The Creators Project | Origin by UVA + Scanner

At the 2011 Creators Project New York event, United Visual Artists’ massive LED sculpture Origin attracted spectators like insects to bright light.

Set in the foreground of the Brooklyn Bridge, the artwork was continuously engaged with its environment through the buzzing dialogue between the visual light and sound.

On March 17-18 the Creators project will be kicking off on the West Coast at Fort Mason, San Francisco, CA

http://thecreatorsproject.com/en-uk/events/the-creators-project-san-francisco-2012

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Scenius, or Communal Genius

((Pay close attention, creativity fans.))

Scenius is like genius, only embedded in a scene rather than in genes.

Brian Eno suggested the word to convey the extreme creativity that groups, places or “scenes”  can occasionally generate. His actual definition is:  “Scenius stands for the intelligence and the intuition of a whole cultural scene. It is the communal form of the concept of the genius.

Individuals immersed in a productive scenius will blossom and produce their best work. When buoyed by scenius, you act like genius. Your like-minded peers, and the entire environment inspire you.

The geography of scenius is nurtured by several factors:

•  Mutual appreciation — Risky moves are applauded by the group, subtlety is appreciated, and friendly competition goads the shy. Scenius can be thought of as the best of peer pressure.
•  Rapid exchange of tools and techniques — As soon as something is invented, it is flaunted and then shared. Ideas flow quickly because they are flowing inside a common language and sensibility.
• Network effects of success — When a record is broken, a hit happens, or breakthrough erupts, the success is claimed by the entire scene. This empowers the scene to further success.
•  Local tolerance for the novelties — The local “outside” does not push back too hard against the transgressions of the scene. The renegades and mavericks are protected by this buffer zone.

Scenius can erupt almost anywhere, and at different scales: in a corner of a company, in a neighborhood, or in an entire region.

Link: kk.org

Scenius in Art and Science.

The history of art and science is crammed with episodes of scenius. In modern literature there was the Algonquin Round Table, the Bloomsbury Group, the Inklings in Oxford, UK. In art there was Paris in the 20s, the lofts in Soho, NYC, and Burning Man recently. In science there was the Lunar Society in England, Building 20 at MIT, or the ever-spreading Silicon Valley.

(…)

Camp 4 is a nondescript, bland, dusty campground. Building 20 at MIT, the home of fantastic engineering exploits like the improvement of radar, was likewise architecturally boring, almost dilapidated. Soho was blocks of unwanted industrial space. Like these other places, Camp 4 was a generic space with flexibility. However Camp 4 is also a walk-in camp. You need to haul everything on your back. That immediately filters out a lot of wannabes. The absence of cars also keeps everyone around. From the outside you would never guess there was anything special about the place.  I think that is true of most scenius.

(…)

Although many have tried many times, it is not easy to command scenius into being. Every start up company, or university would like their offices to be an example of scenius. The number of cities in the world hoping to recreate the scenius of Silicon Valley is endless, but very few have achieved anything close. Innumerable art scenes begin and vanish quickly. The serendipitous ingredients for scenius are hard to control. They depend on the presence of the right early pioneers. A place that is open, but not too open. A buffer that is tolerant of outlaws.  And some flash of excitement to kick off the virtuous circle.  You can’t just order this.

What Camp 4 illustrated is that the best you can do is NOT KILL IT. When it pops up, don’t crush it. When it starts rolling, don’t formalize it. When it sparks, fan it. But don’t move the scenius to better quarters. Try to keep accountants and architects and police and do-gooders away from it. Let it remain inefficient, wasteful, edgy, marginal, in the basement, downtown, in the ‘burbs, in the hotel ballroom, on the fringes, out back, in Camp 4….

Link: wired.com

Scenius everywhere.

Here is a good example of what Scenius can be like in music, by Brian Eno himself, in his studio at Notting Hill, London. Which is no more than a usual jam between music artists-friends on a casual day.

Scenius is not impossible. In fact it can happen everywhere. You just need the right ingredients. You need the right people at the right place. And as was mentioned above, if it happens DON’T KILL IT.

± soundsofnone ±

Matana Roberts – Coin Coin Chapter One: Gens de couleur libres

Matana (m(a)-ta-na\) Roberts; internationally documented, chicago born saxophonist/improviser/ composer/sound conceptualist; working in various mediums of  performance inquiry; has created alongside visionary experimentalists of this time period in various areas of improvisation, dance, poetry, visual art, theater; as a saxophonist, documented on sound recordings as collaborator, side woman and leader. some recent work focused on the place/problem of memory/tradition as recognized, deciphered, deconstructed, interrogated through radical modes of sound communication, alternative styles of musical notation, and multi genres of improvisation.

