Within the visual realm, repetition encourages our eyes to dance. Controlling repetition is a way to choreographed human eye movement.

— Casey Reas, Chandler McWilliams: FORM+CODE

Line of purples – Wikipedia, the free encyclopedia

In color theory, the line of purples or the purple boundary is the locus on the edge of the chromaticity diagram between extreme spectral red and violet. Except for the endpoints, colors on the line of purples are not spectral. Line-of-purples colors and spectral colors are the only ones which are considered fully saturated in the sense that for any given point on the line of purples there exists no color involving a mixture of red and violet that is more saturated than it. There is no monochromatic light source able to generate a purple color. Instead, every color on the line of purples is produced by mixing a unique ratio of fully saturated red and fully saturated violet, at the extreme points of visibility on the spectrum of pure hues.

Unlike spectral colors (which may be implemented, for example, by nearly monochromatic light of laser, with precision much finer than human chromaticity resolution), colors on the line of purples are more difficult to implement practically. Cones’ sensitivity to both of the spectral colors at the opposite extremes of what the human eye can see is quite low (see luminosity function), so commonly observed purple colors do not achieve a high level of brightness.

The line of purples, a theoretical boundary of chromaticity, should not be confused with “purples“, a more general color term which also refers to less than fully saturated colors (see variations of purple and variations of pink for possible examples) which form an interior of a triangle between white and the line of purples in the CIE chromaticity diagram.

Source: Line of purples – Wikipedia, the free encyclopedia

Reid Speed: EDM vs. Underground

Music is for everyone, but the unique thing we sought to create with dance music was a dark yet vibrant space where artists and punters alike were free to create and express their souls without judgement, a place to change the discussion, not regurgitate the same old (often negative and empty) stereotypes. The experience itself was the star, the magic happened in the symbiosis between DJ or artist and the dancers who came to create their own self-expressions in response to this flow of love. Only those who were really good – DJs, producers, and promoters- MAYBE got to profit off their talents (maybe not, but profit was never the motive). Only people doing real work got what little money there was. Sure, there were sketchy raves thrown by shady promoters whose lineups didn’t deliver.No underground is without flaw. But the majority of the scene was there for the pure joy and love the music brought us. Today, many a festival has traded this authentic experience for a commodity that can be purchased, consumed, and discarded with about as much thought as a we give a plastic water bottle. And sure, most underground cultures historically have been co-opted in similar manners. But the scene we built was not a corporate cash cow for an elite business class who profited handsomely at the expense of the skilled but less-well-marketed. It was a true supply and demand culture of talent and appreciation. I firmly believe real artists deserve to make a fair living off their art.But when so much of “what sells” in EDM today is just marketing at work, and when what is being sold is often not even made by the person who collects the paycheck for maybe not even really playing the show, we have a serious disconnect at play. Do YOU really want that? Do YOU really want to see more ghost-produced button pushers winning because they have the biggest marketing budget? Or would you prefer to see authentic artists reaping the benefits of their talents? The choice is ours.”

Reid Speed Perfectly Sums Up The EDM vs. Underground Debate With One Image


“[Leroy] Smart [(DJ SS)…] got closer than anyone to achieving the kind of techgnosis that many electronic musicians aim for: to disappear completely into the music, acting merely as a spirit guide for its relentless flow of machine-sourced sound.”

— Derek Walmsley on DJ SS (The Wire 376, June 2015)

Why 2015 is the Year of Community Not Competition

[…] What is it about the music industry that fills us with such self-doubt, we feel upset when other artists succeed instead of optimistic? What is so broken about the indie music scene that we literally laugh off the idea of making money? Of all of us finding success instead of a chosen few?

[…] At the end of the day the only thing I’m sure of is this: Community is my antidote for cynicism. Social media and networking groups have changed my life in the last year, mainly because I let them. Putting myself out there like the new kid at school, with no expectations and no real plan, has given me the faith in myself that I struggled to find for years.

Community not competition is my motto for the year. I hope you’ll join me.

via Guest Post by Rorie Kelly: Why 2015 is the Year of Community Not Competition – CyberPR Music | CyberPR Music.

potential futures for sound publishing and distribution

This development is exciting, revealing potential futures for sound publishing and distribution away from the download culture and immediacy of the worldwide archive of sound towards a more personal interaction delivered by post and performed by the listener. Thus the future of sound curation, so hotly debated this year, could lie in sculptural works of sound, texts and images that entice participation and instruct my listening through a tangible materiality and a physical presence.

In this jouissance of the material thing, there’s the danger of fetishism: that as we abandon the repository online we might start an archive of objects offline instead, their beautiful feel and touch requiring not my listening but inviting their preservation by leaving them unperformed and mute. But if we keep an performing what we hear, see and read, and engage with the aesthetic of the craft by crafting a listening response, we might just avert this fate and instead fast forward to a future where work is savoured in its materiality by performing its process while touching and singing its words.

— Salomé Voegelin, Papering Over The Cracks, The Wire (Jan 2015)

Emily Bick: drive to partition, modularise and automate music making

It’s unlikely that improvisation, or collaboration, or composition as we know them in all their spasmodic and messy glory are going anywhere soon. But the ceaseless drive to partition, modularise and automate music making – under the guise of profit and efficiency – destroys its basis in lived, shared experience that makes music fundamentally human.

— Emily Bick, in Collateral Damage, The Wire 366, August 2014

Art is a Form Which Creates Emotions and Experiences

… the minds of men and women are affected by the social impact of technical inventions […] the souls of people are moved by communication systems — unconsciously in the technical sense. […] Film, like any other art form, is not an expression of man “but a form which creates” emotions and creates experiences “out of the very nature of the instrument.”

— Ute Holl, Moving the Dancers’ Souls, from Maya Deren and the American Avant-Garde

you can sit there a long time

The advice I like to give to young artists, or really anybody, is not to wait around for inspiration. Inspiration is for amateurs; the rest of us just show up and get to work. If you wait around for the clouds to part and a bolt of lightning to strike you in the brain, you are not going to make an awful lot of work.

All the best ideas come out of the process; they come out of the work itself. Things occur to you. If you’re sitting around trying to dream up a great art idea, you can sit there a long time before anything happens.

via Inspiration is for amateurs; the rest of us just show up and get to work | A Photo Editor.