This essay was my winning entry in a TQ zine essay contest back in June of 2020. TQ is an underground music zine that hails from Northumberland, England.
We live in a golden age of irreverent and unsentimental hard music, released by armies of atonal warriors onto Bandcamp, Soundcloud, and cassette tape. We can listen to hundreds of hours of crushed white noise decorated with screams and clipped crunches.
Performers can boldly destroy any expectation of comfort or familiarity. It’s a full body embrace of the anxiety and struggle that people feel in a society that produces so much disconnected sound pollution in service of consumption.
But where does it fit when we live in a pandemic, with people suffering and dying? Should we still be making harsh music in harsh times? Who is it for if so many people are flocking to feel-good music and movies, nostalgia, and any other cultural salve they can find? Are folks really spending months in isolation, listening to Merzbow?
Plenty of crazy bastards are not only listening, they are making more of it. What else is there to do, watch more vapid bullshit on the internet?
If you spend any time around firefighters, you’ll notice many of them smoke cigarettes. Seems strange to do something you have to avoid while doing your job. It is a way of getting use to something you will have to deal with eventually. Firefighters don’t get to hold their breath and ignore the smoke while fighting fires.
The noise of city life, cheap vehicles, and expensive phones surround us. Brooms brush and scrape. Street machines move us back and forth between to places to earn money to buy new machines. A new nowness is needed to remember to listen. Listen to all these things around us instead of filtering them out. Use the noise to feed noise.
In 2015, Tasha Howe from Humboldt State University published a paper about the midlife status of metalheads from the 80s. It reported they were better adjusted as adults than a similar cohort of non-metal fans.
I’ve found that to be true in my own life and among friends I grew up around. Anecdotally, I’ve seen friends that were into heavy shit in adolescence end up as healthy and interesting adults. More importantly, they tend to have a bit more empathy than the people I knew who were into pop music. I have no real explanation of that other than a belief that people who confront struggle and pain in their lives do much better in emotional maturity than people who ignore the same.
That Humboldt study was of adolescence, though. How about grown folks having a hard time in the middle of a pandemic? If not already a fan of challenging music, listening during a painful time probably won’t do much for them. Telling them about the noise project you’re into on social media probably won’t get a whole lot of interest either.
Performers cry, bleat, and moan about their metrics. Nobody gave a shit before the pandemic, why would they now? Hahahaha. N.A.U., motherfuckers.
I have been building a lot of noise instruments during the lockdown. Playing them is fulfilling and liberating. There is a physicality and connection to them and the sounds they make. Even a lousy day around that kit is so much better than any Marvel movie or Game of Drones mental mush.
I could probably put out a decent full-length of well constructed ambient right now. Something soothing and somatic. It would get more likes and downloads I suppose. But, I don’t feel that way. This idle time and solitude has inspired a visceral reaction.
I want to make sure my mind stays alive. Opting for intensity keeps me in the now with an undeniable sonic force. I don’t want to tune the world out. When they announce that more people are hurting or have died, I want to know that and feel it for real.
Ignoring the news and letting Netflix hijack my empathy with the melodramas of fictional people can only lead to something bad down the line. I plan on retaining my emotional life.
So, here’s to feedback, squelches, cracks, and booms. All of it. Snip some diodes in your pedals and point your amps at each other. Turn off every screen you can find. Smoke nothing. Drink nothing. Be radically present. Say everything you think out loud into a microphone. Then say it again louder. Scream it.
Pulverize craniums boldly. Celebrate the resonance of the real and serenade the suffering. Let go of irony and cleverness. Record nothing. Play for your plants and animals. Liberate your intent from ego.
Above all, stay human. Keep feeling. Live loudly.
One of the rules was that the first three words of at least three paragraphs had to start with P, C, and B. The lengths was also set at minimum 650 words.
I was thrilled to win this because the prizes included a bunch of electronics components for building modular audio gear. My plan is to turn this metal lunch box I bought at a thrift store into a portable synthesizer rig.
This year saw the completion of new sound sculptures and large installation work. It offered up new performance contexts and an expansion of exhibition options. The projects have grown in scale and scope, but the internal journey continues.
