If you have ever wanted to work with Carsten Nicolai (raster noton) or William Basinski now is your chance.

I just came across this call for artists: 

http://www.atlanticcenterforthearts.org/artresprog/resschedule/aug/c_nicolai.html

It appears that Mr. Nicolai is looking for another artist/programmer to help him and Mr. Basinski complete a project. If you have ever seen or heard their work you know this will be an interesting project and great opportunity.

I wonder if I can master three programs in 4 months? :)

I just came across this call for artists: http://www.atlanticcenterforthearts.org/artresprog/resschedule/aug/c_nicolai.html

It appears that Mr. Nicolai is looking for another artist/programmer to help him and Mr. Basinski complete a project.  If you have ever seen or heard their work you know this will be an interesting project and great opportunity.

I wonder if I can master three programs in 4 months? :)


call-for-maxmspjitter-users

However, I find it amusing that if you get accepted to this 

residency, there is a $850 fee, plus airfare, plus the $25 

application fee (plus you are losing work time by being away).

It seems to me that if there are a couple of artists wanting someone 

to write the technology of their piece for them, THEY are the ones 

that should be paying. I know we aren't used to getting any arts 

On Nov 19, 2007, at 3:58 PM, thehouseofdis wrote:

> If you have ever wanted to work with Carsten Nicolai (raster noton) 

> or William Basinski now is your chance.

> I just came across this call for artists: 

> www.atlanticcenterforthearts.org/artresprog/resschedule/aug/ 

> It appears that Mr. Nicolai is looking for another artist/ 

> programmer to help him and Mr. Basinski complete a project. If you 

> have ever seen or heard their work you know this will be an 

> interesting project and great opportunity.

> I wonder if I can master three programs in 4 months? :)

San Francisco, CA    Work: 857-544-3967

However, I find it amusing that if you get accepted to this  
residency, there is a $850 fee, plus airfare, plus the $25  
application fee (plus you are losing work time by being away).

It seems to me that if there are a couple of artists wanting someone  
to write the technology of their piece for them, THEY are the ones  
that should be paying.  I know we aren't used to getting any arts  
funding in the US, but damn.

>
> If you have ever wanted to work with Carsten Nicolai (raster noton)  
> or William Basinski now is your chance.
>
> I just came across this call for artists: http:// 
> www.atlanticcenterforthearts.org/artresprog/resschedule/aug/ 
> c_nicolai.html
>
> It appears that Mr. Nicolai is looking for another artist/ 
> programmer to help him and Mr. Basinski complete a project.  If you  
> have ever seen or heard their work you know this will be an  
> interesting project and great opportunity.
>
> Deadline to apply is March 14, 2008.
>
> Best of luck to you!
>
> I wonder if I can master three programs in 4 months? :)

San Francisco, CA	Work: 857-544-3967
Email: bthrew@gmail.com
IM: captogreadmore (AIM)
http:/www.barrythrew.com


That does seem a bit skewed! But for your $850 you get 3 washcloths, 3 hand towels, 3 bath towels, 2 sets of sheets, 2, pillows, and 1 blanket and a clock radio!!!

http://www.theonion.com/content/news/brookstone_scientists_10_years

On Nov 20, 2007, at 2:23 AM, Leafcutter John wrote:

> That does seem a bit skewed! But for your $850 you get 3 

> washcloths, 3 hand towels, 3 bath towels, 2 sets of sheets, 2, 

>
> That does seem a bit skewed! But for your $850 you get 3  
> washcloths, 3 hand towels, 3 bath towels, 2 sets of sheets, 2,  
> pillows, and 1 blanket clock radio!!!
>
>
> --
> http://www.leafcutterjohn.com
>
> "The Forest And The Sea"
> Out on Staubgold Records
> Staubgold 68 CD/LP

and you can be shure your name will not be mentioned. i learned that lesson when i did the visuals for carsten for the insen tour with ryuichi sakamoto.

