- Takeaway Festival 2006
- Takeaway Festival 2007
- Takeaway Festival 2008
- Takeaway Festival 2009
- Mini TKW
Slub sound emerges from slub software; melodic and chordal studies, beat processes and video games. Software is coded from scratch during a performance using slub-made language environments, music and video growing in complexity with the code. The result is a kind of improvised ambient gabba.
Slub is composed of Adrian Ward, Dave Griffiths and Alex McLean.
Raw Metal is an interactive musical performance that has been constructed chiefly with metal, both in the actual and sonic senses. Every sound utilised by Raw Metal has been sourced entirely from the recording of metal objects. Audiences are invited to both accompany as well as actively contribut to Raw Metal’s pre-composed material, by selecting and striking metal objects before a microphone. Resultant sounds will be manipulated, struck and contorted into new aural shapes as the the inner sonicallities of metal sound, both percussive and resonant, are explored.
The Speech Guitar is an instrument to create Coral music by chance, improvisation and emotionally expressed synthesized speech.
The project considers possibilities of using an appropriated, modified Graphics Tablet combined with joystick potentiometers as a device for parametric control of a library of custom software patches to edit the Mac OS speech manager.
Playing the instrument the performer emulates a guitarist, although the same control can be obtained with the graphics tablet and Joystick laying on a table and with the performer sitting in front of a computer.
It is important for the performance to have an interface similar to that of a musical instrument.
Holding the graphics tablet in a similar way as a guitar and drawing upon its surface during a performance feels natural. It also challenges why these digital devices should conform to a typical desktop interface. Furthermore, with the idea of performance in mind, it is a combination between the aesthetic of rock music and digital music with something that you have to engage your body with.
I am proposing to play the speech Guitar in an unusual setting, to perform electronic music from an unusual presentation template. By this, I mean making it mobile. I want to move away from static Laptop and table interface as I feel the roll of the artist should be involved during the performance.
The Speech Guitar instrument will be worn like a conventional Guitar, and will be connected via USB to a custom made Back-Pack PA system and Rock n roll Suit. This means that it will be technically possible to play anywhere, to busk somewhere in public spaces such as:
The High Street, Shopping Centers, Warehouses, Bars, Clubs, ect.
A brief introduction into computer generated network music and strategies for performing BluetoothRock. Further, the handydandy will present some done works in the field of augmented soundscape architectures and tactics for Guerilla Gigs. The show/presentation will start á la carte like mille plateaux and will end up in an nickelsdorf-gian krautrock-mazurka-blast-off! The question remains: what sounds beyond?
The Handydandy * consists of five Media-artists from Austria (Bauch Bernhard, Gross Luc, Kirisits Nicolaj, Savicic Gordan, Waldner Florian) making music on their mobile telephones instead of using usual Music-instruments. The mobile Telephones are used only as interfaces and they are connected, via Bluetooth, to a computer network, a virtual opposite to the "human network" music-band.
Julean Simon plays a wind controller and is one of a few specialists for this type of instrument worldwide.
He primarily uses physical modeling synthesis and programs dynamic voice control (MAX/ MSP).
He is interested in the variability and playability of electronic voices and developed special playing techniques - e.g. polyphonic multivoice playing. His works can be seen as cross-over of contemporary music,
new jazz and experimental electronic music with a strong improvisational approach.
He performs solo and in various ensembles, sometimes integrating other media such as digital images,
video, light, dance, etc. In 2005 the CD [polimer]isation has been published at Konnex-Records."
Austrian, lives in Berlin. Masterclass for Sculpture, studied architecture,
philosophy, fellow at the Center for Advanced Visual Studies (MIT).
Saxophonist in various ensembles, video- and computer art. Concept work and
project management in many artistic, research-oriented and commercial
projects . Teaching: HdK Berlin, Udk Linz, Massachusetts College of Arts.
Scientific publishing. Since 2000 mainly electronic music.