Wheel of Misfortune
A few years ago I noticed neighborhood kids putting empty water bottle into spokes of the back wheels of their bikes. They got a cool motorcycle sound out of it. One of them had two bottles offset and that produced a rhythmic but offbeat cycle that sounded interesting.
It gave me the idea to use a bicycle wheel for repeating patterns the way drum machines an sequencers do. I also thought it would be an interesting object to build from a visual standpoint.
It took a while, but having the workspace to lay out larger electronics assemblies was helpful. I settled on five sensors in a bladed array reading magnets attached to the spokes.
To switch between the instruments I came up with a contact mic trigger using a chopstick and an Arduino. It has a satisfying crack when tapped and cycles the noise patches effectively.
The Wheel got a loud and powerful public test at Norcal Noisefest. People responded not only to novelty of the bicycle wheel, but the badass sound it could make.
I get asked to do sound performances more often these days and it can be challenging because I don’t have much outboard musical gear. So, I have a general effort to create more gear to use live. A common need is to have an interesting way of triggering longform loops I created in my studio.
Taking a cue from the grid controllers used by Ableton Live, I had the idea to build a player that keyed off objects placed under a camera. Reading location and size, it could arrange loops in a similar way.
The project kicked off with an analog video stand I found that was used for projecting documents in a business presentation. I connected that to a primitive but very effective computer vision board for Arduino called the Video Experimenter.
After months of testing with different objects I settled on small white rocks that brought inherent contrast. At a library sale I picked up a catalog of pictograms from Chinese oracle bones that had fascinating icons to predict the future with.
That clinched the theme of an “oracle” divining the future of a musical performance rather than a musician executing a planned performance.
It has turned out to be really flexible for performances and is a crowd favorite, especially when I let people place the stones themselves.
People give me things, usually broken things. I don’t collect junk though. I learned the hard way that some things take a lot of work to get going for very little payoff. Also, a lot of modern tech is mostly plastic with melted rivets and tabs instead of screws or bolts. They weren’t meant to be altered or repaired.
Big screen TVs are a good example. One of the ways they got so cheap is the modular way they get made with parts that weren’t meant to last. I got a fairly large one from Brian Eder at Anno Domini and was interested in getting it back up.
Unfortunately, a smashed HDMI board required some eBay parts and it took more time than expected. Once it was lit up again and taking signal I started running all kinds of content through the connector boards.
When hung vertical, it resembled one of those Point-of-Purchase displays you see in cell phone stores. I though about all the imagery they use to sell things and it gave me the idea of showing something more human and real.
In society that fetishizes youth culture and consumption, we tend to fear aging. I decided to find someone at a late stage of of life to celebrate and display four feet high.
That person turned out to be Frank Fiscalini. At 96 years old he has led a full rich life and is still in good health and spirits. It took more than a few conversations to explain why I wanted to film a closeup of his eyes and face, but he came around.
I set the TV up in my studio with his face looping for hours, slowly blinking. I had no real goal or idea of the end. I just lived with Mr. Fiscalini’s face for a while.
I thought a lot about time and how we elevate specific times of our lives over others. In the end, time just keeps coming like waves in the ocean. I happen to have a fair amount of ocean footage I shot with a waterproof camera.
With the waves projected behind his face, my studio was transformed into a quiet meditation on time and humanity.
Other contributions of building scaffolding and P.A. speakers formed the basis of a large-scale installation. Around this time, I had also been reading a strange history of the Oracle of Delphi.
At first the “oracle” was actually a woman whose insane rants were likely the result of hallucinations from living over gas events. A group of men interpreted what she said and ended up manipulating powerful leaders for miles.
Thus Delphi was formed conceptually. The parallels to modern politics seemed plain, but I’ve been thinking a lot about the futility of trying to control or predict the future. This felt like a good time for this particular project.
The annual SubZERO Festival here in San Jose has been an anchor point for the past few years. One challenge I’ve faced is the strong breeze that blows through in the hour before sunset. For delicate structures and electronics on stands, it’s a problem. Instead of fighting it this year, I decided to make use of it.
