Recursion EP in the making

February 19, 2016

(I wrote this as a public Patreon update)

Today I finished basic structure for a (extended club) remix of original Recursion track. This means that how the track evolves, where are drops, bridges, transitions and other elements is now laid out, I just need at least another day to smooth out the transitions so that they are the way they should be. After more than two weeks of pretty dark creep regarding work (including Patreon updates!) things started to move with a slightly faster pace, which is a relief.

As I wrote before, the Recursion video is ready for release and during the weekend I want to prepare some teasers (animated gifs!) to go around social networks. I will post the video early at the beginning of the week to my patrons exclusively, the video and EP should be out on thursday or friday, and there’s a background story to the track Recursion that needs to be told. Not sure yet what form this telling will take (writing, video log or commentary to the music video), but I would love to take a form of an “open studio” video log.

In the meantime I’m rushing to finish another remix of Recursion track, send it into mastering and pack it into an EP for Bandcamp (and free name-your-price download).

Ney Matogrosso / Secos & Molhados

February 13, 2016

https://en.wikipedia.org/wiki/Ney_Matogrosso

http://www2.uol.com.br/neymatogrosso/

Rick Falkvinge: Creative Commons Torpedoes Copyright Industry Lies

February 10, 2016

The copyright industry has long repeated the claim to politicians that the copyright monopoly is necessary for any culture to be created at all, to the point where politicians actually believe this nonsense. Actually, their ‘lie’ is divided into two parts:

The first falsehood is that authors, makers, and inventors must be paid for anything to be created at all. This lie is actually rather obscene coming from an industry which has deliberately created structures that make sure 99.99% of musicians never see a single cent in royalties: 99% of good musicians are never signed by a label, and of those who are, 99% never see a cent in royalties. So it’s quite obscene arguing that culture must be paid for, when this very industry makes sure that less than one artist in ten thousand get any money for their art.

The second lie is that the only way for artists to make any money is to give the copyright industry an absolute private governmentally-sanctioned distribution monopoly, the copyright monopoly, that takes precedence over any kind of innovation, technology, and civil liberties. This is an equally obscene lie: all research shows that artists make more money than ever since the advent of file sharing, but the sales-per-copy is down the drain. The fact that the parasitic middlemen are hurting is the best news ever for artists, who get a much larger piece of the pie. Of course, the copyright industry – the parasitic middlemen in question – insist on pretending their interests are aligned with those of the artist, which they never were.

Therefore, in believing these two lies combined, politicians grant this private governmentally-sanctioned monopoly – the copyright monopoly – in the belief that such a harmful monopoly is necessary for culture to exist in society. (Just to illustrate what kind of blatant nonsense this is, all archeological digs have been rich in various expressions of culture. We create as a species because we can’t exist in a society and not express culture – it’s because of our fundamental wiring: not because of a harmful monopoly.)

So what could act as conclusive proof that these lies are, well, lies?

Creative Commons.

In the construct of Creative Commons, you have placed the power over this monopoly with the authors and makers themselves, rather with the parasitic middlemen. And the interesting observation is, that once you do, millions of creators renounce their already-awarded harmful monopolies for a number of reasons – because they make more money that way, because they prefer to create culture that way, or because it’s the moral thing to do.

Once you point out that the actual people who create are renouncing their already-awarded monopolies, and are doing so by the millions – actually, more than an estimated one billion works of art according to the Creative Commons organization – the entire web of lies falls apart.

The copyright monopoly isn’t necessary for culture to exist. It was always tailored to benefit the parasitic middlemen. And these middlemen have tried their damndest to prevent actual artists from seeing any of the money.

Now, you could argue that specific expressions of culture couldn’t exist. You’d be easily disproven – for example, most multimillion-dollar blockbusters make their investment back on opening weekend, far before any digital copy exists as a torrent. Besides, why would you prop up and lock in a specific form of culture with a harmful monopoly, when forms of culture have always evolved with humanity?

Rick Falkvinge is a regular columnist on TorrentFreak, sharing his thoughts every other week. He is the founder of the Swedish and first Pirate Party, a whisky aficionado, and a low-altitude motorcycle pilot. His blog at falkvinge.net focuses on information policy.

(via TorrentFreak)

Hudičevo dobri mafini

January 27, 2016

“Za hitro

First Patreon update, what’s cookin’?

January 8, 2016

Just posted this as my first post to Patreon: support my work at patreon.com/novadeviator!

It’s friday of the first week in 2016 and I’m shyly (for now) launching my Patreon page. This is a public update of what’s cookin’ in next month or two.

