Paranoid Critical

I haven’t said much about theme parks recently, even though that’s where all the pain is taking place. It seems time for a Pain Bulletin. A really long one, sorry.

(Well actually I should briefly mention some pain not to do with study. A few days ago I had the left half of my thyroid removed, because it was something out of Lovecraft. Be blessed you know nothing of its dark and terrible nature, it is consigned to the flames of hell etc. They cut across my throat to get it out so I am sitting here looking like a Halloween mask. The days of vocals on stage are done, but that was always part of the plan.)

I am determined to make an major artwork based on research. It tells a story in virtual architecture – and architecture in itself is complex battleground. This story extends over centuries, it includes white supremacy, colonialism, surrealism, religion, the psych, notions of progress, pornography, midgets and freaks, kings and presidents… it is like swallowing a grand piano to play it.

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Paris 1889. A game of my tower is bigger than your tower.

I first understood an Orphic view of the fairground – that it is a combination and opposition of light and dark, yin and yang, Jekyll and Hyde. To attempt a purely ‘light’ version as did Disney, is an act of denial. He banned roller coasters and grog from his land – and they slid back into the vacuum the moment his personal power waned. It is better to employ the dark as a painter does, accentuating the light.

The makers of the 1876 Philadelphia Centennial Exhibition learned this the hard way when the ‘dark’ settled around the perimeter of their bright white city – in the Midway Plaisance. They lost control of the booze and sex shows and – learning that it’s better to piss out of the tent – they incorporated it inside as THE MIDWAY. A world fair now has two hemispheres – the WHITE CITY and the MIDWAY.

On reaching this Orphic view I read architect Rem Koolhaas’s Delirious New York. At one point he introduces a mock battle between Salvador Dali and Le Corbusier for NYC and the 1939 fair – the baked bean versus the cube – the same fight designed into every World Fairground. In this he explains Dali’s paranoid critical method. Once I understood this process I realised it is necessary to my own work.

Dali, 1939 fair

Currently I am finding infinite resonance and connection between every aspect of my source material. All evidence is interpreted as support for my idée fixe. For example it is possible to see the fairground as the two sides of the human brain, bridged by a corpus callosum – that bridge is right there in the 1939 map. The relationships become tenuous when looked at critically – but that’s for later, when the design has to collapse into an actual production.

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NYC 1939 Fair map.

The designers have placed bridges and a portal between these hemispheres

Colonialism and other isms.

A great deal has been written about the racism and colonialism expressed in world fairs. (For example here’s a very useful source regarding fairground Orientalism.) Other people have covered this far better than I can, plus there’s debate that I’m not equipped to settle. For example the common claim that the centre of each fair was the White Anglo-Saxon exhibit, with increasingly ‘inferior races’ spread out towards the edges – one critic has pointed out that just looking at the maps you can see that Austrians must have been held inferior to Hottentots if that were the case and there are more complex economic reasons for the layout than simplistic racial theories.

I’ve been worried about portraying the reality of a 20th century fairground – midgets, belly dancers, American Indians etc. that are going to ‘trigger’ somebody somewhere who can’t see the difference between what was and what should be. Bluntly – my Midway cannot and will not have a Little Miracle or Coon Town even though these were real. They were supposed to present a scale of civilization – which I also need to present, but without the hurtful pseudoscience or the notion of superiority.

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Instead I will hold that some mental formations are more primal / fundamental, and portray these as architecture. Rather than arraying people and cultures along my map, I can set the ‘civilized’ Jekyll against the ‘primal’ Hyde, with the constant refrain of their interdependence. For Freud, there was the contest between id and superego, for Jung there were the archetypes, then there are the spiritualists and surrealists and many other symbols I can use without hurting anyone. My exposition will be an interior landscape that informs the exterior civilization.

Sort of. It’s not exactly clear how this will work. On one side the WHITE CITY, tall, hard edged, streamline style, progressive. On the other side of the bridge, the MIDWAY, soft and fleshy, primal and filled with ancient emotions. But who will be in this landscape? What goals? What challenges? There’s a long way to go.

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The Death of the Man Cave. Is music hardware really better than software?

For some years I’ve been collecting and writing about electronic music hardware – good, not so good, and utter garbage. I’ve had fun popping a few bubbles while handing out praise where it was really due. But I’ve arrived at a larger goal than just sniping at the low hanging piffle. I finally feel empowered – I’ve used up considerable money and time crawling around the floor and behind racks, sourcing SCSI cables and voltage adapters, and wondering why the fuck this MIDI signal went the wrong way. I have seen for myself. I am one of you.

So, in this year 2019, is music hardware really better than software?

Better? We need to set some rules. Firstly, we are talking about musical instruments being used for music. Slavishly copying a sound plucked from some antique recording is not music. Matching the shape of a waveform on an oscilloscope is not music. These are feats for athletic carnivals or synthtopia.com

Implicit in music is a listener, and that something humane is being communicated – awe, hope, fear, something worth listening. What does the sound of the device offer for others? You may be pleased by the feel of the knobs, or the type of wood at the cheeks of the thing, but what does this do for a listener? Maybe the wood inspires you to delicate adjustments, but it’s not a violin.

The way your machine looks, how pretty the lights, the styling of it – that has no bearing on its purpose. It may as well be a Dyson vacuum cleaner or an Apple phone. Sure, it’s well designed, by that’s not specific in any way to synthesis.

Some hardware running software to sound like hardware

Some hardware running software to sound like hardware

We need to verify what we mean by ‘hardware’ and ‘software’, because quite a lot of ‘hardware’ is a hybrid. A Moog model D is all hardware. A Blofeld is software in a box. But the Arturia Origin is software that runs only on a very particular microchip – when the chips are gone, the machine is extinct. Same is allegedly true for the Access Virus. Is this hardware? Because no specific hardware – no sound.

