bryface
Offline
vancouver, canada
chunter wrote:

I endorse O2's goal but I'm stuck for answers- the electronic music festivals I'm familiar with play bro step and McTrance so more power to the person who can break that.

i have a similar feeling - i don't really have much desire to play at a "more mainstream" electronic music festival, but that's just because i personally don't really want to connect with that kind of crowd. 

i think it makes more sense, actually, for chip shows to strive to be THE kind of quirky and unique event that electronic music shows would want to be envious of.

in order to do this though, i believe the musical and organizational bar for the average chip show needs to be raised.  i don't think we need to be jonesing for mainstream electronica events if chip shows have their own reputation of being well organized and artists with excellent talent.

potentially this does mean being harder on chip artists that just don't cut it, but in a broader sense, that means we should take more seriously the opportunity to push and encourage each other to make the best music and the best shows we can.  the DIY aesthetic doesn't have to be equated with a conscious aversion to tight production.

Decktonic
Offline
Westfield, NJ
SketchMan3 wrote:

@Decktonic: Gameboy musicians could use MuddyGB to improvise over the tracks (if they don't do the Live Mode thing).

You are missing my point completely. Promoters in the IS do not understand that electronic music exists outside of the DJ context.

Decktonic
Offline
Westfield, NJ
akira^8GB wrote:
O2star wrote:

So thats it then? it came and went?

It still happens. We (KeFF, Kodek and I) played Strøm in Copenhagen barely a month ago. To name one.
The problem is, in USA, "electronic music" means Skrillex and deadmau5, and those are the "festivals" you get.

If you want a real, high level electronic music festival near your area, do yourself a favour and go next year to Mutek in Montréal (where, lo and behold, Bubblyfish and Glomag have performed in the past).

It's crazy how places like Montreal and Toronto are light years ahead on this stuff.

USA doesn't have electronic music festivals, we have EDM festivals. Though there are a few fringe weird electronic music events here and there, you just have to know where to look. I think chipmusicians should rub elbows with the synth community more often, it could help!

bryface
Offline
vancouver, canada
spacetownsavior wrote:

As far as THE FUTURE goes, I want to see more multi in my multimedia. Having co-opted hardware previously made for playing videogames, I don't see what's stopping us from creating audiovisual experiences that don't follow the traditional model of performer vs. audience. We're in a really good place to deliver the concert model of THE FUTURE, but for us to do that we have to get rid of old assumptions made about performance.

ridiculously tickled by this idea.  this could really set chipshows apart from everyone else: make it a half-concert, half public audio-visual installation.

7bithero did something at blip australia in the form of a web game accessed by cell phones, correct?

i remember visuals at blip 2011 that incorporated live tweets too, i forgot who that was.

anyway, there's so much potential in something that the whole audience can interact with (although development complexity obviously would ramp up quite a bit as well)

spacetownsavior
Offline
San Diego, CA
goto80 wrote:

But I think the technofetish will come back. In the academic world people are talking more about objects again, instead of all that socio-linguistic conceptual blabla (appropriation, nostalgia, zzzzzz). Media archeology, platform studies or even software studies. Less humans -- more machines! Aciiieeeeeed!

I don't think that the sociological concepts behind this kind of stuff are as unimportant as they seem--it just hasn't been approached with any sort of rigor regarding the relationship between person and object. This is where the things you mentioned come into play (software studies, etc.) and help ground anthropological studies in some sort of object...neither the object nor the person is the main subject of study; rather, the interactions between them are, as it's always been. Technofetishes almost always happen through some sort of filter; it's not simply the person fetishizing and it's not just the object being fetishized, and this filter (which in technology's case is the context in which the technology is viewed) is hella important to look at. The real value in software studies/media archaeology is that they have the potential to break this sector wide open for analysis.

chunter
Offline
Brunswick, GA USA
Decktonic wrote:

Promoters in the US do not understand that electronic music exists outside of the DJ context.

fix'd.

An acquaintance of mine abandoned making ambient soundscape music for the rave crowd in the 90s over similar pretexts, and yet, we are the same country who made early Techno and House... maybe it's because none of those people went on to become promoters... or did they?

bryface wrote:

anyway, there's so much potential in something that the whole audience can interact with (although development complexity obviously would ramp up quite a bit as well)

Make it as a wildcard demo and submit it to the party of your choosing.

