IN CONCERT Rainfear Meets DAXA Uptown at the Douglas Hyde Gallery in January 2017. A gig accompanied by a video screening programme and a zine. PRESENTATION Presentation at D.A.T.A. in December 2016. I described the system’s roots in various earlier electronic musical performance and editing systems and my ideas for its architecture. I also
“Most of our intelligence is not in our brain, it is externalized as our civilization. It’s not just that our bodies, senses, and environment determine how much intelligence our brains can develop — crucially, our biological brains are just a small part of our whole intelligence. Cognitive prosthetics surround us, plugging into our brain and extending its
Some scans from the book Buildings and Power by Thomas A. Markus showing his graph representations of building topologies and how they relate to their plans. These are scans from Part III of the book, Buildings and Knowledge, which deals with building typologies associated with the production and storage of knowledge, buildings as cognitive prosthetics.
“You are in an ecstatic state to such a point that you feel as though you almost don’t exist. I have experienced this time and again. My hand seems devoid of myself, and I have nothing to do with what is happening. I just sit there watching it in a state of awe and wonderment.
In corpus linguistics, a corpus is a large body of text which can be taken to stand in for the language itself. A corpus is presumed to be an accurate statistical representation of the language in which it is written. As is always the case with statistics, the larger the data set (in this case,
Over the last year or two I have programmed several pieces of software dedicated to authoring different kinds of media. Each is a sort of sketch which incorporates a set of features by which the media in question can be generated or manipulated. These programmes (or apps) often embody segments of bespoke workflows, the virtual
“This difference – between technology as a means of construction and as a means of expression – is important when considering the relationship between musicians, technical systems and music. It means we can redefine technology, not as a tool subservient to creativity or an obstacle to it, but as part of a wider context within