Author: Charles Céleste Hutchins

Supercolliding since 2003

Liveblogging the SC symposium: the Future of supercollider panel discussion

James McCartney

James McCartney has some ideas about the future – compose music by composing functions (aka functional programming)  Lazy lists of infinitely long lists.

stack based, postfix language like forth (based on Joy). function composition is concatenation.  Pipelining is a natural idiom for music.  control flow is left ot right (easier than LISP). No delimiters.

There are a very few data types – reals, strings, lists, forms (protype objects that are immutable), functions, refs (which are mutable)

everything else is immutable. bind a veraible once, it stays forever. this is concurrency friendly. you can share without worrying about state.

double precision 96kHz, single sample rate

this language does not have looping because you can iterate over nested structures

this language is not all that easy to read…. (everything goes backwards)

well, it will be great for tweeting…

Tim Blechman

He’s working on a new IDE. 

This looks alarmingly like emacs.

The language runs as a subprocess, so it can crash without killing the editor.

the post window moves around in an interesting way. The editor is very basic for now.

The language is not currently integrated, but i guess this is coming.

Projects might be supported. A project would contain many Sc files and have properties. Classes could be specifically for certain projects. This would be very nifty.

The Overtone Guy

He likes having the language and the server seperate (obviously, because his project relies on it). All sc-based languages need to have stuff about the UGens in it (ie metadata).  He’s going to propose metadata for Sc in general for ugens, which could be an ok idea.

He also wants an OSC validation program between himself and the server. This is a terrible idea for sclang. Who is going to write this thing?

He thinks diversity should be encouraged but also sharing so as to avoid work duplication.

Discussion

Client / server division is kind of cool, says Dan. 
James says the thing he just demoed is much smaller than SC.
Tim wants to know if it would get bigger if people started using it.

Can we do sample calculations in sc? sure with James’s sc4.

…language design theory….

I

LiveBlogging: Modality – modal control in SuperCollider

by many people

Modality is a loose collaboration to make a toolkit to hook up controllers to SC.  Does mapping, including some complex stuff and some on-the-fly stuff.

Marije spoke a bit of how they began collaborating

Concept – support many devices over many protocols. Make a common interface. Easily remap.

Devices

They currently support MIDI and HID. the common interface is MKtl. Provides a system to process the data. They have templates. Templates for common ways of processing. Same interface for MKtl and MDispatch. (they may move to FRP (I don’t know what that is))

Ktl quark is out of date.

(I think I might be interested in contributing to this project – or at least provide templates for stuff)

Different protocol have different transport mechanisms. Things very by OS. Different controllers have different semantics.

A general solution is not trivial.

Scaling is different on different OSes. Names of devices may have variations. MIDI has some device name issues.  real MIDI (non-usb) will not report their names, but use MIDI ports.  Similar issues will arise with OSC or SerialPort. 

The device description index is an identity dictionary. It’s got some NanoKontrol stuff in it. I am definitely interested in this…

They’ve got some templates, but it’s still a bit vapourware.

For every button or input on your device, they define what it is, where it is, etc.  This is good stuff.  You can also set the I/O type.

Device descriptions have names, specifications, platform differences, hierarchical naming (for use in pattern-matching). You can programmatically fill in the description

nanoKontrol, Gamepad, DanceMat, a bunch of things.

Events and signals

Functional reactive processing. Events, data flow, change propogation. FRP – functional reactive programming

These are functions without sideFX until you get to the output phase.

In the FP Quark – functional programming Quark.

Events are encoded in an event stream.  Event Source with a do method adds a side effect.  When somethng happens (is “fired”), do the do.  Only event sources can be fired.

the network starts with an event source. 

Signals are similar but have state? You can ask for the value and change it.

To create the network use combinators.

inject has state internally.

Dynamic Event Switching limits and event depending on a selector.  this is kind of like the gate thing in max.

With Modality, every control has an elements, every element has a singal and a source. Controls have keys.

You can combine values, attach stuff to knob changes. Easy to attach event streams to functions.

this is complex to describe, but works intuitively in practice.  You can do deltas, accumulators, etc.

Closing remarks

this is on github, but it not yet released.  depends on the FP quark.

Needs gui replacements.  Needs a backend for OSC devices.

Needs some hackin in the SC source.