> and you can be shure your name will not be mentioned. i learned that lesson when i did the visuals for carsten for the insen tour with ryuichi sakamoto.

> and you can be shure your name will not be mentioned. i learned that lesson when i did the visuals for carsten for the insen tour with ryuichi sakamoto.
>

Quote: Karl Kliem wrote on Wed, 21 November 2007 17:07

----------------------------------------------------

I was afraid that might happen. Unfortunately it's pretty common.

Those were great visuals by the way! I have the dvd and I was just watching it over the weekend. Was it all done in Max/MSP/Jitter? Were there two (or more) projectors used? I'd be interested in finding out how those were done?

Quote: Karl Kliem wrote on Wed, 21 November 2007 17:07
----------------------------------------------------
> and you can be shure your name will not be mentioned. i learned that lesson when i did the visuals for carsten for the insen tour with ryuichi sakamoto.
>
> k
----------------------------------------------------

I was afraid that might happen.  Unfortunately it's pretty common.

Those were great visuals by the way!  I have the dvd and I was just watching it over the weekend.  Was it all done in Max/MSP/Jitter?  Were there two (or more) projectors used?  I'd be interested in finding out how those were done?

Anyway, if anyone goes and does this project, just make sure you 

protect your IP. Make sure the deal with the Atlantic center doesn't 

take any of your rights. Then, just tell Carsten to pay for it, or 

have your name in writing on any release, if they want to keep using 

It's not like he's doing this shit for free.

On Nov 21, 2007, at 4:07 PM, Karl Kliem wrote:

> and you can be shure your name will not be mentioned. i learned 

> that lesson when i did the visuals for carsten for the insen tour 

Anyway, if anyone goes and does this project, just make sure you  
protect your IP.  Make sure the deal with the Atlantic center doesn't  
take any of your rights.  Then, just tell Carsten to pay for it, or  
have your name in writing on any release, if they want to keep using  
it when you're done.

>
> and you can be shure your name will not be mentioned. i learned  
> that lesson when i did the visuals for carsten for the insen tour  
> with ryuichi sakamoto.
>
> k

screw these guys. i'm always saving someone's ass, but at least they pay for it.

On Nov 21, 2007, at 10:27 PM, keith o brien wrote:

I recently saw those visuals on your blog. Unfortunately without sound:-)

But still very nice ones! I just have to mention that I did a piece of 

work for Carsten as well and was paid and mentioned.

http://www.spots-berlin.de/en/exhibition/artworks.php?col=1&expo=80&artwork=12

Hi Karl,
I recently saw those visuals on your blog. Unfortunately without sound:-)
But still very nice ones! I just have to mention that I did a piece of 
work for Carsten as well and was paid and mentioned.

Karl Kliem schrieb:
> and you can be shure your name will not be mentioned. i learned that lesson when i did the visuals for carsten for the insen tour with ryuichi sakamoto.
>
> k
>


you are right. i shouln't generalize here. this was just my experience which i wanted to share. maybe it was my fault not to take care of this from the project start, but then you just don't think about credits while you concentrate on your work. i was paid, not as much as i spent time on the project, but it was decent for the honour of working with sakamoto and him. i still appreciate their music. but if you are asked as an artist because of your former work and you design and program everything on your own (with a little help by jhno and sebastian gregor), you wonder how someone can sell this as his own work. it took a lot of effort to finally be mentioned on the project website and in the dvd sleeve, albeit misleading in the describtion of what my role was exactly.

