Tuesday, November 21, 2006

Hot Potato at NYU




HOT POTATO!!!


Scot Gresham-Lancaster


Play a note (any note or sound) before you randomly throw the single 'potato'. The potato is simply a number that sets the duration of the sound event in each instance. ie 100 = 100ms, 200 = 200 ms etc. Any potato handler can change the number ... or not.

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The HUB plays "Cut to Ribbons" at NYU



specified by Chris Brown


Cut to Ribbons specifies that each player in the network plays event-streams of sonic events (called 'ribbons') whose character is algorithmically composed using parameters shared with the rest of the ensemble. These parameters include: pitch, amplitude, timbre, tempo, rhythm, duration, density, and phrase duration. Each parameter is sent to one other player in the network at the moment the ribbon is triggered, and each player must allow any parameter received to replace his current value for that parameter, although he may also manually adjust any of his parameters at any time. Another parameter called √ítuning√ď is broadcast to all players at the start of each ribbon, and is used to control stochastic deviation from the other parameters in the composition algorithm; but each player chooses only one other player's tuning data as an influence on his own process. The purpose of this system is to create a complex feedback network of data exchange, so that the ribbons generated are all influenced by each other, but each each player retains the freedom to play their own sounds at times of their own choice.

The HUB plays "Boss" at NYU




specified by Phil Stone


Any Hub member can take over the role of 'boss' at any moment. The boss has complete control over every Hub member's volume (including his own), and can manipulate it in any way he desires. Aside from this constraint, each player is free to create a personal sonic environment.

The HUB plays "pins&splits " at NYU



specified by Mark Trayle

pins&splits

Hub players alternate between a single 'background' sound and a set of one or more 'foreground' sounds. Players have no control over their own foreground/background switching, that's done by other players in the group. They do have control over certain parameters of the sounds they make. My intention was to thin out our typically hyperactive sound through a limitation of sonic material and the interruption of the performers' musical flow.

The HUB plays "Lou Drift " at NYU



Lou Drift
specified by Tim Perkis

dedicated to composer Lou Harrison

This is a piece in free intonation, in which there is no gamut or scale defined. Each pitch played is calculated based on a simple just rational relationship with another currently sounding voice.


The basic behavior requested: pay attention to a /pitch message which is sent to you (you will not be paying attention to EVERY pitch message you see: more on that later). Interpret the value of the pitch message as a real number frequency in Hz. You should play and hold a reasonably long tone (several seconds long at least) at the frequency requested, and calculate a new /pitch message that you send immediately to /hub. Calculate the new pitch by multiplying the pitch that you played by one of the set {2,3,4,5,7} and then dividing by one of {2,3,4,5,7}.

In addition, I will be sending occasional /density messages. Take the number provided as a minimum time, in seconds, that you pause after you perform a play/calculate/send action before doing it again. After your pause deadtime is over, grab the next (or a very recent) /pitch message and use that as the basis of your new action. You need to be able to catch any sent /density message sent, even if it is sent during your pause time.

Monday, November 20, 2006

The HUB plays Tesla Sync at NYU



John Bischoff

Tesla Sync

In Tesla Sync, one player establishes a rhythmic framework by distributing a continuous stream of trigger messages to all players. Players respond to some triggers and ignore others in their own way, thereby creating complex and unpredictable patterns that always remain synchronized.

from a Performance on Monday, October 30, 8pm

Frederick Loewe Theater
35 West 4th Street
New York City

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The HUB plays ""Noosphere" at NYU



Noosphere
Scot Gresham-Lancaster

Sonification of Global Consciousness

The Global Conciousness Project has been collecting data from a global network of random event generators since August, 1998. The network has grown to about 65 host sites around the world running custom software that reads the output of physical random number generators and records a 200-bit trial sum once every second, continuously over months and years. The data are transmitted over the internet to a server in Princeton, NJ, USA. The network is accessed via the internet and the instantaneous generation of sound or sonification of the current state of the network.

Monday, October 30, 8pm

Frederick Loewe Theater
35 West 4th Street
New York City