Questions

  • Would you be interested in doing the descriptors in JSON, so it can be used by non-SC guys? Yeah, why not.  This is a good plan, even.

Liveblogging the Sc symposium: Overtone Library

Collaborative programmable music. Runs in LISP (dialect of LISP?) that runs in the JVM.  It’s got concurrency stuff. It’s programmable. It runs in Clojure.

Deals with the SC server.  This sort of looks like it’s running in emacs…

All SC Ugens are available.  He built a bunch of metadata for this, a lot like the SC classes for the Ugens.  There is in-line documentation, which is nice.  The Node-tree shows all currently running UGens.

Midi events are received as events and can be used by any function. Wiggle your nano controller.  This came with the JVM.  So all Java libraries are supported.  OSC support. Serial support.

Synth code and musical expression code can be written in the same language.  Specify phrases in a score, concat them.  The language is relatively readable. as far as lisp goes.  Most things are immutable, so this is good for concurrence. Too many variables can confuse the programmer.

He’s using a monome. Every button call has a function, which has the X,Y coordinate, whether it’s pressed or released and a history of all other button presses.

Now he’s doing some mono-controlled dubstep.

C-Gens are re-usable UGen trees, possible a bit like synthdefs. Can do groups also.

This can also use Processing.org stuff, because it’s got java.  OpenGL graphics also supported. They can hook into any UGen

Anything can be glued together.

This is kind of cool. But you need to deal with both java and lisp.

Questions

  • Collaboration?  It helps you deal with shared state, without blocking or locking.

LiveBlogging SC: Mx

by Chris Satinger (aka Felix Crucial)

Mx is a tool for connecting objects together.  audio, control, midi etc

Anything that plays on a bus, the bus can go in and it can be put on a mixer.

This mixer is a GUI thing. You can use it just to glue on things like fadeouts or amplitude control.

Just write a descriptor file.

The system is not the gui, it’s the patching framework.

You can patch synthdefs together. and edit the synthdefs on the fly.

This patches things a wee bit like PD.

It checks for bad values and prevents explosions.

There is no time line system. It’s a hosting system and only manages connections and starts and stops. You can put in other timelines

It uses environment variables. ~this is the unit.

~this.sched(32, { … }, { … })

You can put documents in the Mx. Those can change the Mx as it runs, so it’s all very self-modifying. (When I was an undergrad, they told me this was naughty, but like many other naughty things, it can be very cool.)

Things have outlets and inlets that you can connect.   There is apparently a querying system which we will learn about.

He gets good music out of the system despite having no idea what’s going on a lot of the time

Dragging cables is fun for a while, but then…

Questions

  • Adaptors? The describe what an object is and describes the inlets and outlets.  There’s also a system for announcements. Cable strategies also define behaviours.

Liveblogging SC: live coding with assembler

Dave – 

Esoteric programming languages are an interesting thing we might care about.

CPUs in mine craft – you can see the processing.

Space invaders assembler with lines showing the order of execution.

Very slow execution can show what’s going on. This can be sonified.

 Till – 

BetaBlocker is a quark in sc3-plugins

(talk to him if you want to go work in helsinki)

BBlocker never crashes, but it  might not do anything.  It has a stack and a heap and a program counter.

This is like Dave’s grid on the DS, where it runs in an infinite loop.

UGens

DetaBlockerBuf – is a demand rate UGen. So you can do weird computations in your ugen?  It does a programming step everytime it gets triggered.

The programs are stored in buffers. You can do random ones.

There is also a visual thingee.

BBlockerBuf exposes the stack and the program counter.

BBlockerProgram holds a beta blocker program for the assembler. 

You can create a program with the assembler code.  you can play the program.

BetaBlockerProgram([NOP, POP, ADD]) etc

Tom Hall – 

John Cage would be 100 this year.

A metaphorically digital, constrained, sonic system. An invitation to listen

Questions

  • Is the heap a wave table? No, the output of the program is the sound.
  • Is it a coincidence that it sounds like putting a induction coil on a laptop?  Um, maybe. He says it sounds very 8-bit-y. Maybe because it’s 8bit.
  • Is it easy to write logical seeming programs, or are they mostly random? It is possible to write things that make sense. The fun of it is the weirdness and things getting trashed by accident.  Dave is going genetic programing with a system like this.
  • The output is one byte at a time? No, each step does something and the output is something I didn’t understand.
  • Graphics question? Not Till’s field.

