Today I'm sitting down with Mariannah Amster and Frank Ragano of Parallel Studios, the creators and curators of the Currents New Media Festival in Santa Fe, New Mexico.
How did you Learn about Max? How did I first learn of Max? It was from the man himself, David Zicarelli.
Jeff Kaiser and I started playing together almost as soon as I turned up in LA at the beginning of the 2000s.
Recently Tom caught up over a Skype conversation with long-time Max user, Andreas Wetterberg.
ArthropodaChordataConiferophyta, live cinema performance, (2013-15), Timothy Weaver This week, I have the pleasure of presenting a conversation with friend, colleague and mentor, Timothy Weaver.
Stephen Lucas is a Doctoral student in Composition and Computer Music in the College of Music at the University of North Texas (UNT).
For more than 10 years Skinnerbox have been making tremendous contributions to the wide field of electronic-music-making.
What were your first experiences with electronic music? I went to undergrad at Mills College where I was exposed to making music with electronic instruments, studying with Maggie Payne, taking her moog class.
It's all too common these days to encounter instruments and approaches to performance that are solutions rather than works in progress of processes.
Anyone who's paid attention to your earlier electronic/violin work may or may not find your debut as an instrument designer to be a real surprise.
Although you work as a consultant and developer with Cycling '74, you are also an active media artist.
Nathan Wolek is an audio artist and researcher as well as Associate Professor of Digital Arts and Chair of the Creative Arts Department at Stetson University in DeLand, FL.
Cory sits down with Andrew whose current work focuses on the emergent potential between cross-disciplinary arts and technology, building sound and visual environments through software development, and building scientifically accurate representations of complex data sets as visual and sound compositions.
Gustavo Bravetti first showed up on my radar a number of years ago - 2008 or 2009, maybe? - while I was breezing through my latest tech gadget blogs over my morning coffee.
David talks about his company, their projects and approaches. "Every project we’ve worked on has been different, from design to programming to sensing to the underlying infrastructure."
Modern music journalism tends to focus on one aspect of an artist’s output, often in the form of a review of an album or a show. I’ve been increasingly interested in thinking about the creative process as a continuum, rather than just the results.
The place where Jeff Kaiser started out isn't nearly as interesting as where he's going, and where he's tarried along the way; Classically trained as a trumpet player (and the owner of one sweet quarter-tone horn, by the way) his "instrument" is now a hybridized and extended beast with Max/MSP as the coiled mainspring of the non-human portion.
Cory Metcalf sits down for a low-noise chat about his work with the interactive media collective NoiseFold; their birth in adversity, their approach to crafting intermedia works on the stage and elsewhere out there, and their tools. There is a lot of wisdom hidden in the folds of his answers.
I first ran across Christopher Jakobi when when he posted a video of his piece Aurora Drone early last fall on the Forum (you can download the Max patch for it here).
Hi Rob! Can you tell us a little about what you do at Cycling '74?I primarily work on Jitter development and support.
Ícaro, thanks for being interviewed.
I first ran into Antye Greie-Ripatti's work as a part of the duo Laub, and have followed her career since then in its many and varied forms - her solo work as AGF (I'm personally particularly drawn to her Source Voice release on the LINE label), the AGF/DELAY duo with her partner Vladislav Delay, and other collaborations with Zavoloka, the trio The Dolls (with Vladislav Delay and Craig Armstrong), and - more recently, as part of The Lappetites (with Eliane Radigue, Kaffe Matthews, and Ryoko Kuwajima).
When we do interviews with artists, we often stick kind of close to "the work", with a little biography thrown in for good measure (since it presumably helps to define the work).
I recently got a chance to catch up with Pete Dowling of Surreal Machines, and we did a little Q&A.