It doesn’t officially turn one year old until October, but Darwin Grosse has spent the last year having rich, deep conversations with a broad spectrum of artists for his Art + Music + Technology podcast. The guests have included big names like Pauline Oliveros and Richard Devine, as well as Cycling ’74 co-workers (who also have a pretty rich creative life) and a whole range of synth freaks, programmers, and artists working in Art, Music, and Technology.
I caught up with Darwin to find out how the podcast has gone, and asked him to share some of his favorite moments:
“I actually learn from everyone that I talk to – so it feels odd to pick out favorites. Personally:
But each one of the podcasts hits me in the heart, because it shows me that there is a real person behind the work that is being done. Talking to someone like Richard Devine, who is kind of a star in certain circles, reveals that we both grew up on Ministry/Skinny Puppy industrial; Dan Snazelle and I had the same kooky religious background. This personalizes their work in a way that no written interview (or, for that matter, any pre-planned study) could have done.
Probably the best thing that has happened is that I now prepare less – and edit less. Unless I’m completely in the dark about someone’s work, I generally spend less than 5 minutes checking on people’s work. Rather, I open the door for them to talk about their work (which means that they talk about the stuff they are interested in, rather than what the public is interested in…), and then ask about their background (which always gives me the next 20 questions to ask!).
It is really incredibly fun for me, but also has totally changed the way I think of art-making and career-building. It also has changed the way I talk – I’m much more aware of my over-use of “um”, “interesting” and “awesome”. Not completely fixed yet, but working on it…”
This week, Priscilla Frank of the Huffington Post highlighted a group of artists actively working to develop the future of opera. Several on the list are our friends and Max users. Congrats to them and to their crews.
…opera innovators, toying with non-linear narratives, unusual instruments and new media, to name a few. — Priscilla Frank
Every once in a while, I have the privilege to reveal the secrets about what we’ve been working on. A new software release is the big milestone for us. We don’t have an office anymore, so we can’t announce the construction of our new Spaceship Campus or even a pretend office made out of Lego.
Today we released Max 6.1.8. This is an exciting update for two major reasons:
6.1.8 also provides a nice set of the usual bug fixes and improvements. I recommend checking it out even if you aren’t yet a Gen user.
I am also happy to announce that this fall we will be releasing Max 7.
From now until the Max 7 release, you can purchase Max 6 for 20% off and get Max 7 for free. We’ve also lowered the price of the Max 6 upgrade — including Gen — to the Max 7 upgrade price of $149.
Now I’d like to tell you a bit about what’s coming in Max 7 and why you might be interested in it.
There’s much, much more about Max 7 I would love to share with you right now. But I need to get back to work so that we can put the new release in your hands. Rest assured, we won’t be able to contain our excitement and we’ll be sharing more specifics over the coming weeks. On behalf of all of my co-workers, I would like to thank you for giving us the opportunity to develop Max over the past couple of decades. We hope you find our latest work worthy of your continued support. Cycling ’74 just celebrated its sixteenth birthday. I guess that means we can finally get a driver’s license.
I spent the first week of July at Goldsmiths College at NIME, checking out lots of new interfaces for musical expressions. As our host Atau Tanaka pointed out, it’s just as easily new instruments for musical expression – the conference and its participants are well past the point of tinkering or researching techniques. They’re making instruments, making noise, and doing things in the intriguing ways that emergent communities do when they grow.
It’s a great time to be having the kinds of discussions about the relationship between instruments and performance that occur both in the context of the papers and presentations and performances and also (with considerable passion) in the pubs at the day’s end.
CNMAT presents our intensive and immersive summer workshop for artists, musicians, interface designers, and anyone wanting to improve their skills with Max/MSP/Jitter (MMJ) or learn from scratch. This year’s course will showcase CNMAT’s odot library and in-house tools built up over the last 20 years, along with various hidden Max tricks. Our format includes lectures, demos, and hands-on lab time. If you are looking to get up to speed with the latest in Max, this is the place to be!
Special Guests include John Chowning, David Wessel and David Zicarelli.
Please find details below.
CNMAT’s Max/MSP/Jitter course course will be taught by programmers and artists with a great deal of experience both using and teaching the software. By the end of the workshop, students should be able to construct sophisticated, robust patches.
Max/MSP/Jitter Day+Night School – July 21-25, 2014, 10AM-9PM
This intensive week of hands-on classes covers a wide variety of topics related to Max/MSP/Jitter programming and will make use of the latest features of Max 6.
The schedule will be as follows: Monday through Friday, July 21-25, 2014
10am-12pm: Beginning/Intermediate MMJ Programming
1-3pm: Beginning/Intermediate Lab
3-5pm: Open Lab/Special Topics 5-6pm: Dinner Break 6-9pm: Advanced MMJ Programming
Instructors: John MacCallum, Jeff Lubow, David Wessel, Adrian Freed, other experienced teachers, and YOU.
The classes each day will consist of two lectures separated by lab sessions where the students will receive one-on-one attention from the instructors and assistants. All students, regardless of their skill level, are encouraged to attend all of the sessions throughout the day.
NOTE: Participants are required to bring their own laptops with the latest version of Max/MSP/Jitter 6 already installed and running (Mac OSX or Windows 7/8). Download here: http://cycling74.com/products/max/ Please bring a set of headphones to use during the lab. Also, participants are strongly advised to have gone through the Max, MSP, and Jitter (if applicable) tutorials before the workshop. Pricing: As always, we try to keep our workshop fees as reasonable as possible. In the past, the morning and evening sessions were priced separately and would cost over $1000 combined. We offer both for $750.
To reserve a space contact Richard Andrews: firstname.lastname@example.org