I had an idea to put contact mics on balloons so when the wind blew, the balloons would bounce against each other. I thought they might be like bass bumping wind chimes.
Thanks to a generous donation by Balloonatics, I had 15 beautiful green balloons for the night of the festival. Hooked up to mics and an amplifier, they made cool sounds. But, it took a bit more force than the breeze to move them forcefully enough.
Kids figured out they could bump and play with the balloons and they would make cool noises. Sure enough, it drew a huge crowd quickly. People came up to the balloons all night and punched and poked them to get them to make noise.
On the second night, though, the balloons were beat. Some rowdy crowds got too aggro and popped a bunch of them. Anyway, they were a big hit and it was fun to have something like that around.
Belle Foundation grant
An early surprise of the year was getting an envelope from the Belle Foundation with an award for one the year’s grants. I was stoked to be included in this group.
My application was simple and I talked a lot about SubZERO projects and working with older technology. In other words, what I actually do. To get chosen while being real about the art I make was refreshing.
Content Magazine profile
Before I moved back to California in 2012, I worked at an alt-weekly newspaper in Charleston, SC. I photographed all kinds of cultural events and wrote profiles of artists and musicians. But, I was always on the other side of the interview, as the interviewer.
Daniel Garcia from local magazine Content reached out in the beginning of this year and said they were interested in profiling of me and my work. The tables had turned.
Writer Johanna Hickle came by my Citadel art studio and spent a generous amount of time listening to me ramble about tech and such. Her write-up was solid and she did a good job distilling a lot of info.
It was nerve-wracking for me, though. I knew the power they had to shape the story in different directions. I was relieved when it came out fine and had fun showing it to people.
In 2017, I went to the Norcal Noisefest in Sacramento. It had a huge impact on my music and approach to anything live. I came back feeling simultaneously assaulted and enlightened.
Over the past two years, I’ve built a variety of live sound sculptures and performed with most of them. This year the focus was on the new Wheel of Misfortune. I reached out to Lob Instagon, who runs the festival, and signed up for a slot as a performer at Norcal Noisefest in October.
Coincidentally, I met Rent Romus at an Outsound show in San Francisco and told him about performing at Noisefest. Rent puts on all kinds of experimental shows in SF and he suggested a preview show at the Luggage Store.
So I ended up with a busy weekend with those shows and an installation at First Friday.
Norcal Noisefest was a blast and I got see a bunch of rad performances. My set sounded like I wanted, but I have a ways to go when it comes to stage presence. Other people were going off. I have to step things up if I going to keep doing noise shows
I have been making short-form abstract videos for the past few years. Most have a custom soundtrack or loop I make. This year I collected the best 87 out of over 250 and built a nice gallery for them on this site.
Every once in a while I get requests from other groups and musicians to collaborate or make finished visuals for them. Most people don’t realize how much time goes into these videos and I’m generally reluctant to collaborate in such an unbalanced way.
I was curious about making some longer edited clips though. I responded to two people who reached out and made “music videos” for their pre-existing music. It wasn’t really collaborative, but I was ok with that because email art direction can be tricky.
The first, Sinnen, gave me complete freedom and was releasing an album around the same time. His video was a milestone in my production flow. It was made entirely on my iPhone 7, including original effects, editing and titles. I even exported at 1080p, which is a working resolution unthinkable for a small device just five years ago. They could shoot at that fidelity, but not manipulate or do complex editing like that.
The next video was much more involved. It was for a song by UK metal band Damim. The singer saw my videos on Instagram and reached out for permission to use some of them. I offered to to just make a custom video instead.
All the visuals were done on my iPhone, with multiple generations and layers going through multiple apps. I filled up my storage on a regular basis and was backing it up nightly. Really time consuming. Also, that project required the horsepower and flexibility of Final Cut Pro to edit the final results.
I spent six months in all, probably 50 hours for so. I was ok with that because it was a real world test of doing commissioned video work for someone else’s music. Now I know what it takes to produce a video like that and charge fairly in the future.
Yes, I am still a photographer. I get asked about it every once in awhile. This year I came out with two different small bodies of work shooting abstracts and digitizing some older work.