Last edited by chunter (Oct 1, 2012 11:30 pm)

kitsch
Offline
matt's mind
spacetownsavior wrote:

As far as THE FUTURE goes, I want to see more multi in my multimedia. Having co-opted hardware previously made for playing videogames, I don't see what's stopping us from creating audiovisual experiences that don't follow the traditional model of performer vs. audience. We're in a really good place to deliver the concert model of THE FUTURE, but for us to do that we have to get rid of old assumptions made about performance.

omodaka

e.s.c.
Offline
IL, US

live tweet blip 11 visuals were for bubblyfish's set

Theta_Frost
Offline
Milwaukee, WI

I'd like to see more live action everywhere.  I.e. here in the midwest it isn't particularly strong (mostly due to a lack of audience from what I gather).  The face to face contact has been the most inspiring for me - and I think that live music needs to be pushed hard to see some of the coolest parts of the scene come alive.  However, I try to not focus on the "macro" aspect of chip, but more on the "micro" aspect.  Develop individual communities to make the international scene stronger and more diverse.

P.S.  Speaking of live music - anyone want to help me set a night up?  I don't really know where to start but I want to contribute to the local scene as much as I can.

danimal cannon
Offline
buffalo, NY
e.s.c. wrote:

live tweet blip 11 visuals were for bubblyfish's set

they were just text messages actually.  I texted the number after 8static last week just for curiousity sake.

SketchMan3
Offline
NC in the US of America
Decktonic wrote:
SketchMan3 wrote:

@Decktonic: Gameboy musicians could use MuddyGB to improvise over the tracks (if they don't do the Live Mode thing).

You are missing my point completely. Promoters in the IS do not understand that electronic music exists outside of the DJ context.

No, I got your point. I understand.

That's just something I've been wanting to do ever since I heard about LSDJ (I was going to post a feature request for it until I heard of MuddyGB). I personally like the live "instrument" performance element myself, and kind of wish it happened a bit more often with Gameboys.

It could possibly be a good way to get a foot into the "one simply does not perform electronic music" door/sell your soul. Or maybe not.

Decktonic
Offline
Westfield, NJ
SketchMan3 wrote:

That's just something I've been wanting to do ever since I heard about LSDJ (I was going to post a feature request for it until I heard of MuddyGB). I personally like the live "instrument" performance element myself, and kind of wish it happened a bit more often with Gameboys.

It could possibly be a good way to get a foot into the "one simply does not perform electronic music" door/sell your soul. Or maybe not.

I've sold my soul by strictly playing dance music and playing my tracks with smooth transitions, like a DJ would (like Henry Homesweet would, actually). Judge me however you will.

akira^8GB
Offline
New York City
Decktonic wrote:

I've sold my soul by strictly playing dance music and playing my tracks with smooth transitions, like a DJ would (like Henry Homesweet would, actually). Judge me however you will.

And what is wrong with that? I worked my ass off for years to finally manage to do my liveset exactly like that (of course nobody hears my sets tongue). I am not a band. It doesn't make sense to me to stop after every song or to let them play all the way to the end.

Victory Road
Offline
Gosford, Australia
bryface wrote:

7bithero did something at blip australia in the form of a web game accessed by cell phones, correct?

yes, and it was great!
the thing that really nailed it was that they tied it perfectly into the music (and even the lyrics).

SketchMan3
Offline
NC in the US of America
Decktonic wrote:
SketchMan3 wrote:

That's just something I've been wanting to do ever since I heard about LSDJ (I was going to post a feature request for it until I heard of MuddyGB). I personally like the live "instrument" performance element myself, and kind of wish it happened a bit more often with Gameboys.

It could possibly be a good way to get a foot into the "one simply does not perform electronic music" door/sell your soul. Or maybe not.

I've sold my soul by strictly playing dance music and playing my tracks with smooth transitions, like a DJ would (like Henry Homesweet would, actually). Judge me however you will.

No judge. That's between you, yourself, and yourn. I don't really think it's that serious unless you want it to be. :T

I wonder how it would work out if, during a live show that is also being ustreamed, the chatroom was projected onto a wall. It'd be like being there.

om
Offline

Some random 4am warehouse conversations about how to create better feedback loops for performance have been coming back to me after reading this thread...

"wouldn't it be great if we could monitor peoples heartbeats and temperatures and change the tempo and rhythms based on that... and 303 sounds seem to get peoples spines moving more when they're dancing, so if we could somehow video the people dancing and analyze the images the rubbery bassline could be based on that"

Using something Kinekt like, this stuff isn't at all impossible now.

Post-gig analysis would be interesting too -

37% more people raised their hands to 1m or above when major 7th chords were playing, kindofthing