@dis: thanks. it was all done with max msp jitter. live. no backup. it's still a mystery to me how it didn't crash at one concert. it was a narrow led screen, an idea of carsten who did the stage design.

unfortunately the recordings on the dvd weren't the best concerts related to the visuals. opposed to early plans that i'd be part of the tour, a week before the tour started i was told that the budget for me was forgotten and i had to change the controls so that carsten was able to adjust everything himself on stage. and sometimes it seems it was too much that he had to take care of at the same time.

you can read more about the project on my blog: www.dienststelle.de

Yeah, I guess I should say I have had good experiences working with 

Only point is, everyone make sure when you are doing work for people 

you cover your ass up front. Make sure you know what the deal is 

We should all unionize. How do you do that? Then we could send Vade 

On Nov 22, 2007, at 4:26 AM, Karl Kliem wrote:

> you are right. i shouln't generalize here. this was just my 

> experience which i wanted to share. maybe it was my fault not to 

> take care of this from the project start, but then you just don't 

> think about credits while you concentrate on your work. i was paid, 

> not as much as i spent time on the project, but it was decent for 

> the honour of working with sakamoto and him. i still appreciate 

> their music. but if you are asked as an artist because of your 

> former work and you design and program everything on your own (with 

> a little help by jhno and sebastian gregor), you wonder how someone 

> can sell this as his own work. it took a lot of effort to finally 

> be mentioned on the project website and in the dvd sleeve, albeit 

> misleading in the describtion of what my role was exactly.

> @dis: thanks. it was all done with max msp jitter. live. no backup. 

> it's still a mystery to me how it didn't crash at one concert. it 

> was a narrow led screen, an idea of carsten who did the stage design.

> unfortunately the recordings on the dvd weren't the best concerts 

> related to the visuals. opposed to early plans that i'd be part of 

> the tour, a week before the tour started i was told that the budget 

> for me was forgotten and i had to change the controls so that 

> carsten was able to adjust everything himself on stage. and 

> sometimes it seems it was too much that he had to take care of at 

> you can read more about the project on my blog: www.dienststelle.de

Yeah, I guess I should say I have had good experiences working with  
Carsten too.  Not a bad guy.

Only point is, everyone make sure when you are doing work for people  
you cover your ass up front.  Make sure you know what the deal is  
before the project is over.

We should all unionize.  How do you do that?  Then we could send Vade  
to punch people that were out of line.

>
> hi john,
>
> you are right. i shouln't generalize here. this was just my  
> experience which i wanted to share. maybe it was my fault not to  
> take care of this from the project start, but then you just don't  
> think about credits while you concentrate on your work. i was paid,  
> not as much as i spent time on the project, but it was decent for  
> the honour of working with sakamoto and him. i still appreciate  
> their music. but if you are asked as an artist because of your  
> former work and you design and program everything on your own (with  
> a little help by jhno and sebastian gregor), you wonder how someone  
> can sell this as his own work. it took a lot of effort to finally  
> be mentioned on the project website and in the dvd sleeve, albeit  
> misleading in the describtion of what my role was exactly.
>
> @dis: thanks. it was all done with max msp jitter. live. no backup.  
> it's still a mystery to me how it didn't crash at one concert. it  
> was a narrow led screen, an idea of carsten who did the stage design.
>
> unfortunately the recordings on the dvd weren't the best concerts  
> related to the visuals. opposed to early plans that i'd be part of  
> the tour, a week before the tour started i was told that the budget  
> for me was forgotten and i had to change the controls so that  
> carsten was able to adjust everything himself on stage. and  
> sometimes it seems it was too much that he had to take care of at  
> the same time.
>
> you can read more about the project on my blog: www.dienststelle.de
>
> k

San Francisco, CA Work: 857-544-3967
Email: bthrew@gmail.com
IM: captogreadmore (AIM)
http:/www.barrythrew.com


what, like, the Union of Multimedia Ass-Savers Nat'l 45.729?

On Nov 22, 2007, at 3:20 PM, barry threw wrote:

> Yeah, I guess I should say I have had good experiences working with 

> Only point is, everyone make sure when you are doing work for people 

> you cover your ass up front. Make sure you know what the deal is 

> We should all unionize. How do you do that? Then we could send 

> Vade to punch people that were out of line.

