i decided to try HD. This meant that i had to draw to a bigger context and created some problems when it came time to actually capturing and writing the video to disk. Eventually it got out at 1280 by 720 but the frame rate isn’t constant. In the end it didn’t matter so much anyway as flashing lines and fast movement is exactly what video compression struggles with at the data rates allowed on youtube and vimeo. Interestingly the track i used to visualise has a bit of a history as something people seem to want to visualise. I guess I’ve tapped a meme.
Try to imagine the lines as hard and without the green clouds. The only tricky thing i’ve done is a slow zoom in and out to make things interesting. The rest is sound driving geometry.
Compiled this short video which shows material collected from circuit bending a pong game. The main bend was taking its amplified sound output back to the graphics chip, and wet fingers of course.
Marco Cher-Gibard and Rosalind Hall 2010
RMIT School of Art Gallery Residency