I think this could be really useful for student or teenagers who are sort of intereted in programming.

LiveBloggin the SC symposium: Keynote – Takeko Akamatsu

Using SC since 2000.

Main project is Craftwife. (All members are housewives, she says).  Going since 2008.  There are 5 members now. They are between pop and art culture.

She started initially doing demos of Remkon, an iOS OSC app.  How to make this popular? 

  • Borrow the image of something already famous – Karftwerk.
  • What is Originality? – SC patterns
  • Crash of music industry – live to record, record to live. Craftwife should be live only

Influenced by “the Work of Art in the Age of Mechanical Reproduction”

She makes extensive use of PatternProxies

She also works with Craftwife + Kaeso+.  Kaseo+ is a circuit bender.  she controls strobe lights, analogue synthesier, etc.

SuperCollider.jp

SC in Japan. They have a meetup in Tokyo. She posts on twitter. She does workshops.

During her show in the Hague in 2007, she got frustrated and smashed her computer. And then quit making computer music for a year and grew vegetables.

She held a workshop at a place called the WombLounge.  Not everyone was a musician. She covered interaction between many environments.

SuperColliderSpeedCodingShow

She will give people a theme and five minutes and they have to make a sound.

4 people are quickly coding something on the theme of spring.

SuperCollider.future

She wants the book in an eBook in Japanese.

SuperCollider.cycling

She has attached a sensor to her exercise bike and uses this during her workout routine.

She’s tired of loud sounds. And sound systems are annoying.

She played a video of JMC saying what he wants for sc4. It’s not client server and it’s a lot smaller.

Liveblogging the SuperCollider Symposium: SC AU UI

by Jan Trüzschler and Zlatko Brackski

This is the SuperCollider Audio Unit User Interface Library, which enables the creation of custom user interfaces for Audio Units built in SC.

You can use AU stuff in live or Logic and having a nice GUI can enhance the user experience.  Mapping controls can increase the complexity possible with the AU library.

This is MAC-only, as it uses Objective C.

The interface has some grey boxes and is editable. 

This is not yet added to the main SCAU library yet, as it needs to be merged with the SCAU lib.  The UI library needs some work. There needs to be some documentation.

Examples

This would be cool, but the GUI is really obtuse. 

You can download this stuff from BCU via TEE DMT. Or this will be released in a more normal way.

Questions

  • Where is the lovely GUI coming from? Objective C, so you can’t do your own version in SuperCollider
  • Why is this a one-time library install rather than packaged in the component? Jan thought it would be easier to do an installer.  They’re not difficult to distribute.
  • Can the AUUI controller thing use sidechains? Not yet.

Live Blogging the SuperCollider Symposium: Freesound Quark

By Gerard Roma

Uses the Freesound Website. www.freesound.org. The sounds are Creative Commons.  The website has more than 150,000 sounds from around 4000 users.  Most users only download sounds.  All sounds are moderated – listened to by a human.

I’m always charmed when a presenter shows a supercollider window rather than using a slide programme.  The syntax highlighting of their talk notes is especially good.

Google gave them a grant and they re-wrote the site.  They have a feature extraction library to analyse the sounds.

There is a new freesound quark based on their API.  The quark will give you the sound, the sound’s preview, the tags, the spectrogram, the signal descriptors from freesound’s feature extraction.

You need to get an API key to use the quark. The quark will search stuff for you according to filters. You can find a sound that’s glitchy with a particular duration.  You can search by similarity as well.

The analysis frames of the sound are kept in a separate file, but can be loaded into an IdentityDictionary.

This quark could be really interesting if you want to do stuff with freesound, you don’t need to do your own MIR and you might be able to make cool pieces in real time.

Questions

  • Are people doing cool things with this outside of SuperCollider?  He doesn’t know.
  • Will the API upload to freesound? No.  The API needs some more authentication stuff put in. Also the moderation creates a delay.
  • Zlatko wants to know about how they know if sounds are copyrighted.  The moderators try to figure it out and respond to complaints.
  • Can the same API key be used across multiple computers? Yes.
  • Does the metadata include the licence terms and the user who uploaded it? Yes
  • Is there a GUI? No, this is a new quark, not the old one.