These monochromatic images are sourced from power wires for the local light rail (VTA) sub-station on Tasman Rd. I drove by this cluster everyday on a tech job commute for about a year. I swore that when the contract was over I was going to return and photograph all the patterns I saw overhead.
I did just that and four got framed and exhibited at Citadel. One was donated to Works gallery as part of their annual fundraiser.
The Polaroids come from a project I had in mind for many years. Back when Polaroid was still manufacturing SX-70 instant prints, I shot hundreds of them. I always envisioned enlarging them huge to totally blow out the fidelity (or lack of it).
This year I began ordering 4 foot test prints on different mounting substrates. To that I ended up scanning a final edit of 14 from hundreds. To see them lined up on the screen ready for output was a fulfilling moment. Having unfinished work in storage was an issue for me for a long time. This was a convergent conclusion of a range of artistic and personal issues.
Passing it on
Now that I have a working art studio, I have a place to show people when visit from out of town. The younger folks are my favorite because they think the place is so weird and like because of that. I share that sentiment.
My French cousins Toullita and Nylane came by for a day and we made zines. Straight up old school xerox zines with glue and stickers and scissors. It was a rad day filled with weird music and messy work.
More locally, I had two younger cousins from San Francisco, Kieran and Jasmina, spend a day with me. They’ve grown up in a world immersed in virtual experiences and “smart” electronics. My choice for them was tinkering with Adafruit Circuit Playground boards.
They got to mess with Arduino programs designed to make noise and blink lights. At the end they each built capacitive touch synthesizers that we hooked up to apples. Super fun. Later that night we took them to a family dinner and they got to explain what they had made and put on a little demo.
The wolves are still howling and running. My longtime project to build standalone wolf projections made a lot of progress this year. I had hoped to finish it before the last First Friday of the year, but that wasn’t in the cards.
Getting something to work in the studio is one thing. Building it so it is autonomous, self-powered, small, and can handle physical bumps, is a whole different game. But, I do have the bike cargo trailer and power assembly ready. The young cousins even got a chance to help test it.
A new instrument I’ve been working on is a Mozzi driven Arduino synth enclosed in an old metal Camel cigarettes tin. It has been an evergreen project this year, offering low stakes programming challenges to tweak the sounds optimize everything for speed.
One need I had was a precise drill for specific holes. A hand drill could do it, but I had a cleaner arrangement in mind. As luck would have it, another cousin in San Luis Obispo had an extra drill press to donate. Problem was, it was in rough shape and rusted pretty bad.
I brought it back and doused it in PB B’Laster Penetrating Catalyst. That made quick work of the frozen bolts and a range of grinders and rotary brushes handled the other rust. It looks great and is ready to make holes for the Camel synth.
It’s been a good year artistically. I had some issues with living situations and money, but it all evened out. I’m grateful to have this kind of life and look forward to another year of building weird shit and making freaky noise.
It’s been a prolific year for Lucidbeaming: multimedia art by Joshua Curry. Beginning with a new art studio and finishing up with a host of Winter projects.
The main theme has been expansion. I took my music and found ways to incorporate performance and sculptural elements. The video work has been scaled up to building size and fed into monitors for physical effect. I pushed my limits on public interaction by making 9(!) appearances with a booth at SubZERO/First Fridays.
Personally, I’ve found new creative friendships and nurtured existing ones. I have no interest doing any of this alone, even though my studio life is very private. It’s just more interesting to find other people also putting their energy into something non-commercial, independent, and fucking weird.
The Citadel Studio
I had to give up my apartment at the beginning of the year. Instead of trying to find another (expensive) combined live/work spot, I took the plunge and leased an art studio. It turned out to be a good decision because my creative environment has been stable while the sleep spots have come and gone.
It has generous storage up top and a separate room for music production. My whole workflow and process has grown because of the space. I feel very fortunate to have this.
Making these digital drawings involves a variety of new skill-sets and hardware for me. I have worked with animators and graphic designers who have experience digitizing images and working with stylus devices, but never had much opportunity to dive in myself.
I couldn’t afford a high-end Wacom tablet or iPad Pro, but I did find an older tablet/laptop hybrid at my aunt’s house one Thanksgiving. She used it for teaching before her retirement. When it was new, hybrid tablet/PCs were novel and sounded great, in theory.
