and that’s what Mr Boom played during an old gig in Rome, Italy… 2001 circa


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Good question! I would have thought the SP-1200 wouldn’t lend itself to the new style he’s developed, but it would be interesting to find out

Jelineks live-rig

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Matias Aguayo

vienna in 2008

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transmediale/berlin 2010

stepper motors as oscilators

realtime analog camera projections

something more recent:

Basel / switzerland, Kunstmusseum Basel 2019

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needs more video! would love to see/hear these in action

Dan Deacon’s first UK gig was in Norwich, it was also the first time he had a VJ working with him. It was me :slightly_smiling_face: It was also my first VJ gig, with a day to prepare. Was great fun, I was mostly drunk.

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Lopatin discuss the score for Uncut Gems (great movie!!) together with Josh Safdie in his studio

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this is very very cool, making very good use of their gear

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hello! i wanted to make a thread for people to post pictures, links, stories, etc. and otherwise have a place for general discussion focused on the performance aesthetic/musical output of artists who use a big plastic folding table when they play! or similar - i’d say artists who play on the floor count here too!

oddly specific perhaps, but i feel a kinship with this style personally and am fascinated by it.

a few random thoughts: i wonder if having your gear laid out in a total organized chaos which has to be painstakingly assembled before each gig and then disassembled right after lends itself to a certain type of workflow which in turn lends itself to a certain type of sound? most of the artists that i enjoy which come to mind are working in a semi-improvisational framework that’s often sonically rough around the edges - anywhere from heavily processed acoustic instruments to full-blown electronic noise.

i also wonder if the advent of, for example, more readily available ergonomic tools like pedalboards and powered pre-fab modular cases (and the associated communites which have accumulated around those tools online have led to a sort of… homogenization of the way people are thinking about these types of workflows, especially as it pertains to a live performance environment? it seems like the early 00s was really the peak tabletronics era and i think there’s a connection there.

also wondering if there are any lines members who would care to share their own music/performances if it applies to this overall aesthetic? i’m interested to see who out there is carrying the torch of this (sort of) bygone era!

a few photos attatched as examples :blush: also posting this from mobile so apologies for any formatting weirdness in this post

Yellow+Swans unnamed A-40857-001 philip-jeck-68049276-576e-48bd-afbe-3306da3b77a-resize-750

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I love the lack of like… manufacturer loyalty here. What a hot mess this skiff is :heart_eyes: And of course, for him.

Great read. “Workaround” has been one of my favourite albums this year.

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Actually for the academic studies for electronic music everyone is using the computer and only the computer as an instrument mostly with Pure Data or Max MSP or Supercollider or other programming environments. For them anything else than sound is a distraction, so they are not interested in gear or other elements of a live show. So there is exactly the opposite of what you think. Last few years only I see more composers using different instruments than a computer.

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I think there is a distinction between the academic study of electronic music, and music academies more generally (where people are also studying / playing traditional instruments). I believe it was the latter that was being referenced.

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Yes I get indeed music academies are very conservative and they base their educational program on technique. So it’s understandable that they see the computer not as an instrument but as an easy way for amateurs to make sounds.

My friends are studying electroacoustic composition at music academy and they still had to choose acoustic instruments to learn during their studies so it is not 100% max msp/pure data. Some of them who are great electronic musicians even left the academy because they performed poorly on acoustic instruments. It is cool that your experiences differ but that doesn’t mean that mine are invalid.

Oh no I didn’t mean it that way! I was just sharing my experience. I do think it’s good to learn to play an instrument and to learn composition if you want to be a complete magician. It’s also a lot of fun! It can only help you develop your musicality.

Actually (…) So there is exactly the opposite of what you think.

Sorry about that, english is not my first language but this sounded to me like a negation of my experiences.
And I am aware of advantages that playing various instruments can give you (I have played guitar for a long time before I picked up electronic music more than 10 years ago) but as I said in post that you responded to this can also affect how you create electronic music and I am curious how people who don’t play any “acoustic” instruments would voice their chords etc. Maybe they would do it totally in standard way or maybe they would push music making in directions that we don’t dare to explore because our muscle memory (and other traits gained from playing acoustic instrument) moves us away from. Like for example you still have piano roll in DAWs and maybe for people “native” to electronic music something entirely different would make sense and allow other possibilities.
And I think that failing people in degree (that should be about electronic music) just because they perform poorly on acoustic instrument is an artifact of old way of thinking about music we should try to challenge.

I would like to apply to this school please.

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