Engaging and Adjusting

The thing about negative feedback is that it’s extremely useful for knowing how to improve. (Mostly, not counting the guy who wondered if our mothers were proud (I’d like to think mine would be.)) And the topic that stands out most glaringly is audience engagement.
This is a long standing problem for many groups dating back to the start of the genre. Somebody left an anonymous comment on my last post comparing us to “geography teachers.” Scot Gresham-Lancaster wrote that The Hub was compared to air traffic controllers. Their solution was to project their chat window, something we’ve talked about, but never actually implemented. There are papers written about how the use of gestural controllers can bridge this gap, something we have implemented. But what projected chat, gestural control, and synthesised voice all have in common is hiding behind technology.
Thus far, we usually physically hide behind technology as well, sat behind tables, behind laptops and do not tend to talk to the audience. However, not all of our gigs have been this way. When we played at the Sonic Picnic, we were standing and we had a better connection to the audience, I think because we were behind plinths, which are smaller and thus we were more exposed. Other concerts, we’ve talked to the audience and even even have given them some control of our interface at certain events. This also helps.
Performers who have good posture and good engagement are not like that naturally; they practice it like all their other skills. A cellist in a conservatory practices in front of a mirror so ze can see how ze looks while ze plays and adjust accordingly.
Also, it turns out that it wasn’t just me that ‘crashed’ due to user error rather than technical failure. There’s two solutions for this – one is to have a todo list reminding the player what they need to do for every piece and to automate as much of that process as possible. The other is to be more calm and focussed going on stage. When we were getting increasingly nervous waiting to be called on to perform, we could have been taking deep breaths, reassuring each other and finding a point of focus, which is what happens when gigs go really well. Alas, this is not what we did at all.
So, starting next week, we are practising in front of a ‘mirror’ (actually a video projection of ourselves, which we can also watch afterwards to talk about what went right and wrong). We are going to source tall, plinth-like portable tables to stand behind or next to. The composer of every piece will write a short two sentence summary explaining the piece and then, in future, we’ll have microphones at future gigs, such that whoever has the fastest change will announce the piece, say a bit about it and have a few bad jokes like rock bands do between songs. We’re also going to take deep breaths before going on and have check lists to make sure we’re ready for stuff.
On the technical side, I’m going to change the networking code to broadcast to multiple ports, so if SuperCollider does crash and refuse to release the port, the user will not have to restart the computer, just the programme. Also, I’m hoping that 3.5.1 will have some increased stability on networking. My networked interactions tend to crash if left running for long periods of time, which is probably a memory management issue that I’ll attempt to find and fix, but in the mean time, we get everything but that running ahead of going on stage and then start the networking just before the piece and recompile it between pieces. To make the changeover faster, we’ve changed our practice such that who ever is ready to go first just starts and other people catch up, which is something we also need to practice.
A pile of negative feedback, even if uncomfortable, is a tremendous opportunity for improvement. So our last gig was amazingly useful even if not amazingly fun.

Gig Report: The adoration may not be universal

BiLe had two gigs yesterday but I’m just going to talk about the second one. However, first I’m going to talk about some gigs I played a few years ago. One was a cafe gig, or possible several cage gigs. They tend to blend together. I was playing tuba with some free improvisers, including the owner of the cafe. A bunch of people were there talking, we started to play and just about everybody left.
It’s slightly uncomfortable, but it’s well known to anybody who has ever played in a cafe. And there have been times when I’ve meant to have a cup of coffee and talk with friends and then, rather than talk over the music, we’ve moved on when it started. At other times, I’ve been happily surprised by live music and there have been many times I’ve gone out to a cafe specifically to hear the music that was programmed.
The other was in 2004 and I had just started doing live computer pieces in SuperCollider, but they were not interactive, they were live realisations. (I called them “press the button” pieces.) I was testing out a new one at an open mic night at a restaurant. My friend had organised the evening and asked me to play, but it was me and all acoustic guitars. It was a very early version of the piece and it still had some major aesthetic problems, which became glaringly apparent as it played. Many people in the room left to go home over the course of the piece. It was not a cafe, it was a restaurant. People had plates of food in front of them which they apparently abandoned during the longest 11 minutes of my life. (I blogged about this at the time.)
A few things happened as a result of this. One was that a busboy came out and game me a thumbs up, I’m pretty sure because he liked the music, but you never know. Another was that I instantly got much more respect from my colleagues at the university. For my own part, I pledged to become more aware of how listeners may respond to pieces I was working on to try to prevent a repeat of this. And finally, I learned the value of playing things in front of people as part of the path to finishing a piece.
The reasons for the increased respect from my colleagues is slightly complex. Part of it was simple elitism, but I think a part of it was an encouragement to take risks. Being likeable is not enough. Some fantastic music is loved upon first listening. But a lot is hated. A lot of fantastic an important pieces caused riots on their first playing. 4’33” by John Cage, Rite of Spring by Stravinsky and Ballet Mecanique by George Antheil are all well-known examples of this. Of course, causing an uproar does not mean that you’re good. You could just be terrible. But it does mean you’re taking a risk.
Of course, I tend to blunder into risks blindly and be caught a bit by surprise.

