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Re: [microsound] usefulness of compressors/mastering in experimental music
On 11 Nov 2004, at 12:07, derek holzer wrote:
Yes, of course. And how many technical sacks-of-tricks from the "demo
scene" were interesting beyond the fact that the dude could hurl ten
thousand spinning cubes a second out of the screen, and he wrote it in
Assembler? ;-) I am aware of the dangers of becoming
programming-centric in the approach to art. I just came back from a
conference on open source video applications where these dangers were
well displayed. You had very good programmers demoing their stuff, but
what you saw was a hodge-podge mess of video clips being run through
every filter they had ever designed, one after the other. In this
case, the art on display was the code itself--and code worthy of the
name "art" it was. The video on the screen, however, was simply one
instance of that code at work [like a lot of Live or Reason tracks...]
I grew up looking up to the demo scene, those old Amiga demos were the
reason I got into programming! Being young, I never really questioned
the validity of what they were doing beyond technical tricks. I find
it interesting that you point this danger out, Steve Sacks discusses
something similar briefly in this paper (see the 'screen saver
comparison'):
http://www.aec.at/en/archives/festival_archive/festival_catalogs/
festival_artikel.asp?iProjectID=12510
I've been looking at a lot of software art recently, and I find it sad
that people don't distribute their code more often. What I'm hinting
at here is in response to your comment: "The video on the screen,
however, was simply one instance of that code at work."
There's even less people using open standards such as SVG to create
art, rather than Flash/Shockwave. While there is some excellent
Shockwave stuff out there, I couldn't even SEE Shockwave until last
year when I added a Mac to my setup (until then it was all x86 Linux).
By the way, what conference was it?
Thanks,
Alex
--
homepage: http://alexyoung.org
music: http://noise.me.uk
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