> On Nov 22, 2007, at 4:26 AM, Karl Kliem wrote:

>> you are right. i shouln't generalize here. this was just my 

>> experience which i wanted to share. maybe it was my fault not to 

>> take care of this from the project start, but then you just don't 

>> think about credits while you concentrate on your work. i was paid, 

>> not as much as i spent time on the project, but it was decent for 

>> the honour of working with sakamoto and him. i still appreciate 

>> their music. but if you are asked as an artist because of your 

>> former work and you design and program everything on your own (with 

>> a little help by jhno and sebastian gregor), you wonder how someone 

>> can sell this as his own work. it took a lot of effort to finally 

>> be mentioned on the project website and in the dvd sleeve, albeit 

>> misleading in the describtion of what my role was exactly.

>> @dis: thanks. it was all done with max msp jitter. live. no backup. 

>> it's still a mystery to me how it didn't crash at one concert. it 

>> was a narrow led screen, an idea of carsten who did the stage design.

>> unfortunately the recordings on the dvd weren't the best concerts 

>> related to the visuals. opposed to early plans that i'd be part of 

>> the tour, a week before the tour started i was told that the budget 

>> for me was forgotten and i had to change the controls so that 

>> carsten was able to adjust everything himself on stage. and 

>> sometimes it seems it was too much that he had to take care of at 

>> you can read more about the project on my blog: www.dienststelle.de

> Yeah, I guess I should say I have had good experiences working with  
> Carsten too.  Not a bad guy.
>
> Only point is, everyone make sure when you are doing work for people  
> you cover your ass up front.  Make sure you know what the deal is  
> before the project is over.
>
> We should all unionize.  How do you do that?  Then we could send  
> Vade to punch people that were out of line.
>
> b
>
>
> On Nov 22, 2007, at 4:26 AM, Karl Kliem wrote:
>
>>
>> hi john,
>>
>> you are right. i shouln't generalize here. this was just my  
>> experience which i wanted to share. maybe it was my fault not to  
>> take care of this from the project start, but then you just don't  
>> think about credits while you concentrate on your work. i was paid,  
>> not as much as i spent time on the project, but it was decent for  
>> the honour of working with sakamoto and him. i still appreciate  
>> their music. but if you are asked as an artist because of your  
>> former work and you design and program everything on your own (with  
>> a little help by jhno and sebastian gregor), you wonder how someone  
>> can sell this as his own work. it took a lot of effort to finally  
>> be mentioned on the project website and in the dvd sleeve, albeit  
>> misleading in the describtion of what my role was exactly.
>>
>> @dis: thanks. it was all done with max msp jitter. live. no backup.  
>> it's still a mystery to me how it didn't crash at one concert. it  
>> was a narrow led screen, an idea of carsten who did the stage design.
>>
>> unfortunately the recordings on the dvd weren't the best concerts  
>> related to the visuals. opposed to early plans that i'd be part of  
>> the tour, a week before the tour started i was told that the budget  
>> for me was forgotten and i had to change the controls so that  
>> carsten was able to adjust everything himself on stage. and  
>> sometimes it seems it was too much that he had to take care of at  
>> the same time.
>>
>> you can read more about the project on my blog: www.dienststelle.de
>>
>> k
>
> Barry Threw
> Media Art and Technology
>
>
> San Francisco, CA Work: 857-544-3967
> Email: bthrew@gmail.com
> IM: captogreadmore (AIM)
> http:/www.barrythrew.com
>
>
>


Funny [OT] anecdote : (sorry mods, I could not resist).

