Bruno Zamborlin developed a new product that will allow you to turn every day objects into musical instruments.
Jeremy Bailey is a video and performance artist.
What got you started?
I'm pretty sure my mom and dad got me started as an artist.
Our friend and co-worker, Rob Ramirez, shared some recent work with us and provided details on how he used Max.
In these videos, Toni discusses the history of Lucid Possession and the technological solutions used in the show, and Luke describes how the entire complex system works. ...like a big, 3-dimensional video pop-up book She's managing the noise -- it's kind of poetic. I got very interested...
One of the most wonderful aspects of Max is that is used by artists of all disciplines.
[Max] has been a gateway for me to other languages.
Next week, a special event will be happening in Brooklyn at Roulette.
Sue-C creates beautiful live videos using a collection of various small objects and some deceptively simple Jitter patching.
I jumped at the chance to interview Karl Kliem when I heard he was doing the visuals for the Mouse on Mars tour.
This weekend, I'm heading to Pittsburgh, PA to perform as part of the annual VIA Festival.
Loud Objects do live improvisational electronics, soldering complex noise circuits from scratch.
One of the things that first drew me to Max was its ability to connect such a wide variety of software and hardware in meaningful and flexible ways.
I've long been a fan of the German electronic group Mouse On Mars, but I've lost track of them the past few years.
At Expo '74 in Brooklyn this year, Max users exhibited their work.
In a highly publicized new interview on Salon.com, Brian Eno asserted that 'success ruins artists.' I beg to differ, especially after hearing the new Björk album Biophila and interviewing her engineer and Music Director Damian Taylor.
One of the really exciting things about Max/MSP/Jitter is its fluid integration of sound, visuals and effects. Tarik Barri, an innovative young artist based in Holland, is elevating the possibilities with a synergistic blend of compatible programing languages.
I’m a sucker for well-trained musicians who push the boundaries creatively and aren’t afraid to experiment.
Composer Randall Packer collaborated with Opera Singer Charles Lane, Designer Greg Kuhn and Director Melissa Weaver to create a theater piece entitled A Season in Hell, premiering at the Zero1 Festival in San Jose on September 17-19, 2010.
A Season in Hell is a ground-breaking multimedia performance work that integrates a complex electronic musical score and vocal performance with multiple forms of digital media, video projection, surround-sound, objects, and storytelling to fuse live performance, installation, and sculpture into an otherworldly theatrical experience.
Kardionic is an interactive cinema piece that takes as it's subject the human heart in it's organic, energetic and spiritual dimensions.
The Karman Objects are a set intangible human-computer interfaces for musical interaction.
Performance group 31 DOWN is back with their signature sonic destruction.