Sun, 31 August 2014
Tim Weaver is one of the people in my life that inspires me - but also pushes me into things that might be challenging. He helped me get into grad school, helped me get a gig teaching and is always helping me out with my academic stuff. But beyond that, he is an artist with a very particular method to his work: he uses biological data as the spine of his work. Whether it is using protein data for melodic moves, or using the structure of a moth as an instrument to be played, biology always plays an important role within his work.
And it makes sense - because Tim is a trained biologist. The path that he took from protein-geek to art-geek is quite fascinating, and he spells it all out in this podcast. Additionally, we talk about the difficulties in having artist works with scientists (which can be more significant that you'd think).
Sun, 24 August 2014
I first met Nick Ciontea at a Max/MSP/Jitter workshop in Madison WI, and it was clear at the time that he was (creatively) on fire. He wanted to know about everything, and wanted to understand how it all worked together. In my experience, people with this attitude end up doing great things...
Well, in fact, Nick has done just that, but in a very unexpected way. He decided to focus on live video art, but did so by being one of the first people to embrace the LZX modular video system. As a result, he was doing work unlike most others, and it ended up getting him a lot of attention. As a result, he's been doing work for a number of high-profile artists, doing live gigs around the world, and doing work preparing video for large-scale shows. And all of this happened over the course of three years!
This is a great podcast for people that are wondering how to get into video art, but is also a great discussion for peple that are not sure if their hard work will make artistic sense. I really enjoyed this discussion, and I hope you do too!
You can check out Nick's work at brownshoesonly.com.
Sun, 17 August 2014
I was having an email chat with Mark Vail when he suggested that I think about an interview with Tim Caswell, one of the founders of Studio Electronics. I jumped at this chance, since I've long been a fan of SE's work, and wanted a chance to find out more about the start of the company and what it is going to do for the future.
The discussion was wonderful, and I got a chance to dig into Tim's head about design (and especially filter design), old-school music and new-school electronics. Additionally, we find out a little about Studio Electronic's future product plan (a scoop!!!), and learn more about Korg filters than anyone has a right to know!
I hope you enjoy this chat as much as I did; Tim is a gracious and thoughtful synth designer, and it was an honor to be able to talk to him.
Sun, 10 August 2014
I first met Dan (virtually) regarding my ArdCore Arduino-based module (www.20objects.com/ardcore) - a master's project for DU that helped me graduate. Dan was into it, built it from the breadboard up, then asked me if he could develop a commercial version. I gave him the thumbs-up, and the Euro ArdCore was born. But from that contact, I started looking into his effects and chaotic modules - you can check them out at snazzyfx.com - and sort of fell in love with the whole concept.
Dan talks about his background and his conceptual basis for his work. But there is also an interesting subtext: his concern about creating complex modules in a world that tends to preference instant gratification. It's an interesting area of discussion, and worth considering as the modular market continues to grow in size and importance.
This is a good opportunity to point people to the MuffWiggler forum, where Dan has his own SnazzyFX subforum. If you want to interact with him and his users, that's a good place to start.
Sun, 3 August 2014
One concept that has come up several times in previous podcasts is the Deep Listening movement, a system of applied listening focus that was developed and is championed by today's guest, Pauline Oliveros. Ms. Oliveros was kind enough to spend a little time explaining the history, concepts and futures of Deep Listening, and helped me get a better feel for what is involved - and how it can help ones artistic perspective.
I'll admit something here - I was a little flustered during this conversation. Pauline is a personal 'hero', and her history places her in the center of many of the things I hold dear. So please forgive me if I'm a little gushy... <blush>
If you want more information, please check out the books mentioned in the podcast, or visit deeplistening.org (for Deep Listening information) and paulineoliveros.us (for information on Pauline's work).
Podcast #40! Thanks to everyone for their support, all of the kind emails and social media messages that I get, and for your continued listenership. You all make this so worthwhile!