Richardo P

I'm visitng london for 10 days or so and figured id take the spare time I have to look for digital work created in MAXSP/JITTER or similar programs. I've looked for galleries that are exhibiting work of a digital/sound/visuals nature to not much success. They must exist or am I looking for the wrong thing?

I'd really like to make full use of this time so if anyone could point me in the direction of any work of a digital/sound/visuals nature i'd be very gratefull. I dont care wether its a gallery, a night club an alternative space a warehouse or whatever I just want to be exposed to something in person instead of on the internet.

I'm visitng london for 10 days or so and figured id take the spare time I have to look for digital work created in MAXSP/JITTER or similar programs.  I've looked for galleries that are exhibiting work of a digital/sound/visuals nature to not much success.  They must exist or am I looking for the wrong thing?

I'd really like to make full use of this time so if anyone could point me in the direction of any work of a digital/sound/visuals nature i'd be very gratefull.  I dont care wether its a gallery, a night club an alternative space a warehouse or whatever I just want to be exposed to something in person instead of on the internet.

stuff-in-london

On 12 Jul 2006, at 14:58, Richard Powell wrote:

> I've looked for galleries that are exhibiting work of a digital/ 

> sound/visuals nature to not much success. They must exist or am I 

There's not a great deal of that about (to my knowledge) outside 

> I'd really like to make full use of this time so if anyone could 

> point me in the direction of any work of a digital/sound/visuals 

It depends when you'll be in town - what dates? I'm currently doing a 

few odds and ends in London (well, *currently* in Brussels, but 

nick rothwell -- composition, systems, performance -- 

> I've looked for galleries that are exhibiting work of a digital/ 
> sound/visuals nature to not much success.  They must exist or am I  
> looking for the wrong thing?

There's not a great deal of that about (to my knowledge) outside  
particular festivals.

> I'd really like to make full use of this time so if anyone could  
> point me in the direction of any work of a digital/sound/visuals  
> nature i'd be very gratefull.

It depends when you'll be in town - what dates? I'm currently doing a  
few odds and ends in London (well, *currently* in Brussels, but  
almost currently in London).

   nick rothwell -- composition, systems, performance -- http:// 
www.cassiel.com


I'll be in london 14th July > 18th July and 21 July > 24th July. Short notice i know

I've looked at your website and I'd definately be interested in seeing some of it but I cant seem to see something in London for those dates.

I'll be in london  14th July > 18th July and 21 July > 24th July.  Short notice i know

Nope - I'm in Brussels for the first set of dates and at ZKM for the 

Nope - I'm in Brussels for the first set of dates and at ZKM for the  
second...

Maybe check out some of the LMC stuff: http://www.l-m-c.org.uk/ 
calendar.html

There's a Colourscape in Croyden (South London) that weekend. I think 

Lawrence Casserley is playing, and he uses max/msp (and he has a 

really cool new external skeleton thingy sensor controller too!)

http://www.chiltern.demon.co.uk/Colourscape.html

There's a Colourscape in Croyden (South London) that weekend. I think  
Lawrence Casserley is playing, and he uses max/msp (and he has a  
really cool new external skeleton thingy sensor controller too!)

should be more details on http://www.colourscape.org.uk  or via  
Lawrence's site - http://www.chiltern.demon.co.uk/Colourscape.html

It's something that sits on his shoulders, and has arms along his 

arms (not sure what else to call them - the arms, that is, not his 

arms), (hmm, time to open another beer) and flexs at shoulder, 

It's pretty cool (the controller thing - well, actually the beer is 

pretty cool too. i think I'll go now ...).

It's something that sits on his shoulders, and has arms along his  
arms (not sure what else to call them - the arms, that is, not his  
arms),  (hmm, time to open another beer) and flexs at shoulder,  
elbow, and wrist joints.
It's pretty cool (the controller thing - well, actually the beer is  
pretty cool too. i think I'll go now ...).

Sounds like a GypsyMIDI to me. I just reviewed it for Sound On Sound...

I particularly enjoy their demo videos.
Does it come with the tight black shirt?