Firstly, I’m working towards the video for a track called “Recursion“, which is on album “ARP 339” relased on our little label Kamizdat under the Wanda & Nova deViator alias. The video will start as a montage of video material shot with 4 cameras at our performance ARP339 almost a year ago, where we created a peculiar club/concert situation inside a contemporary dance venue. I’m not sure what will happen within the editing process, but I’m pretty confident it will look … well … peculiar! In parallel I’m working on a single/EP release of the original track with edits and remixes. This will hopefully constitute a nice Patreon-supported release package: a video and an EP.

Secondly, I’m performing my latest audio-visual performance Interface Fractures III: Silicon in early March. This performance had a premiere in September 2015 but was not really finished. It was performed in somewhat improvisational “beta” version, so my goal is to create a finished final 1.0 release, a an audio-visual composition created in Processing, SuperCollider and Renoise. This means quite a lot of programming.

And on the last note for this update, I decided to lauch Patreon page without the intro video for now. I recorded and edited something right after New Years Eve but was not so happy with it and I decided it really needs some more work. I’m trying to listen to so many advices online (and voices in my head too!) saying I should love what I’m releasing. So hopefully by the next update the Patreon intro video will be up.

30 Patreon secrets to success

January 7, 2016

“Do it consistently. Mean it every time. Love it, and never force it.” –Flight Chops

“Stop waiting to make the perfect thing — what you can release this week will always beat what you dream of releasing next year”. –Mike McHargue (Science Mike)

“Be consistent in releasing your creations. Content is king. Do it because you love what you do, not because you think it’ll make you a million dollars. Happiness = Reality – Expectations” –Stuart Yoshida (Ooktown)

“Think long term. Things might not happen overnight for most of us, but if you’re in it for long term, things will probably go exponential.” –Cuckoo

“Be dedicated. Life as a creator can be really tough to be honest, so many people give up and leave their dreams behind. I’ve been holding onto my dream as a media creator for over 12 years and if I ever gave up, I wouldn’t never have had the opportunity to say ‘I made that,’ nor would I have met other cool creators. One of the greatest feelings is seeing your imagination come to life and it opens so many windows to an amazing future! Always keep your old work too, no matter how bad you think it is, it shows how you’ve improved and tells the story of where you began and what made you, you today.” –Mindstorm Productions

“Channel your creativity into something you’re passionate about — don’t just create something to please others or to gain views. That won’t get you anywhere you want to go, and isn’t nearly as rewarding. There are a million creators out there, but only one you… so create what only you can.” –Amanda Lee (LeeAndLie)

“Try to convey the pure sense of joy you get from creating. Let people know there’s always room on your team. Encourage interaction, suggestions, and feedback.”-Tim (Table To Paudio)

“Create, create, create! Don’t wait for things to be perfect. Improvement will come through iteration, practice, and persistence.” –Dr. Kiki Sanford (This Week In Science)

“Do the work, build the community, then ask for money. Don’t get the order wrong.” –Patrick Beja (RDVTech)

“Create. Create all the time and keep releasing stuff, even the stuff you aren’t proudest of. Keep that flow of information and creativity going and you will find yourself constantly needing to create. The constant flow also attracts more attention. People show up to experience your creations and the act of creating.” –Dyson Logos

“Don’t expect money to roll in until you’ve established a loyal fan base (by creating consistent quality content).” –Gregor Czaykowski (Loading Artist)

“Despite what it might look like from the outside, being serious about content creation is much more about staying true to the content and much less about trying to please your audience. If you are under the impression that being ‘serious’ means tweaking so that everyone’s happy, then you’re missing the point.” -Anon

“Just do it — keep creating and sharing.” –Cassy Fry

“I’ve met people who have stressed out for days, weeks, months or years over how to make their first video absolutely perfect. Well let me tell you a little secret. It never will be! The only way to get better at something is to do it over and over, again and again. So just accept that your first video won’t be the best. Your second will be better, and your third even better. It’s all upwards from there! So if you’re serious about creating… Get creating!” –John Atkins (Uke Teacher)

“Know your audience.” –Max Vaehling

“Do it often because you love it and there is little else that brings you more joy. Listen to feedback and make adjustments as you see fit, but always understand that it’s your work and you have final say. Trust your instincts.” –Daniel Anderson

“Make the content you would want to watch!” -Anon

“Bank plenty of material! I find it’s important to release material regularly to keep patrons engaged, so I have a backlog of recordings & videos I can draw on when I’m too busy to make something new.” –Carsie Blanton

“Be patient, be disciplined, be productive, and don’t be shy about promoting yourself.” –Anna Landin