TEDxBrum

Localities can put on their own, independent TED conferences. One in Birmingham decided to invite BiLE and despite having a gig already lined up the same morning, we agreed to to play.
I’d been at the LoveBytes festival in Sheffield (which was excellent) the day before and stayed over. Alas, it turned out that the reason that my hotel room was so cheap was because it was directly over a Reggae club. I think my room must have been right over the bass amp. One song was in the same key as the resonant frequency of the door frame. We woke up early yesterday morning, played a set at a headphone concert at the LoveBytes Festival, and then got on a train back to Birmingham and got to the MAC centre just in time to set up and play another set at TEDx
We waited nervously back stage for our turn, filed in and started to play XYZ by Shelly Knotts. For some reason, there was a lot of crashing. Chris missed the entire piece, trying to recover from a crash. Julien and Shelly both crashed mid-piece, but were able to recover quickly. I did not crash, but I’m the last to come in. It was sparse and a bit stressful, but we got through it. We’ve played that piece a lot previously. It’s not our first piece, but it’s the first we proposed, as we spent our first-ever meeting writing a vague proposal to NIME last year and this was the piece that we played there.
Then we played Sonnation 2 by Julien Guillamat. We’ve only played that piece a couple of times before, but it’s not difficult. I forgot to plug in my faders and spent the first two minutes trying to figure out what was wrong and then recovering, so it also had some sparseness. The end was not as tight as it could be and I smiled a bit at the error, but then it was over and we filed back off stage.
We always have problems with having the right sort of game face for playing live. I’ve been working on my posture, but we still sometimes slip into head resting on arm with elbow on the table. And I should have kept a straight face at the end. I typed some lines into the speech synthesiser to announce piece titles, which is something I’ve seen other bands do at laptop concerts. I have mixed feelings about it. It seemed better than not engaging at all (which is what we usually do, alas) and we didn’t have a microphone.
Afterwards, we went outside to wait for the talks to end so we could break down our gear. It was then that somebody pulled out their smart phone to check Twitter.

Reactions

The tweets are below in chronological order (oldest first). While it was clear the performance had some technical issues, it had not seemed unusual in any way. We picked pieces that I thought would be accessible. XYZ has computer game elements, including players competing for control of sound parameters and lo-fi game-ish graphics. Sonnations also seems accessible in that is uses live sampling of metallic instruments, something that has worked with Partially Percussive and because it has a physically performative element at the end. Plus it gets nice sounds.
It may be that the difference between reactions to Sonnations and, say, Partially Percussive may have to do with managing audience reactions in some way. The bells do sound nicer than the kitchen hardware, but, because they look like instruments, the audience may be expecting something much more conventionally tonal. They resonances of the metal bowls might be a nice surprise vs the cow bell sounds might be slightly disappointing. Of course, it’s even more likely that the audience would have found the use of kitchen objects to be unbearably pretentious. It may have been better to play Act 2 of the Laptopera as the second piece. It sounds weirder, but the obvious references to spam email, especially the penis-enlargement ones are funny and may have engaged them. Or maybe not. It’s hard to know.
We’re playing at the symphony hall in May and this does have me a bit worried in that I would not have predicted these crashes and I don’t know what caused them. And I’m worried that we might be too brutal for fans of minimalism. It’s caught on much more than other genres of 21st century art music and appeals to a mainstream audience. Just because an audience wants to be challenged a bit, doesn’t mean they want what we do.
On the other hand, as somebody who often specialises in noise music, I’ve never expected to get mass approval or even approval from the majority of people at any given gig. Probably the only exception here is that I’m not usually as directly exposed to audience reaction. And, indeed, there were people who liked it. So maybe it’s a storm in a teacup? It’s impossible to get perspective on things from the stage, as it were.