Says Matana: “COIN COIN is a compositional sound language, that I have been developing since 2006. My initial interest in creating this work came from my childhood fascination with ghosts, spirits, spooks, and the faint traces of what they leave behind. I have a deep interest in old, antique objects of human existence, mostly because of the variety of story that can be created, factual or not, from the possibility of their being. This project is a combination of those interests as well as my delight in musical communication , ritual adornment, and the genealogical 20th century history of Africans in America. In some instances I am using information that I have gleaned from research into my own ancestral history, as inspiration and area of creative consideration. The musical root of much of this work also stems from my continued attraction/repulsion to certain aspects of the American Jazz tradition(s) which I am deeply involved with as an alto saxophonist.”

In 2008, the success of her leader debut, *The Chicago Project* (Central Control International), led critics to call Roberts “one to watch” (Kevin Legencre, *Jazzwise*) and “an eloquent, dramatic, tone warping free jazz artist right out of Ayler’s anti bop tradition.” (John Fordham, *London Guardian*) She has also recorded as a side woman on recordings with a large smattering of influential post rock ensembles such as Godspeed You Black Emperor, TV on the Radio, Savath and Savalas, and Thee Silver Mount Zion.

 

Buy here

Sun Ra – A Joyful Noise (1980)

This video represents a good range of Sun Ra’s many musical moods. Ra was among the first person of any musical genre to use electronic keyboards. Here, the venerable titan of the jazz avantgarde performs tunes including “Astro Black,” “Calling Planet Earth,” “Organ Solo,” “We Travel the Spaceways,” “Ankh,” and other seriocomic chants and jingles.
1980 – director: Robert Mugge

            

Some call me Mr. Ra… others call me Mr. Ry… you can call me MYSTERY

Drums between the bells

Brian Eno first came across the work of Rick Holland in the late ’90s during the Map-Making project – a series of collaborative works between students of the Royal College, the Guildhall School of Music, the Royal Academy of Music, the Royal College of Music, the National Youth Orchestra and the English National Ballet, among others.

In 2003, Brian Eno and Rick Holland made their first music together (although the resulting work does not appear on this album). In the intervening time since that initial session they have met infrequently to work on new compositions.

In early 2011, following the release of Small Craft On A Milk Sea, the pair resolved to finish the project.

The result is Brian Eno‘s latest album, Drums Between the Bells, which will be released on July 4, 2011.

DRUMS BETWEEN THE BELLS – TRACKLISTING

    1. bless this space
    2. glitch
    3. dreambirds
    4. pour it out
    5. seedpods
    6. the real
    7. the airman
    8. fierce aisles of light
    9. as if your eyes were partly closed as if you honed the swirl within them and offered me … the world
    10. a title
    11. sounds alien
    12. dow
    13. multimedia
    14. cloud 4

Silence

  1. breath of crows
  • Original imagery by Brian Eno. Design by Nick Robertson.

RELEASE FORMATS

CD

Hardback 2CD Edition (pictured above)
includes 44-page book & second disc with instrumental versions of tracks from the album

12″ Double Vinyl
includes mp3 download code of the original album
first 500 orders on Enoshop also receive mp3s of the instrumental versions

Here is a taster, “The Glitch”

Max Mathews and the future of musical instruments

Matthews studied electrical engineering at the California Institute of Technology and the Massachusetts Institute of Technology, receiving a Sc.D. in 1954. Working at Bell Labs, Mathews wrote MUSIC, the first widely-used program for sound generation, in 1957. For the rest of the century, he continued as a leader in digital audio research, synthesis, and human-computer interaction as it pertains to music performance.

Although he was not the first to generate sound with a computer (an Australian CSIRAC computer played tunes as early as 1951), Mathews fathered generations of digital music tools.

He described his work in parental terms in this excerpt from “Horizons in Computer Music,” March 8–9, 1997, Indiana University:

“Computer performance of music was born in 1957 when an IBM 704 in NYC played a 17 second composition on the Music I program which I wrote. The timbres and notes were not inspiring, but the technical breakthrough is still reverberating. Music I led me to Music II through V. A host of others wrote Music 10, Music 360, Music 15, Csound and Cmix. Many exciting pieces are now performed digitally. The IBM 704 and its siblings were strictly studio machines – they were far too slow to synthesize music in real-time. Chowning’s FM algorithms and the advent of fast, inexpensive, digital chips made real-time possible, and equally important, made it affordable.”