When I got it, the battery was dead and Windows 7 had been locked by security and update issues. I got a new battery and installed Linux Ubuntu. Setup was not flawless, but it has ended up working fine (including all the stylus/touchscreen features).
To do the rotoscoping of video footage, I exported all the video frames with ffmpeg and then used Inkscape to draw over the top of them. So far, so good. It’s time consuming and manual work, but meditative and interesting.
Critters gets reviewed on Badd Press
I released my second full-length album, Critters, late last year. To promote it, I used more organic methods than with my first album, Spanner. Basically, I sent it out to a lot of blogs that cover ambient and experimental music. It’s tough to cut through the volume of submissions they get. One of the people who did respond was Kevin Press at Badd Press.
It was strange but gratifying to read his review when it got posted early this year. For many years, I worked at an alt-weekly newspaper in Charleston, SC and saw lots of bands and artists try to get reviewed or covered. I also saw lots of them get worked up about the reviews. I admit to feeling a little nervous about what he might say. His review was thoughtful and generous.
Multimedia artist and experimental composer Joshua Curry in San Jose, California can lay claim to a unique accomplishment. His November release Critters is its own language. It is unlike anything we’ve heard. Mixing recordings of wildlife at sunset with synthesizers and a genuinely unique approach to composition, Curry has produced a phenomenal 15-track album.
The first time I heard my music on the radio was in April of this year. I was on my way to the DMV to handle the smog certification for my vehicle. On the radio was KFJC, a local college radio station that has a huge broadcast reach in this valley. I heard a song that sounded really familiar and after a few seconds I realized it was mine. I got chills.
It was such a rad feeling to catch it on the radio at random. A month before, I had packed up 40 or so custom CDs of my album Critters and shipped them out to college radio stations across the U.S. and Canada. So much was going on at that time that I didn’t follow up to see if any of the stations played it.
After some web searches later that night I found that lots of stations had picked it up and put it into regular rotation. I didn’t even know. KALX in Berkeley, WNYU in New York, KFJC here in San Jose, CISM in Montreal, KBOO in Portland and many more had been playing songs from Critters.
It’s hard to say what the tangible impact of the airplay really is, though. My Bandcamp sales and Spotify streams had bumps in their numbers, but not a huge amount.
One thing I can say is that I’ve learned the entire process from making music to getting it on the air. From recording and post-production to mastering and export for streaming and CD masters to online distribution and building radio mailing lists to packaging, UPC labeling, and shipping to verifying airplay.
That experience will probably come in handy in the future.
Well, it was an interesting failure.
Built with the SubZERO festival in mind, I thought Neuroprinter might be an interesting sculpture for people to interact with at an outside festival. I was able to complete it in time for the festival, but rushed through some of the fabrication and it showed.
The original idea was to build a back projection box for flickering film loops. It grew into a memory machine that took the process of memory imprinting and visualized it as a sci-fi prop. The final presentation lacked context and connection, but I learned a lot about the processes to execute the individual stages.
Although it wasn’t meant to be a piece of clean hi tech sculpture, the metalwork ended up being too rough and poorly supported. I intended to have a patched together kind of aesthetic, but it was too much.
People thought it was cool, but it required way too much explanation to survive as any kind of sculptural object. I have since dismantled the piece, but have plans for the components as individual pieces.
This was a sleeper of a project that had been on my mind for years. Back in 2002, I made a Flash-based drum machine/sampler using scanned machine parts and sounds from circuit bent toys. It was produced for the E.A.A.A. (Electronic Arts Alliance of Atlanta) annual member show and lived on as a lonely website on an obscure server.
I always thought it would be cool to build a kiosk for people to use it. Over the years, Flash was eventually phased out and my plans to port it to HTML5 were always deferred to something shinier and newer.
At surplus electronics stores this year, I noticed that they were dumping fairly nice flat-screen VGA monitors for peanuts. I picked one up and found some wire screen and miscellaneous junk to build an object base. It runs on a Raspberry Pi with an old version of Flash.