Tweets

  • About to find out what a laptop ensemble is at #TEDxBrum @EskimoDalton
  • And the laptop ensemble are (is?) using macbook pros, because they’re the best kind of laptops #ilovemac #tedxbrum @Dr_Bob82 (replies)
  • Oh…it’s BILE! Ha! #TEDxBrum @EskimoDalton
  • What a treat. Watch the bham laptop ensamble being streamed live on #tedxbrum websire now x @JoyOfFengShui
  • Using iphone as a sound control device – motion control + music = electro-weirdness! #tedxbrum @Dr_Bob82
  • It’s like being stuck INSIDE A LAPTOP right now #tedxbrum @Dr_Bob82
  • i got a headache can we get @Flutebox on pls? #tedxbrum @tedxbrum @Flutebox @aerosolali
  • The Birmingham Laptop Ensemble. It could only come out of the University of Birmingham. #tedxbrum #notforme @mrmarksteadman
    • @mrmarksteadman 🙂 @carolinebeavon
    • @carolinebeavon I’m sure it’s all really clever, but just a tad self-indulgent for me @mrmarksteadman
    • @mrmarksteadman I agree. No real musical quality from what I can tell … But then, I went to BCU 😉 @carolinebeavon
    • @carolinebeavon That’s kinda my point! Good, no-nonsense uni 😉 Sad to have missed @flutebox; will defo check out the @civicolive replay @mrmarksteadman
    • @mrmarksteadman yup. They were great. This … Hmmmm, not a fan @carolinebeavon
    • @carolinebeavon Guess you had to be there. Oh no, you are, sorry. And it continues. *sigh* mrmarksteadman
    • @mrmarksteadman let me out!!!!! 🙂 @carolinebeavon
    • @carolinebeavon OH GOD IT’S SO SMUG! I CAN’T TAKE HOW PLEASED THEY ARE WITH THEMSELVES! (Sorry… just… yeah, sorry.) #tedxbrum @mrmarksteadman
  • Not getting the laptop ensemble – will try harder #tedxbrum @mrspicto
  • I was expecting some form of 8bit electro music. This is not that. #tedxbrum @JAWilletts
  • I think the computers have taken over #tedxbrum @dorvago
  • Very impressive technically, although not sure if it’s supposed to be music? #tedxbrum @Dr_Bob82
    • @Dr_Bob82 BiLE = sound art ?! @PostFilm
    • @PostFilm I’d agree that it was ‘sound’ but never been a fan of electro-music 🙂 @Dr_Bob82
    • @Dr_Bob82 sound art: I guess it’s just a matter of taste. You don’t hang someone for not liking coffee, anchovies, or cucumber @PostFilm
    • @PostFilm It’s definitely a matter of taste, although occasionally I have felt socially ostracised for not liking coffee 😉 @Dr_Bob82
    • @Dr_Bob82 harmony, melody, rhythm are culture- and time-specific; but electroacoustic is so broad now that it’s difficult to generalise @PostFilm
  • @BiLEnsemble > visually Kraftwerk/Modified Toy Orchestra minus suits, audibly Aphex Twin via laptops & remote controls. Madness! #TEDxBrum @asmallfurrybear
  • #TEDxBrum Bored already @Keybored_KATz
  • Horrible feeling that this isn’t going down as expected… Please, some melody for the love of god!! #tedxbrum @Dr_Bob82
  • #TEDxBrum Trying to be positive – but really – pass the paracetamol @Pictoontwit
  • Birmingham Laptop Ensemble – using interference to create music! #tedxbrum http://pic.twitter.com/PmCOiBQG @CerasellaChis
  • #TEDxBrum I feel very old right now. @Stephen_Griffin
  • It’s like a game, where I don’t know the rules and can’t tell if it’s glitching or not. #tedxbrum @JAWilletts
  • Think there’s some sort of Kinect-type deal going on here as well with controlling the ‘music’ #tedxbrum @Dr_Bob82
  • No, sorry I tried but not for me ( laptop ensemble) #TEDxBRUM @mrspicto
  • somebody pls where is nathan @Flutebox come back pls! #tedxbrum @aerosolali
  • #TEDxBrum can Flutebox come back on please @Pictoontwit
  • #tedxbrum not sure what to make of this music @simonjenner
  • @BiLEnsemble > a possible contender for @supersonicfest 2012 line up? #TEDxBrum @asmallfurrybear
