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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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