On the way to work today I was walking by Irving place in Manhattan 

around 2Pm, a typically calm, nice neighborhood. Ahead of me I noticed 

a younger guy crouched behind the stairs of a brownstone, hoody up, 

acting suspicious (dont ask, trained NY eye). A group of tourists 

walks past him, and he immediately gets up and runs at them from 

behind, and nabs a purse. I could not believe the audacity, its the 

middle of the day, in front of everyone. He runs past the tourists and 

proceeds to run right at me. Hes about half a block away. So, for some 

reason I decide to run right at him, my headphones still blearing some 

He notices me running at him and gets this very funny look on his 

face, seeing I am seriously considering tackling him, and stops and 

tries to wave me off. Confused but still running at him, arms out 

ready to go, I notice the tourists also staring at me, more confused 

than anything. I decide to stop all but 4 feet from the guy, take my 

headphones out, and then notice they are shooting a movie.

haha. Oh well. Not to be typecast or anything, but I though you folks 

On Nov 27, 2007, at 10:10 AM, Ean White wrote:

> Ha-ha! I have a short list--if Vade needs the exercise.

On the way to work today I was walking by Irving place in Manhattan  
around 2Pm, a typically calm, nice neighborhood. Ahead of me I noticed  
a younger guy crouched behind the stairs of a brownstone, hoody up,  
acting suspicious (dont ask, trained NY eye). A group of tourists  
walks past him, and he immediately gets up and runs at them from  
behind, and nabs a purse. I could not believe the audacity, its the  
middle of the day, in front of everyone. He runs past the tourists and  
proceeds to run right at me. Hes about half a block away. So, for some  
reason I decide to run right at him, my headphones still blearing some  
music, thinking I can tackle the guy.

He notices me running at him and gets this very funny look on his  
face, seeing I am seriously considering tackling him, and stops and  
tries to wave me off. Confused but still running at him, arms out  
ready to go, I notice the tourists also staring at me, more confused  
than anything. I decide to stop all but 4 feet from the guy, take my  
headphones out, and then notice they are shooting a movie.

haha. Oh well. Not to be typecast or anything, but I though you folks  
might find that amusing. :)

> Ha-ha! I have a short list--if Vade needs the exercise.
>
> .e
>
>


Wow! Do they have that on tape? Are we going to see you in the 'extra' section of the DVD? If not, could you try to reproduce the situation and send us a .mov?

Quote: vade wrote on Tue, 27 November 2007 20:12

> Funny [OT] anecdote : (sorry mods, I could not resist).

> On the way to work today I was walking by Irving place in Manhattan 

> around 2Pm, a typically calm, nice neighborhood. Ahead of me I noticed 

> a younger guy crouched behind the stairs of a brownstone, hoody up, 

> acting suspicious (dont ask, trained NY eye). A group of tourists 

> walks past him, and he immediately gets up and runs at them from 

> behind, and nabs a purse. I could not believe the audacity, its the 

> middle of the day, in front of everyone. He runs past the tourists and 

> proceeds to run right at me. Hes about half a block away. So, for some 

> reason I decide to run right at him, my headphones still blearing some 

> He notices me running at him and gets this very funny look on his 

> face, seeing I am seriously considering tackling him, and stops and 

> tries to wave me off. Confused but still running at him, arms out 

> ready to go, I notice the tourists also staring at me, more confused 

> than anything. I decide to stop all but 4 feet from the guy, take my 

> headphones out, and then notice they are shooting a movie.

> haha. Oh well. Not to be typecast or anything, but I though you folks 

> On Nov 27, 2007, at 10:10 AM, Ean White wrote:

> > Ha-ha! I have a short list--if Vade needs the exercise.