Tech folks see it as a novelty and laugh when I tell them it was made with Flash. Kids love it though and I’m glad to see out it the world with people playing with it.
Last year I built two Raspberry Pi based synthesizers using ZynAddSubFx and Fluidsynth. I still use them to make music, but they are more software based than hardware. They sound great, but don’t have external controls for LFO or filter changes.
Recent efforts are more tactile and simple. With more outboard effects and amplifiers available in the studio, I’ve focused more on basic sound generators and sequencers/timers. One of the noisier ones is a Velleman KA02 Audio Shield I picked up locally. It has some timing quirks that I took advantage of to generate some great percussive noise.
Krusher and Sympathy
Built from steel pipes, heavy duty compression springs, and contact mics, these metal sculptures are primal noise instruments. The smaller one, Krusher, was the first version. I wanted to build a kind of pile driver drum machine. After considering mechanical means of driving it, I had more fun just playing the damn thing through a cheap amp.
The tall one, Sympathy, came later and with more contact mics attached. After playing them together, an idea for a performance was born.
For the past couple of years, SubZERO Festival and subsequent South FIRST FRIDAYS have become primary destinations for the kind of work I’m doing. It’s a great chance to gauge reaction to the work and motivation to finish projects.
It can also be nerve wracking and challenging. This year I chose an ambitious timeline and also debuted three distinct pieces and performances at the same time. In the end it all worked out, but things got pretty stressful towards the last minute. I had to take shortcuts with execution and I wasn’t happy with some of the consequences of those compromises.
The peak of the festival for me (and all of 2018, really) was the performance of the sculptures I had made, in a piece I simply called Sympathy. It was loud, intense, and had tons of multi-colored smoke. I did two cycles, one on each night of the festival. I also did one last performance in October, at the end of First Fridays.
Back in the late 80s, I was living in south San Jose and was a skateboarder along with most of my friends. It was a huge part my life and my first professional work as a photographer was produced during that time. I went on to be a professional photographer and multimedia artist for the next 30 years.
I talked to Bob Schmelzer, owner of Circle-A skateshop in downtown San Jose about hanging them in his windows temporarily. He was totally cool about it and the photos were seen by hundreds during that time.
I left the posters at his shop and when he finished some work on the back wall, he re-installed them to face 2nd Street. They are still there now and I’m stoked to walk downtown and seem them hanging.
A couple of years ago I went to Norcal Noisefest in Sacramento. At that time, most of my exposure to live experimental music was around San Francisco and was electronic and tech oriented.
After seeing some videos of booked performers, I knew I had to check it out. I went for two days and had a mind blowing experience. I had never seen that level of pure volume and abstraction. It was more metal than any metal show I had seen.
Most importantly, I was impressed by the community. The noise scene around there is one of the last refuges of true experimental sound without institutional gatekeepers. Keeping everything together was Lob Instagon, the festival organizer.
When I got back to San Jose, my whole musical world was upside down because of that festival. I started to explore a much heavier side of sound. I also wanted to have something to perform live that wasn’t centered around a laptop or screen.
After building Krusher and Sympathy, I posted some video of me playing it that eventually got back to Lob. He reached out and invited me to perform at one the weekly Sacramento Audio Waffle shows he runs at the Red Museum in Sacramento.
I was stoked to say yes. The show was a lot of fun and I liked the other groups that played. Also, I got to hear Sympathy on a substantial P.A. with big bass cabinets. That shit rumbled the roof.
One of the things I noticed at Norcal Noisefest was how much they didn’t care about online distribution. Lots of tapes on tables and even some Vinyl releases. CDs were there but not as much as cassettes.
A limitation of the live performance at SubZERO was a lack of powerful amps to drive the bass tones. Lots of sub 75hz tones get generated by the steel pipes and springs.
So, I made some full range recordings of both and ran them through a little EQ and compression. Here is the tape of that effort, inspired by the noise heads in Sacramento. Fun to make.
Having my own studio space has expanded the scale I can work in. The back wall gets used regularly for video projection experiments. Most of what I do with projection is pretty old school. I don’t use VJ tools or Final Cut or Adobe Premiere for this.