  • nah not for me… Seems too out of control & random…“@vixfitzgerald: I don’t get it #TEDxBrum Birmingham laptop ensemble 🙁 ??” @Soulsailor
  • Like War of the Worlds meets Aphex Twin meets an over-enthusiastic computer geek #tedxbrum @Dr_Bob82
  • Anyone else not got a clue what’s going on? Even the performers look disinterested! Smile and nod, smile and nod… #TEDxBrum @MykWilliams
  • Its getting an interesting Twitter reaction. Not sure whether it’s quite a bit too revolutionary. #tedxbrum @JAWilletts
  • As if my head didn’t hurt enough from all the ideas #TEDxBrum crammed in, BiLE start their intense sonic assault http://yfrog.com/khb13bqj @orangejon
  • Birmingham Laptop Ensemble at #TEDxBrum http://pic.twitter.com/DdGoqzSJ @stanchers
  • #TEDxBrum that made Kraftwerk look pedestrian Stephen_Griffin
  • Birmingham Laptop Orchestra. Industrial grunge synth from the 70s. A little to atonal for me. #tedxbrum @DaveSussman
  • Please. Melody. Just a little bit. I won’t tell the experimentalist musicians that you did it #tedxbrum @Dr_Bob82
  • Amazing stuff around here. 🙂 #TEDxBrum @CerasellaChis
  • Talk amongst yourselves. #tedxbrum @mrmarksteadman
  • #TEDxBrum I am sure there mothers are very proud – I am now reflecting on the value or otherwise of a University education @Pictoontwit
  • I feel like this needs an explanation #TEDxBrum @chargedatom
  • Hmm sorry but please don’t “play” another “track” /Birmingham laptop Ensemble ;-( #WTF #TEDxBrum @Soulsailor (replies)
  • WE NEED MOAR COWBELL!: http://www.funnyordie.com/videos/80a71ef8cb/more-cowbell #tedxbrum Dr_Bob82
  • …but i do like the guys stickers on his laptop…. #tedxbrum @aerosolali
  • #TEDxBrum the power of social media – and when you die on your feet even faster @Pictoontwit
  • Really not feeling Laptop Ensemble.I’m afraid at #TEDxBrum even they look bored. @carolinebeavon
  • Wouldn’t it be better to just plug an iPod in. #tedxbrum @dorvago
  • The cowbell is a way too understated instrument, let’s get the cowbell trending too! #TEDxBrum #morecowbell @TEDxBrum
  • Is it possible to rehearse this? #seriousquestion #TEDxBrum @chargedatom
    • @chargedatom I think they’re winging it. Most UoB students do 😉 @Dr_Bob82
  • @BiLEnsemble it’s interesting to watch here in the MAC. Physical meets digital, theres so much that could go wrong, it’s working!! #tedxbrum @Ben_R_Murphy
  • If we don’t get more cowbell, we may as well all go home #cowbell #tedxbrum @Dr_Bob82
  • Who spiked my drink with acid? Is this real? #TEDxBrum @craiggumbley
  • I for one, was happy to have #8bit of silence ¦-) #bless RT @mrmarksteadman Talk amongst yourselves. #tedxbrum @Jacattell
  • #TEDxBrum the emperor’s new laptop? @Stephen_Griffin
  • I’m now imagining myself in a rainforest. Away from this. Far away. #tedxbrum @Dr_Bob82
  • #TEDxBrum PLEASE STOP @Pictoontwit
  • Britain ‘s not got talent sorry #TEDxBrum @vixfitzgerald
  • One of them must be checking the twitter feed #tedxbrum #multitasking @dorvago
  • Oh dear twitter generated laughter in danger of breaking out now. At least it is a more positive effect than i expected #tedxbrum @mrspicto
  • Ah, so they played instruments at the start, recorded them, now they’ve digitised and resampled them and are playing them back #tedxbrum @Dr_Bob82
  • I’m not at #TEDxBrum, but finding the tweets about the “Laptop Ensemble” hilarious. It sounds dreadful (but I bet you all clap at the end). @editorialgirl
  • Ordered chaos; #LOVEIT! MT @Soulsailor nah not for me… Seems too out of control & random… /cc @vixfitzgerald #TEDxBrum @Jacattell
  • #morecowbell #lesscowbell would it make a difference?? #TEDxBrum @chargedatom