I'll definately check out the colourscape thing, sounds interesting

Just catching up on the Max list since I got back from Germany on 

Yes - it is Gypsy MIDI - I'll be interested to see what you thought 

of it. The really great thing for me is that, with the radio MIDI 

option, it frees me up to move around Colourscape with other 

performers while doing my processing, rather than always being glued 

to my computer and control devices. This has been a dream ever since 

I first worked in Colourscape in 1989. A few years back Sukandar 

Katardinata made a radio control device for me, which went part of 

the way, but there were a lot of limitations.

GM has limitations too, but it's very early days yet, and I'm 

learning slowly how to use it with my system. In principle, it is 

working well, though. I can also see that it wouldn't "suit" a lot of 

people/situations, and I don't think I want to use it in conventional 

"stage" performances, but as a solution to the Colourscape dilemma it 

seems to be pretty good. The big thing is mapping appropriate 

gestures to sound actions - I have made a good start, but still much 

to be done. It also seems to work well for an audience, who appear to 

get a good sense of what I am doing to the sound a lot of the time - 

Lawrence Casserley - lawrence@lcasserley.co.uk

Lawrence Electronic Operations - www.lcasserley.co.uk

Colourscape Music Festivals - www.colourscape.org.uk

Just catching up on the Max list since I got back from Germany on  
Monday.

Yes - it is Gypsy MIDI - I'll be interested to see what you thought  
of it. The really great thing for me is that, with the radio MIDI  
option,  it frees me up to move around Colourscape with other  
performers while doing my processing, rather than always being glued  
to my computer and control devices. This has been a dream ever since  
I first worked in Colourscape in 1989. A few years back Sukandar  
Katardinata made a radio control device for me, which went part of  
the way, but there were a lot of limitations.

GM has limitations too, but it's very early days yet, and I'm  
learning slowly how to use it with my system. In principle, it is  
working well, though. I can also see that it wouldn't "suit" a lot of  
people/situations, and I don't think I want to use it in conventional  
"stage" performances, but as a solution to the Colourscape dilemma it  
seems to be pretty good. The big thing is mapping appropriate  
gestures to sound actions - I have made a good start, but still much  
to be done. It also seems to work well for an audience, who appear to  
get a good sense of what I am doing to the sound a lot of the time -  
but, as I say, still much to be done.

Lawrence Casserley - lawrence@lcasserley.co.uk
Lawrence Electronic Operations - www.lcasserley.co.uk
Colourscape Music Festivals - www.colourscape.org.uk


Its sods law unfortunately that I doubt I'll be able to make it. It is a real shame as it sounds really interesting. The course I'm doing (in Maxsp) on the saturday and sunday doesnt finish untill 5.30 so doesnt look hopefull. I'll definately still try though. If not... another time

Its sods law unfortunately that I doubt I'll be able to make it.  It is a real shame as it sounds really interesting.  The course I'm doing (in Maxsp) on the saturday and sunday doesnt finish untill 5.30 so doesnt look hopefull.  I'll definately still try though.  If not... another time

On 16 Jul 2006, at 20:13, Nick Rothwell wrote:

> On 13 Jul 2006, at 18:08, lawrence casserley wrote:

>> Yes - it is Gypsy MIDI - I'll be interested to see what you 

> Well, for all the gory details, you'll have to check the SOS 

> article - they wanted 2500 words so it's pretty intensive - but I 

> 1. build quality: the review unit I had was missing a bolt, and one 

> of the potentiometer mounts came off while we were testing it

This weekend, on its fifth outing, one of my pots came loose (ie the 

pot shaft separated from the bit that turns it) - regular tightening 

up is to be recommended, I think - not helped by the fact that two 

different allen keys are required. My biggest complaint is that all 

those velcro fixings stick to each other when you are trying to put 

it on! It will be interesting to find out how well it holds up after 

> 2. resolution: 128 MIDI controller values in something like a 270 

> degree rotation means that you get a lot less resolution when a 

> joint has been calibrated for the amount of movement it'll actually 

Yes - this can be tricky to sort out, and it influences which 

movements get assigned to which parameters. Another issue is the 

amount of interaction you get between some movements, but I guess 

that's partly a matter of playing technique, which I have to learn to 

> 3. repeatability: when you can't touch, or even see, any 

> controllers, it's hard to judge and repeat particular settings, 

> especially for a device based on rotation rather than absolute 

I don't have a big issue with that - again it's partly a matter of 

playing technique - more like playing a violin than a piano - and 

careful assigning of parameters helps. I also like situations where I 

have to "feel" the behaviour of the instrument - this is typical of 

my setup anyway. My initial trial uses a downward flick of the wrist 

to trigger a sound (speed of flick controls velocity), left-to-right 

hand position to select the pitch, and elbow height to control the 

length of the sound - this seems to be quite controllable, and I am 

getting the hang of it quite well now - I did a very successful duet 

processing Michael Ormiston's voice yesterday. The thing that doesn't 

work so well, is that I assigned a sideways flick of the wrist to 

change pitch range settings, but I get too much interaction between 

that and the note trigger, so it is very easy to change ranges 

accidentally. There is provision for two additional sensors on each 

arm, so I am thinking about adding some pushbuttons for this. I still 

> I found the bundled software a little rough and untidy - but then I 

> expect you'd be rolling your own, in which case issues 2 and 3 

Yes, it was useful at first, just to work out what was doing what - 

but I abandoned it pretty quickly to make my own interface, which 

works much better, and is easier to tweak. In this sense it is a 

perfect fit with Max, because you can map those outputs to whatever 

you want. It would be more difficult with other software, but I guess 

that's why they made a Max program to do the mapping.

Yes, there are some drawbacks, but I am finding it an interesting and 

> nick rothwell -- composition, systems, performance -- 

>
> On 13 Jul 2006, at 18:08, lawrence casserley wrote:
>
>> Yes - it is Gypsy MIDI - I'll be interested to see what you  
>> thought of it.
>
> Well, for all the gory details, you'll have to check the SOS  
> article - they wanted 2500 words so it's pretty intensive - but I  
> can tell you my main concerns with it:

I'll look forward to seeing it.
>
> 1. build quality: the review unit I had was missing a bolt, and one  
> of the potentiometer mounts came off while we were testing it

This weekend, on its fifth outing, one of my pots came loose (ie the  
pot shaft separated from the bit that turns it) - regular tightening  
up is to be recommended, I think - not helped by the fact that two  
different allen keys are required. My biggest complaint is that all  
those velcro fixings stick to each other when you are trying to put  
it on! It will be interesting to find out how well it holds up after  
months on the road.
>
> 2. resolution: 128 MIDI controller values in something like a 270  
> degree rotation means that you get a lot less resolution when a  
> joint has been calibrated for the amount of movement it'll actually  
> receive

Yes - this can be tricky to sort out, and it influences which  
movements get assigned to which parameters. Another issue is the  
amount of interaction you get between some movements, but I guess  
that's partly a matter of playing technique, which I have to learn to  
deal with myself.
>
> 3. repeatability: when you can't touch, or even see, any  
> controllers, it's hard to judge and repeat particular settings,  
> especially for a device based on rotation rather than absolute  
> position

I don't have a big issue with that - again it's partly a matter of  
playing technique - more like playing a violin than a piano - and  
careful assigning of parameters helps. I also like situations where I  
have to "feel" the behaviour of the instrument - this is typical of  
my setup anyway. My initial trial uses a downward flick of the wrist  
to trigger a sound (speed of flick controls velocity), left-to-right  
hand position to select the pitch, and elbow height to control the  
length of the sound - this seems to be quite controllable, and I am  
getting the hang of it quite well now - I did a very successful duet  
processing Michael Ormiston's voice yesterday. The thing that doesn't  
work so well, is that I assigned a sideways flick of the wrist to  
change pitch range settings, but I get too much interaction between  
that and the note trigger, so it is very easy to change ranges  
accidentally. There is provision for two additional sensors on each  
arm, so I am thinking about adding some pushbuttons for this. I still  
have some unassigned movements as well.
>
> I found the bundled software a little rough and untidy - but then I  
> expect you'd be rolling your own, in which case issues 2 and 3  
> might not be that major.

Yes, it was useful at first, just to work out what was doing what -  
but I abandoned it pretty quickly to make my own interface, which  
works much better, and is easier to tweak. In this sense it is a  
perfect fit with Max, because you can map those outputs to whatever  
you want. It would be more difficult with other software, but I guess  
that's why they made a Max program to do the mapping.

Yes, there are some drawbacks, but I am finding it an interesting and  
worthwhile experience.

Anyone else tried one?
>
> 	-- N.
>
>
>   nick rothwell -- composition, systems, performance -- http:// 
> www.cassiel.com
>
>
>

Stuff in london