It’s just a few cheap office projectors, an old Canon Hi-8 camera for feedback, and a variety of video source footage. Now with the 8mm film projector, I can add even more footage to the mix.
I found an interesting source of public domain film footage, the New York Public Library. Their online archives are outstanding.
Recently, I picked up some monochrome security monitors and have been running all kinds of feedback and low-fi video signals through them.
While trying to find smooth ways of converting 24fps video to 30fps, I stumbled across niche online communities that are into high frame rates. I was looking for simple, but high fidelity, frame interpolation. They are into generating slow motion and high fps videos of video games.
One of the most interesting tools I found is Butterflow. It uses a combination of ffmpeg and OpenCV to generate impressive motion interpolated frame generation. Things got really interesting when I started running short, jumpy, and abstract video clips through the utility.
Below is a video clip I shot of a thistle from two inches away, at 24fps. With Butterflow and ffmpeg, I stretched it out more than 10X. It’s kind of like Paulstretch for video. The line effect is from a sobel filter in ffpmeg.
Since then I’ve expanded this project in many directions. I’ve set up all kinds of table top macro video shots with plants, dead insects, shells, electronics, and more.
Generating so much stretched footage has taken days of rendering and filled terabytes of space. One of the first finished pieces I made was this music video for the song Aerodome. The audio waveforms were generated with ffmpeg.
Short form abstract video
When I released Spanner, I found out how tricky it is to deal with audio on social media. Sharing things with SoundCloud kept the interest trapped in the SoundCloud ecosystem and people rarely visited my website or Bandcamp page. I used Audiograms for a while, but didn’t like the aesthetic.
So, I loaded the raw audio files on my phone and started using clips in 60 second videos I would make with video apps. That was two years ago. Since then, I’ve made around 200 videos for social, mostly Instagram.
I try to keep them unique and don’t use the presets that come with the apps. A lot of the videos represent multiple generations through multiple apps in different workflow. Also, most of the recent videos have custom audio tracks I make with soft synths and granular sample manglers.
I get asked how I make them all the time. So, here are all the “secrets”.
I start out with geometric images or video clips, like buildings or plants or something repetitive. Most of the time I capture in slow-motion. Then I import clips or images into LumaFusion and crop them square and apply all kinds of tonal effects like monochrome, hi/low key, halftone. For static images, I’ll apply a rotation animation with x/y movement.
Then I’ll make some audio in Fieldscaper, Synthscaper, Filtatron, or use a clip of one my songs. That gets imported into a track in LumaFusion. Then I trim the clip so it’s just below 60 seconds, which is the limit for Instagram and useful for others.
After exporting at 720×720, I open it in Hyperspektiv, Defekt, or maybe TiltShift Video. I pick a starting transformation and then export it, bringing it back into Lumafusion or maybe running it through more effects.
That process gets repeated a few times until I end up with something I like or the clip starts to get fried from too much recompression. They key is to keep working until I get something distinctive and not a iTunes visualizer imitation.
It’s funny that I have people who follow all these little videos and don’t realize I do all kinds of more substantial work. But, I’m glad to have something people enjoy and they are fun to make.
Where is Embers?
Embers is alive and well at Kaleid gallery in downtown San Jose, CA. It’s been there for a while now and I still enjoy going by the gallery to watch people interact with it.
The future is uncertain though. It’s a fairly large piece and made of lots of rice paper. I hope to find a permanent home for it this coming year.
I’m not really a a goal oriented planner. Most of my life and creative work is process oriented. I learn from doing and often there is something finished at the end of it.
I hope the upcoming year offers more chances to learn, get loud, and work with like-minded folks.
I was working on some distortion effects software and it kept crashing. The Raspberry Pi Zero was just too slow to handle it. But, as it went down, the audio stuttered and glitched while Guitarix tried to get it’s buffer back in sync.
It sounded pretty rad. So, I recorded a bunch of it and chopped up the file into individual parts suitable for a sampler or drum machine. They’ve been normalized and somewhat optimized for looping.
They’re free for use, but it would be cool to give a shout if you use them. They’re definitely not for redistribution or inclusion in an any other sample library.