“Make time to work and just do it. Keep working and trying to improve instead of worrying that your work isn’t good enough.” -Tait

“Only create what you enjoy creating, you need to have fun and love what you doing or it won’t work out. Keep consistent, don’t let dislikes or haters get to you. Pay attention to the ones who love what you do.” -ParamoreMike

“Invest, be patient, reach out to other creators for help. Share the love and build a community.” -Laura Brouwers (Cyarin)

“More than anything, don’t give up. I know that sounds super generic and wishy-washy but it’s true. Content creation is hard work, and sometimes in the dank hours of 2 AM it feels like nobody but you cares about what you do. But guess what? There are people out there who love what you do but probably haven’t heard of you yet! Get out there and let them know about your passion for making orchestral soundtracks using a spatula, xylophone and several kinds of mason jars, or whatever it is you do!” –Jessica Vandyk

“Be the #1 fan of your own work!” –Junk

“Engage with your community as best you can, but don’t beat yourself up when your community grows too large for you to engage with everyone.” -Anon

“Stop giving your stuff away for free. Let people in on your process.” –Ian Durias

“Produce work, share it, and don’t get down if it seems you’re throwing it into the void at times. Do what you enjoy in a way that doesn’t make you cease to enjoy it any longer.” –Tallulah Cunningham

“Start creating what you love, and release, release, release. Properly tag your work and be sure to tag related artists, songs, etc. Casting a wide net will bring in people who may love your work that otherwise would not have discovered it.” –Luke McQuillan

“Stay true to your heart, create with love and passion. The rest happens through that.” –Nate Maingard

Recept: Testo za pizzo

January 7, 2016

notes on hypersexualised/pornified programming of male (and female) mind

January 5, 2016

Warning: this is mainly short brainstorm about possible future projects. And it’s nothing new. Isn’t it?

Perhaps Crucial Pink & Interface Fractures IV projects can hold hands at the research question: how to realy deal with programming of male mind that creates an addiction to pornography or with lesser effect at least to sexist imagery of hypersexualized female bodies? How do survive it, re-program that male mind, without resorting to denial and repression of desire and/or pleasure?

Does Foucault understanding of pleasure give any clues? Do Deleuze&Guattari’s philosophies of desire?

Personally I see a way of creative/artistic exploration of these issues through queer-ing of male body. Accepting the desire/pleasure of female dresses, underwear, as part of performing a wierd queer subjectivity through live-art sound and video… writing, finding words of pleasure and containment, of enprisonment of one male’s desire and pleasure into pre-shaped images, clips, fetishes.

This is recurring and ongoing. It has to be faced and explored and expressed somewhat.

Millenials are searching for meaning

November 29, 2015

What happens now when the same people discover an independent artist they like?

The thing with our generation is that we search for meaning. If we feel an artist doesn’t need our help or is disconnected from our reality most of us won’t mind downloading. That is because they think buying an album or not will not make any difference to the artist. On the other hand when it does make a clear difference, when the same people feel they can help someone take it to the next level, they will give them their full support.

These people will go see that artist live, buy their entry ticket, maybe invite a friend, buy the CD after the show (- even though their IMac doesn’t have a CD slot, and they probably have never owned a CD player since they left their parent’s home). They may even buy merchandise. I have witnessed it many time with people who have never paid for music through the traditional channel.

We may be used to having free music everywhere, radio, TV, parking lots, and so on. But this is free music we didn’t particularly ask for. We might like it, but there isn’t much more to it. We know that should we pay for it or not, it will always be there. On the contrary if we feel an artist needs us to exist, is trustworthy and if that artist has managed to build a certain level of intimacy with his audience, we will go all the way. He deserves our financial support and we will supply it without any hesitation. That relationship plays a major role in our involvement. Millenials need to feel part of something bigger. It has to make sense to them and to the person who receives it.

Millennial’s Relationship To Music Consumption, By A Millenial.
http://www.musicthinktank.com/blog/millennials-relationship-to-music-consumption-by-a-millenial.html

A huge chunk of a tardigrade’s genome comes from foreign DNA

November 24, 2015

Tardigrades not only can repair their own damaged DNA as the cell rehydrates but also stitch in the foreign DNA in the process, creating a mosaic of genes that come from different species. “We think of the tree of life, with genetic material passing vertically from mom and dad,” said Boothby. “But with horizontal gene transfer becoming more widely accepted and more well known, at least in certain organisms, it is beginning to change the way we think about evolution and inheritance of genetic material and the stability of genomes. So instead of thinking of the tree of life, we can think about the web of life and genetic material crossing from branch to branch.

Source: A huge chunk of a tardigrade’s genome comes from foreign DNA