The Breadboard Band is one that uses a breadboard to perform music. A breadboard is a board that is perforated with connector holes into a grid-shape, to which electronic components are inserted in order to build a prototype of an electronic circuit. The electronic components can be inserted or removed with ease, making it simple to change the wiring with jumper cables. Utilizing the features of the breadboard, The Breadboard Band creates audio and visual circuits on the board, and modifies them during performance.
Today, 100 years from the public performance in 1906 of the Telharmonium, the first electronic musical instrument, The Breadboard Band raises objections toward black-box electronic musical instruments and computers. This objection is raised in the form of showing the electronic components of an instrument, directly touching and forming the electric circuit by hand, and producing audio and visual expression through the most minimal, fundamental elements. This can be considered the hardware version of software programming. The circuit change during a performance is called "On-the-fly Wiring".
The performance of the circuits on the breadboard is less than 0.1% of that of electronic audio and video devices offered commercially. The electric signals released from hand-made electronic circuits releases extremely rough and ferocious wave patterns that might destroy a commercial instrument. However, the primal screams of ecstasy released from the electric circuits surge from the depths of modern society that is surrounded by sophisticated information technology, and stirs us with emotion.
The Breadboard Band's performances based on improvisational interplay, and we pull powerful music into shape through each member's operation, while discovering new sounds by hand. Various elements blend together, becoming one from beats made through analog oscillation circuits, riffs made through programmable chips, noises made through magnetic head, scratches made through a hacked iPod, and the videos of changing audio signals. It may be quite humorous to see the serious expressions of the performers as they grapple with small electronic components, but they match any band in vigor and potency.
The first part of STEAL THIS FILM focused mostly on The Pirate Bay, the Piratbyrån and the events around and after the raid that happened at TPB in autumn 2006. Actually, we took a lot more material than this, and asked (for example) a lot of questions about the future of creativity, about how media control works (e.g., how it manages to convince us about the need for constant War, or at least placate us while it's happening) and about whether, and how, the types of organisation we're now working on together can serve us better.
All this material was left out of the final edit of the first part because we were committed to making a 30-ish minute first part.
In part two we want to treat these kinds of issues. We want to talk to the 'thinkers' of the filesharing movement and interview the most interesting of them. We also want to talk to Adam Curtis, who made The Century of the Self, and the Power of Nightmares. We want to talk to Noam Chomsky. We want to talk to Sy Hersh (The New Yorker), John Pilger and Robert Fisk. We'd like to find out what part they think the old media played into getting us in the mess we're in. We'd like to help them think about the future we're building and catch them thinking about it on camera. (How about Lawrence Lessing and his Creative Commons and Free Culture projects. Lawrance Lessing's activities alone are worthy of a documentary. He should certainly not be overlooked)
Also consider getting in touch with the makers of the "Alternative Freedom" documentary at alternative freedom and maybe discuss sharing footage since your aims might be related. Maybe you could try sharing all your rough footage via bittorent so that other peers can offer their own cuts of your film along with footage from other documentaries. There's a tonne of Chomsky footage already available in which he outlines the damage caused by commercial media, lots of which is available on chomsky.info.
We'd like to make sure all our shots are in focus this time, and we're a bit jealous of the sound recording on good documentaries. And the lighting. So we'll get that right next time (see 'things you can help with!).
Jamie King is an editor at Mute Magazine and online columnist for Channel Four News. His articles and short stories have appeared in numerous international publications. He is currently preparing his first novel, Dead Americans, for publication.
Someth;ng is a creative practice focused on interaction design. The company's aim is to explore emerging technologies and their relationship with people, and then design project applications that enhance the user's experience.
Someth;ng work with four different platforms: Interactive Screen: Complex narratives presented intuitively. Interactive installations: Tangible interfaces and responsive multimedia sculptures and objects. Interactive environments: Spaces that respond to the visitor and their relation with the room and each other. Interactive architecture: Façades and urban spaces that sense the environment and communicate with their dwellers.
Timelines automatically creates an interactive online memoir of an event. It is a service that offers an added value to participants. In part it is a scrap-book, a photo album. It also indicates highlights and operates as an archive system.