The audio and the visuals are looping “separately” (and sometimes the visuals are algorithmically generative, in which case they are not really “looping” at all), but the audio and the visuals are not technically looping in synch. And even when the visuals are not generative, there are often two or three different gifs looping in a single page collage, each gif looping at a different rate. It seems like it wouldn’t make that much difference, but it really does, because all the different looping elements may only synch up every 31st time or something, so it feels a lot more variable than if every element were looping in synch.
There is a kind of weird art to asynchronously synchronizing the visuals and the audio, not so that they will literally “synch up” per se, but so that they will slide across each other and occasionally realign with each other in a way that feels right. But yes, it’s not quite looped time. It’s some other kind of time. It is related to this aspect of my performance practice: http://lab404.com/video/pop/ http://deepyoung.org/current/day/ http://deepyoung.org/current/lost/ http://deepyoung.org/current/again/ http://deepyoung.org/current/doubleblind/ Taking something banal and stretching it until it becomes complex and variable. Which may indeed be in a kind of inverse relationship with your speed. ----- Alan wrote: I just wonder what if the loops aren't loops in the ordinary sense but immense compressions, sound going into ultrasonics, Guiseppe Logan, etc.? Just curious. Sometimes I think my music's an odd inversion of yours, trying to wk. as many notes as possible into a short interval but then doing stuff w/ it for ages - On Sat, 15 Jul 2017, Curt Cloninger wrote: > Hi Alan, > > That loop is just from this song: > https://youtu.be/jj5nH0O8lmg > > But i looped it past the regular bar and into the break, so you get a new > rhythm that's not really in the song. > > The punk jazz band The Minutemen said they only liked parts of songs, so > when they wrote their own songs, at first they were very short, only like a > minute long, because they only wrote the parts they most liked. The > playdamage audio loops are inspired by that idea, combined with the infinite > loop. The best parts forever.? > > So, for instance: > The death metal part of moonlight on vermont by captain beefheart: > http://playdamage.org/81.html > > The ambient part of don't look back by boston: > http://playdamage.org/62.html > > A kind of defamiliarization of pop music via cropping and looping. > > For fun, here is a classic minutemen cover of the best parts of van halen's > ain't talkin bout love: > https://youtu.be/k0C0Yke9tww > > Best, > Curt > > > > > From: Alan Sondheim ? > > To: NetBehaviour for networked distributed creativity > > Subject: Re: [NetBehaviour] playdamage #115: reANIMATr > {blackmountainberlin} > Message-ID: > > Content-Type: text/plain; charset=US-ASCII; format=flowed > > > > quite like this! - have you worked with Michael's music or free > jazz? > Curious about your rhythms - > > On Fri, 14 Jul 2017, Curt Cloninger wrote: > > > http://playdamage.org/115.html _______________________________________________ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
