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Inside the transformational AV duo of Paula Temple and Jem the Misfit

Paula Temple and Jem the Misfit are working on the latest iteration of a project about transformation. It melts and fragments, crystallizes and forms, from its rich palette of hybridized techno and ambient textures, sonic and visual alike. And now, it’s set to be involved in some way in transformation beyond just the confines of a single performance – as a statement about what society might do differently and how artists can contribute. With NODE Forum in Frankfurt am Main, Germany at the end of the month, the duo will premiere Nonagon II, a sequel to their stunning 2014 AV …

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Don’t miss Chagall’s mesmerizing live glove performances, new video

For up and coming cyber-pop talent, look no further than Chagall, the Amsterdam-born London-based cyborg diva. Chagall van den Berg (full name) was an early adopter of the mi.mu gloves, a wearable interface that’s the latest generation of a tradition of interfaces that dates back to Amsterdam’s own STEIM research center and pioneering work by Michel Waisvisz. (Even if you have no interest in glove-based interfaces, Waisvisz can arguably be credited for producing the model of human/computer musical interaction as we now know it – it’s worth understanding.) And Chagall herself is emblematic of the kind of brainpower-meets-virtuosic performance of …

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Ableton have now made it easy for any developer to work with Push 2

You know Ableton Push 2 will work when it’s plugged into a computer and you’re running Ableton Live. You get bi-directional feedback on the lit pads and on the screen. But Ableton have also quietly made it possible for any developer to make Push 2 work – without even requiring drivers – on any software, on virtually any platform. And a new library is the final piece in making that easy. Even if you’re not a developer, that’s big news – because it means that you’ll likely see solutions for using Push 2 with more than just Ableton Live. That …

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Exclusive: Ableton acquires Max maker Cycling ’74; what you need to know

Ableton is announcing today they have fully acquired Cycling ’74, the California-based company best known for producing Max and Max for Live. It’s perhaps an auspicious moment for Cycling ’74 as the company reaches its 20th anniversary – and 20 years of availability of the MSP tools for synthesis and sound processing. But if acquisitions would normally make you nervous, the close existing relationship of the two companies, and the plans as they’re describing them, should put those concerns to ease. Gerhard Behles and David Zicarelli, founders and CEOs of Ableton and Cycling ’74, respectively, tell CDM that the deal …

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Founders David Zicarelli (left) and Gerhard Behles (right).

A conversation with David Zicarelli and Gerhard Behles

Today’s Ableton have announced they’re acquiring Cycling ’74. There’s no two better people to talk to about what that means than the founders and CEOs of the two companies, Ableton’s Gerhard Behles and David Zicarelli of Cycling ’74. That’s big news. But it’s also a long time coming, based on a relationship that has evolved over three decades. And the history of these two companies is deeply intertwined – not just because of Max for Live. Without Max, it’s almost certain there would be no Ableton. Behles says Max was the first music software to really inspire him. Max was …

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Bonobo has turned a track into a tranquil, trippy VR journey

If virtual reality is for anything, surely going on a musical trip is what it’s for. So it’s fitting that Ninja Tune artist Bonobo is making a step into the world of virtual reality. And stepping into “Outlier” (off the album Migration) in virtual reality form is really like taking a trip – the song itself becoming a pathway. Built for Google’s Daydream platform, the “Outlier” VR app first prompts you to steer through a landscape with your controller, the song advancing toward you as glowing space-y, misty abstract hills and portals. You then summon a flock of birds, which …

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Watch this crew go transhuman in the absorption chamber

“Well, it’s not really anything new” (or some variant) is a phrase heard at music and media shows perhaps as often as “I’m going for a smoke” or “where’s the toilet?” But this raises a question. Forget for a second what an audience thinks is new – sound or look or technology or whatever. What would get you to do something different? What would get you out of your comfort zone? What would get you to push yourself – even just a few steps? That’s been the idea behind all the collaborative labs I’ve gotten to organize, but for last …

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ETC video synth is like the love child of Tumblr and MS Paint

We may be at the saturation point for sound synthesis and modular. You know what that means: it’s time for video synthesizers. East Coast American boutique darlings Critter & Guitari are diving into that field headfirst with their ETC video synth. Here’s how it works. Pick a background color. Dial in a mode – from various preset animation styles. Choose to leave accumulation on or not (whether those animations stack atop one another). Add an audio input if you choose for sound reactivity. Then adjust parameters manually, or use MIDI for automation (via scenes and CC automation). That might all …

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Robert Henke, finding beauty in ever-iterating work with lasers

Robert Henke in his post-Ableton life has continued to see his stock rise on the media art scene. But in some ways, that’s a funny thing. You’ll very often see Robert in one of two guises – as club act, or large-scale AV event. Yet the very thing that makes his style so distinctive is somehow the opposite of what you normally expect from those arenas. Robert’s approach is meticulous, detail-oriented, compulsive. In some sense, I think that’s what makes it scale. Rather than crank the volume, push emotions, and embrace spectacle (in the AV/concert) and the visceral (in the …

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With Autist and Rainbow Arabia, pop retro futurism meets the club

Electronic music’s popular future is unquestionably tied up with techno nightclubs – for better and for worse. And that’s perhaps no more true than in Berlin, birthplace of Traktor and Ableton Live, in this nation that birthed major DAWs and modular revivals, then became a beacon for the use of said tools to make dance music. So the question is, where do we go from here? Are clubs about producing effective repetition (literally), or are they also some kind of laboratory for new hybrids of styles? I’m involved in a second time in a Thursday night experiment of sorts at …

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