Quote: vade wrote on Tue, 27 November 2007 20:12
----------------------------------------------------
> Funny [OT] anecdote : (sorry mods, I could not resist).
>
> On the way to work today I was walking by Irving place in Manhattan  
> around 2Pm, a typically calm, nice neighborhood. Ahead of me I noticed  
> a younger guy crouched behind the stairs of a brownstone, hoody up,  
> acting suspicious (dont ask, trained NY eye). A group of tourists  
> walks past him, and he immediately gets up and runs at them from  
> behind, and nabs a purse. I could not believe the audacity, its the  
> middle of the day, in front of everyone. He runs past the tourists and  
> proceeds to run right at me. Hes about half a block away. So, for some  
> reason I decide to run right at him, my headphones still blearing some  
> music, thinking I can tackle the guy.
>
> He notices me running at him and gets this very funny look on his  
> face, seeing I am seriously considering tackling him, and stops and  
> tries to wave me off. Confused but still running at him, arms out  
> ready to go, I notice the tourists also staring at me, more confused  
> than anything. I decide to stop all but 4 feet from the guy, take my  
> headphones out, and then notice they are shooting a movie.
>
> haha. Oh well. Not to be typecast or anything, but I though you folks  
> might find that amusing. :)
>
>
>
> On Nov 27, 2007, at 10:10 AM, Ean White wrote:
>
> > Ha-ha! I have a short list--if Vade needs the exercise.
> >
> > .e
> >
> >
>
----------------------------------------------------


the funny thing about this story that all of you should know is that 

vade is five foot one inch and ninety pounds.

> around 2Pm, a typically calm, nice neighborhood. Ahead of me I 

> noticed a younger guy crouched behind the stairs of a brownstone, 

> hoody up, acting suspicious (dont ask, trained NY eye). A group of 

> tourists walks past him, and he immediately gets up and runs at them 

> from behind, and nabs a purse. I could not believe the audacity, its 

> the middle of the day, in front of everyone. He runs past the 

> tourists and proceeds to run right at me. Hes about half a block 

> away. So, for some reason I decide to run right at him, my 

> headphones still blearing some music, thinking I can tackle the guy.

> haha. Oh well. Not to be typecast or anything, but I though you 

>> Ha-ha! I have a short list--if Vade needs the exercise.

the funny thing about this story that all of you should know is that  
vade is five foot one inch and ninety pounds.

> Funny [OT] anecdote : (sorry mods, I could not resist).
>
> On the way to work today I was walking by Irving place in Manhattan  
> around 2Pm, a typically calm, nice neighborhood. Ahead of me I  
> noticed a younger guy crouched behind the stairs of a brownstone,  
> hoody up, acting suspicious (dont ask, trained NY eye). A group of  
> tourists walks past him, and he immediately gets up and runs at them  
> from behind, and nabs a purse. I could not believe the audacity, its  
> the middle of the day, in front of everyone. He runs past the  
> tourists and proceeds to run right at me. Hes about half a block  
> away. So, for some reason I decide to run right at him, my  
> headphones still blearing some music, thinking I can tackle the guy.
>
> He notices me running at him and gets this very funny look on his  
> face, seeing I am seriously considering tackling him, and stops and  
> tries to wave me off. Confused but still running at him, arms out  
> ready to go, I notice the tourists also staring at me, more confused  
> than anything. I decide to stop all but 4 feet from the guy, take my  
> headphones out, and then notice they are shooting a movie.
>
> haha. Oh well. Not to be typecast or anything, but I though you  
> folks might find that amusing. :)
>
>
>
> On Nov 27, 2007, at 10:10 AM, Ean White wrote:
>
>> Ha-ha! I have a short list--if Vade needs the exercise.
>>
>> .e
>>
>>
>


On Nov 27, 2007, at 2:30 PM, Mattijs Kneppers wrote:

> Wow! Do they have that on tape? Are we going to see you in the 

> 'extra' section of the DVD? If not, could you try to reproduce the 

>
> Wow! Do they have that on tape? Are we going to see you in the  
> 'extra' section of the DVD? If not, could you try to reproduce the  
> situation and send us a .mov?


All the better, he wouldn't be suspected.

Artists of the world take note: Multimedia Asssavers Int'l 21.5 will 

come after you. Even if you are just making a movie. Especially if 

you are just making a movie. Where's your interactivity, son?

Call for Max/MSP/Jitter users