  • Massive TUNE! #tedxbrum @n_chalmers
    • @n_chalmers will buy u the CD for ur bday! #tedxbrum @J_K_Schofield
    • @n_chalmers going to download this one after for sure @kathpreston1
  • Twitter is my outlet. Can’t keep straight face. #TEDxBrum @karldoody
  • No one said innovation was going to be easy, right? #TEDxBrum @TEDxBrum
  • #TEDxBrum Warming to BiLE – snugly weird. @Stephen_Griffin
    • @Stephen_Griffin Was that smugly weird? #tedxbrum @Dr_Bob82
  • So now the track is on a loop and they’re playing along ‘in real time’ with it. Except it sounds… well… it’s finished now #tedxbrum @Dr_Bob82
  • Balls. #tedxbrum @mrmarksteadman
  • #TEDxBrum …. Laptop Ensemble … Seriously … Is that it 😉 @shuhabtrq
  • I want to see more people preoccupied with the stuff BiLE is doing. #TEDxBrum @CerasellaChis
  • Well I liked it… #TEDxBrum @stanchers
  • Brilliant performance from Laptop Ensemble BiLE – enjoyed watching and listening to them on the live stream #TEDxBrum @PostFilm
  • thinks BiLE upset some #tedxbrum delegates who did not want to open up to sound art and opportunity for digital experimentation @PostFilm
  • Skimmed the #TEDxBrum stream – if that sad reaction to @BiLEnsemble is accurate reflection of audience vibe I’m glad I’m not there. @peteashton
    • @peteashton Actually the reception to it IN THE ROOM in the real world was warm. The dissenters were vocal on Twitter. Go figure. @helgahenry
    • @peteashton We don’t know how much info (if any) was given to the audience about what they were listening to. Tweets sounded… surprised. @editorialgirl
    • @editorialgirl Indeed. I just don’t think I’d enjoy being in an audience which is surprised in that way by their work. Which is fine. @peteashton
    • @peteashton if it’s any consolation at all, I was there, at TEDxBrum & I enjoyed BiLE. New to me, a surprise, yes, but in a good way! @KendaLeeG
  • @hellocatfood I think you v can now legitimately claim to be a misunderstood artist now! The #TedxBrum audience just weren’t ready for you. @AndyPryke
  • @gregmcdougall there was a random laptop music segment that didn’t work for me then more awesomeness #TEDxBrum @Soulsailor
  • for me ‘sound art’ is part of the creative “T” in TED. More radical digitral sonic experimentation please from BiLE #tedxbrum @PostFilm
  • Oddest moment today: watching @BiLEnsemble use modern technology to give the audience a scarily accurate experience of tinnitus. #tedxbrum @catharker
  • #tedxBrum @BiLEnsemble have potential. I heard some cool sounding stuff and was a little jazzy. Maybe mix with instruments/samples/beats? @RenewableSave
  • i see bile at #tedxbrum has caused some controversy. i don’t think any performer has an inherent right to have their performance liked. @simonjgray
    • (& i type this as somebody who has made music which is well far from being universally liked. #tedxbrum ) @simonjgray
  • Really enjoyed playing at #lovebytes and #tedxbrum yesterday… as well as the post-TED discussion 😉 @BiLEnsemble
    • @BiLEnsemble and we enjoyed you! @TEDxBrum, out of interest, was the #lovebytes performance different? @Ben_R_Murphy
    • @BiLEnsemble well done BiLE performing at #tedxbrum !!!! @InterFace_2012
  • @celesteh obvious there were probs at #TEDxBrum, but I enjoyed the pieces – although was brought up on Harvey’s “Mortuos Plango, Vivos Voco” @davidburden
  • BiLE Blog #tedxbrum http://celesteh.blogspot.co.uk/2012/03/gig-report-adoration-may-not-be.html @PostFilm
  • BiLE’s last piece at #TEDxBrum http://dl.dropbox.com/u/8693004/TedxBrum%20BiLE.mp3 Quietat points so some mobile signal interference. @Acuity_Design

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