In the following video made at the SF MusicTech Summit last year  Mathew speaks about innovation

Sun Ra is in love

Sun Ra said and wrote many strange things while he was upon this planet. The easy, mindless reaction is to just label him ‘weird’ and hide behind that facile label. Another possibility is that he was passionately engaged in and by his creative mythology, and that what he really meant could only be articulated in his music.

And as someone comments on youtube: “We must all learn to travel the spacewaves if we want peace in this world.”

Scenius, or Communal Genius

((Pay close attention, creativity fans.))

Scenius is like genius, only embedded in a scene rather than in genes.

Brian Eno suggested the word to convey the extreme creativity that groups, places or “scenes”  can occasionally generate. His actual definition is:  “Scenius stands for the intelligence and the intuition of a whole cultural scene. It is the communal form of the concept of the genius.

Individuals immersed in a productive scenius will blossom and produce their best work. When buoyed by scenius, you act like genius. Your like-minded peers, and the entire environment inspire you.

The geography of scenius is nurtured by several factors:

•  Mutual appreciation — Risky moves are applauded by the group, subtlety is appreciated, and friendly competition goads the shy. Scenius can be thought of as the best of peer pressure.
•  Rapid exchange of tools and techniques — As soon as something is invented, it is flaunted and then shared. Ideas flow quickly because they are flowing inside a common language and sensibility.
• Network effects of success — When a record is broken, a hit happens, or breakthrough erupts, the success is claimed by the entire scene. This empowers the scene to further success.
•  Local tolerance for the novelties — The local “outside” does not push back too hard against the transgressions of the scene. The renegades and mavericks are protected by this buffer zone.

Scenius can erupt almost anywhere, and at different scales: in a corner of a company, in a neighborhood, or in an entire region.

Link: kk.org

Scenius in Art and Science.

The history of art and science is crammed with episodes of scenius. In modern literature there was the Algonquin Round Table, the Bloomsbury Group, the Inklings in Oxford, UK. In art there was Paris in the 20s, the lofts in Soho, NYC, and Burning Man recently. In science there was the Lunar Society in England, Building 20 at MIT, or the ever-spreading Silicon Valley.

(…)

Camp 4 is a nondescript, bland, dusty campground. Building 20 at MIT, the home of fantastic engineering exploits like the improvement of radar, was likewise architecturally boring, almost dilapidated. Soho was blocks of unwanted industrial space. Like these other places, Camp 4 was a generic space with flexibility. However Camp 4 is also a walk-in camp. You need to haul everything on your back. That immediately filters out a lot of wannabes. The absence of cars also keeps everyone around. From the outside you would never guess there was anything special about the place.  I think that is true of most scenius.

(…)

Although many have tried many times, it is not easy to command scenius into being. Every start up company, or university would like their offices to be an example of scenius. The number of cities in the world hoping to recreate the scenius of Silicon Valley is endless, but very few have achieved anything close. Innumerable art scenes begin and vanish quickly. The serendipitous ingredients for scenius are hard to control. They depend on the presence of the right early pioneers. A place that is open, but not too open. A buffer that is tolerant of outlaws.  And some flash of excitement to kick off the virtuous circle.  You can’t just order this.

What Camp 4 illustrated is that the best you can do is NOT KILL IT. When it pops up, don’t crush it. When it starts rolling, don’t formalize it. When it sparks, fan it. But don’t move the scenius to better quarters. Try to keep accountants and architects and police and do-gooders away from it. Let it remain inefficient, wasteful, edgy, marginal, in the basement, downtown, in the ‘burbs, in the hotel ballroom, on the fringes, out back, in Camp 4….

Link: wired.com

Scenius everywhere.

Here is a good example of what Scenius can be like in music, by Brian Eno himself, in his studio at Notting Hill, London. Which is no more than a usual jam between music artists-friends on a casual day.

Scenius is not impossible, you just need the right ingredients. You need the right people at the right place. And as was mentioned above, if it happens DON’T KILL IT. It can happen anywhere: In a coffee shop, in someone’s flat or just sitting on a bench with your mind open. In musical terms this is the definition of jamming. We can gather in a scene and take our genius out there. Just like Mr Eno did with the superb Australian band The Necks. And he called it “This is Pure Scenius“.

~ soundsofnone ~

The Creative Process and self-teaching: Bill Evans

Extracted from the movie “The Universal Mind of Bill Evans – Creative Process and Self-Teaching”. Bill Evans talks about his own development as a musician and explains how to become expressive in music. He shares his insights about evolving, playing professionally and the whole process of learning.

http://vancouverjazz.com/forums/showthread.php?t=2826

Link to Bill Evans’ Webpages