The fifth edition of OpenLab is taking place this Saturday night in the fine surrounds of Dalston's Café Oto. I'll be presenting a quick howto on integrating SuperCollider and Processing for generative audio-visual works as part of the free daytime workshops, and performing with AtomSwarm during the evening. Entry for the night-time events is £5 to cover running costs.
This month's remit is "In 3 Dimensions". It's pretty rare that a night like this has a real cube-format 3D sound system on offer, so I jumped at the offer to be involved. Also on the night:
‘In 3 Dimensions’ features a set of 3D music by Martyn Ware of Illustrious - 80s pop icon and co-founder of The Human League and Heaven 17 - with live visuals by Fat Butcher; a screening of the D-Fuse & Illustrious 2007 FPS–A LONDON CONVERSATION - a commission for the opening of the new BFI building; a range of work from squidsoup including Driftnet - a spatialised musical environment navigated by bird-like flight; Daniel Jones‘ AtomSwarm - a three dimensional sonic ecosystem; and screenings of works from The Sancho Plan, Tal Rosner and the D-Fuse ‘VJ Culture’ book DVD.
In other news, more new material and gigs as The Capsized Smiles, including a UV-lit art show at the end of the month...
For those on the other side of the North Sea, a new video recording of AtomSwarm is being shown at this weekend's New Media Meeting festival, in Norrköping, Sweden. Aside from an impressive roster of media artists by day, and some hot European techno by night, they've also got a damn fine website - apparently created as part of a web development training exercise!
Things change fast in the hypersphere. I've been absent for a couple of weeks, first journeying around Napoli on a working trip to EvoWorkshops 2008, then beginning intensive work on an electronics project that I'll outline shortly.
In the meantime, my friends seem to have sneakily entered productive overdrive with new written, drawn and photographed material from Scott, Mimi and Garry respectively. Mike has been involved in the Disclosures series at Gasworks, the Capsized Smiles have been furtively forging material for our impending EP, and new web projects are forthcoming from Julia and Josh (soon). Moreover, a plethora of excitable monome users have latched onto the alpha website for the Monome: Open Practice Project, an ongoing series of events that I'm involved in co-ordinating, so I returned to find a mass of unbelievable vimeo links of monome performances sitting in my inbox. Likewise, more news on this soon. Finally, my paper on AtomSwarm has been published as part of the proceedings of the above conference; to my delight, the nice people at Springer even corrected the shocking spelling error that I allowed into the camera-ready version ("anectodal", for reference).
There's also a frightening amount of exciting events happening in the next couple of weeks: lectures at Goldsmiths from Brian Massumi and Lev Manovich; a rare screening of Robbe-Grillet's Trans-Europe Express at the BFI; the EYOE event series at the O2; Futuresonic festival in Manchester, and (later) Venn in Bristol; a They Did stall at the London Zine Symposium, alongside one from our cohorts at the Forest; and the first of a series of gigs that we'll be hosting in Herne Hill.
After months of good intentions being ousted by other priorities, I'm pleased to have finally found the time to finish cleaning up and documenting the core classes of AtomSwarm, a Processing-based framework for musical improvisation based on swarm behaviours. It's perhaps not the cleanest set of source in the world, but provides a useful basis for other swarm work and contains information on the genetic and metabolic constructs that co-determine the swarm's behaviours.
In a couple of weeks' time, I'll be talking about AtomSwarm at the SpACE-Net International Spatial Audio workshop (University of York, Wednesday 23rd January) and its usage within a 5.1 surround environment, featuring a 5.1 performance with the latest version of the software.
One of the keynote addresses is by Chris Watson, who's been putting soundfield microphones and 5.1 technologies to extraordinary use in his field recordings. I was lucky enough to catch Chris giving a recording workshop as part of FACT's New Tools series, which has since turned out to be invaluable - so expect good things.