![]() ![]() Victor suggests we could rationalize the tools a bit, simplify, and get rid of the Python dependency (which has caused some stability and compatibility issues). We also discussed the selection of features extracted by the Analyzer, whic ones are more actively used, if any could be removed and/or if any could be refined.Įach of the participants was invited to give their initial comments on these issues. ![]() a two-way communication between the DAW and ouurr mapping module should be within reach and would immensely simplify that part of our tools. Initial investigations of using OSC in the final interfacing to the DAW have been done by Brandtsegg, and the current status of many DAWs seems to allow “auto-learning” of OSC addresses based on touching controls of the modulator destination within the DAW. , it is not straightforward for a system operator to keep track of which controller numbers are actively used and what destinations they correspond to. One particular problem is the use of MIDI controller data as our output. In this meeting we also discussed problems of the current tools, mostly concerned with the tools of the Analyzer-Moduator method, as that is where we have experienced the most obvious technical hindrance for effecttive exploration. On how crossadaptivity can be implemented and how it can influence communication and performance. In perspective, we start to see some different For Ligeti, one of the interesting things is the diconnectedness and how it affects our playing. The mapping and processing options for event-based signals like MIDI would have even more degrees of freedom than what we achieve with the Analyzer-Modulator approach, and it would have an even greater degree of “remoteness” or “disconnectedness”. Ligeti would like to investigate crossadaptive modulation on MIDI signals between performers. As a further extension, an even more distanced manner of crossadaptive interplay was recently suggested by Lukas Ligeti (UC Irvine, following Brandtsegg’s presentation of our project there in January). At least this can be true when a mapping is used without modification over a longer time span. It is powerful by allowing any mapping, but it is harder to find mappings that are musically and performatively engaging. The Analyzer-Modulator approach allows arbitrary mappings, and this is both a strngth and a weakness. These two methods give very different ways of approaching the crossadaptive interplay, with the direct-cross-synthesis method being perceived asįor the two performers. ![]() The Direct-Cross-Synthesis method is comprised by a much closer interaction directly on the two audio signals, for example as seen with theĪnd or different forms of adaptive resonators. The Analyzer-Modulator method is comprised of extracting features, and arbitrarily mapping these features as modulators to any effect parameter. To evaluate the design in terms of instrument building, software architechture, interfacing and control. We know that they are not completely stable on all platforms, there are some “snags” on initialization and/or termination that give different problems for different platforms. We have some experience as to what they solve and don’t solve, how simple (or not) they are to use. We now have some tools that allow practical experimentation, and we’ve had the chance to use them in some sessions. Time–space compression occurs as a result of technological innovations driven by the global expansion of capital that condense or elide spatial and temporal distances, including technologies of communication (telegraph, telephones, fax machines, Internet) and travel (rail, cars, trains, jets), driven by the need to overcome spatial barriers, open up new markets, speed up production cycles, and reduce the turnover time of capital.Īccording to Paul Virilio, time-space compression is an essential facet of capitalist life, saying that "we are entering a space which is speed-space. ![]() A similar idea was proposed by Elmar Altvater in an article in PROKLA in 1987, translated into English as "Ecological and Economic Modalities of Time and Space" and published in Capitalism Nature Socialism in 1990. It is rooted in Karl Marx's theory of the "annihilation of space by time" originally elaborated in the Grundrisse, and was later articulated by Marxist geographer David Harvey in his book The Condition of Postmodernity. Time–space compression (also known as space–time compression and time–space distanciation) is an idea referring to the altering of the qualities of space–time and the relationship between space and time that is a consequence of the expansion of capital. music production software from ableton, fl studio and pro tools. Daw software, vst plugins and more available to buy now from gear4music. ![]()
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