I am tempted to judge that only the resulting sound matters, but I have to concede that a dedicated controller might make reaching that sound more likely.

I’d also like to say that synthesis was once a futuristic thing, a desire to hear new sounds, make new music, go places that hadn’t been heard before. That idea started to die with Tomita and is now truly dead when you’re trying to emulate some noise from 40 years ago. Synthesis, as a mainstream activity, has become terribly OLD FASHIONED.

The Answer.

OK, so let’s start by my telling you I’m selling the majority of my hardware, such is the faith I have in my answer.

A mangle

A mangle

The time spent racking, un-racking, cabling around the back of things, assembling A frames etc. is like the days when people would run clothing through a mangle before hanging it on a clothesline. You can definitely run into problems with virtual studios. I have. But generally, when I visit other people’s hardware studios the damn things are NEVER FINISHED – a great excuse for why no music is being produced. In my case I’m now trying to reduce the hardware down to a single, stable, mobile rack. When one is carefully limiting the amount of hardware (like cholesterol) so that you can actually create something – that’sthe whole story right there. Are you a musician, or are you building a model railroad?

Fundamental point: the sound of hardware is often not that interesting. I’ve just sold a venerable (and very heavy) old Roland keyboard for some good profit. The reason being that if you divided the sound by the amount the damn thing weighed, you’d have no change left over for coffee. Any half decent virtual analogue could make that noise – especially Roland’s own. Do a blind test. Can anyone really hear the difference in a piece of music? You are a musician, aren’t you?

(Some hardware is interesting. For example, I’ll keep my UltraProteus because of the weird thought process behind its operation, the SY77 because of its particular timbre and the Super Jupiter because it has a deeply exotic stomach-ache. But I’ve sold the Yamaha FS1r because as crazy as it is, the sounds it makes aren’t that great. And that’s what matters.)

I’d like to jump to the last point, the most important point. Synthesis shouldn’t be nostalgia, it should be futuristic, progressive. Why did we even start this thing? Because we wanted more than the instrumentation that we once had. But now we’re cowards emulating old safe things. I say fuck recreating the Blade Runner soundtrack when we’re in the year the story was supposed to take place. Synthesis can now pull a sound apart, make a wavetable, or an additive snapshot, change every aspect of it, build entirely new sounds from audio atoms – and people are still talking about ladder filters?

If for example you spend enough time with additive synthesis in Alchemy you will find a world of experimentation. Or take a recording and hack away at it with spectral editing – that’s what I did with my records Donut and Aversion. It’s synthesis, but it’s not hiding in the last century. I can now say what I mean by ‘better’ – I mean true to the goals that synthesis is all about.

Or is synthesis really like steam punk – doomed to be a paleofuture?

In defence of Luna, and the Dark Park.

In which I demand the reinstatement of all Luna Parks in Theme Park Theory and Design.

I‘m very grateful again to my missus for digging up an essential research source, being the program for an exhibition Luna Park and the Art of Mass Delirium. Held at The Museum of Modern Art at Heide in 1998, it catalogues responses to Luna Park St Kilda by mid 20th century painters Sidney Nolan, Joy Hester et al. alongside current visual artists. The art itself is not that appealing to me, but the included essays show how ignorant I am of the entire history – as are the people that claim to teach theme park design.

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Jennifer Phipps, a curator at the NGV, takes up the history of the Melbourne artists and park and makes many points, a few of which I can summarise here. In the wartime 1940’s, St Kilda housed American soldiers, about which the general consensus was they were ‘over paid, over sexed, and over here’. The park, ‘browned out’ as a war precaution, was filled with soldiers attended by young girls looking for a thrill, perhaps getting more thrill than the one they expected. Like all of Coney Island in New York, Luna Park was at the time considered a seedy place – both in Melbourne and Sydney. (When I asked my old dad about Sydney Luna, he would just say it was filled with ‘yanks and whores’).

Given the facts of the ‘Brown Out Murders’, it was a valid point of view, if unfortunate.

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The painters had a mixture of admiration and horror for the park, which they saw in the context of the war. Nolan, generally in favour of the vitality of the park, conflated the lines of the roller coaster with the tracer lines of ack-ack guns and produced designs for the ballet Icarus where the boy falling from the sky equaled the coaster in descent. But Hester painted a darker image of woman prone on the ground, the victim of a leering Luna face.

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In my own vocabulary, these painters were working with the light/dark modern/mannerist Orphic principle of the parks – the ‘mass delirium’ identified by the exhibition. There’s more context for why Disney, an artist, held such a revulsion to American parks as they were in the 1940’s and attempted Jekyll and Hyde surgery for his own land.

Ian McDougall, adjunct professor of architecture at RMIT, provides a masterful history of theme park architecture which should be mandatory reading for any study of park design. He describes what is very likely the prototype of the theme park in the circa 1550 Gardens at Bomarzo. Here are dragons and monsters, and the inscription that it’s sol per sfogare il Core … a bit like Just For Fun. He describes the 1968 study Learning From Las Vegas by Brown & Venturi, a significant work in which the pop art of the Strip was documented and became valid and worthy of inclusion in academic built environment design.

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I was most taken with his account of the 1978 book Delirious New York by Rem Koolhaas that sets out the history of Coney Island, the 1939 World’s Fair, and NYC itself as an ongoing battle between light and dark. At one point the struggle is written as directly waged between Salvador Dali and Le Corbusier – both armed with Dali’s Paranoid Critical Technique. It’s not hard to find a naughty copy of the book online, and you have to read it before you can really understand the history and mentality of Luna Parks wherever they came to be.

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For me the message is good – there is a body of theoretical work, unfortunately unknown or denied by the practice where ‘imagineering’ has been set up as the whole reason. There is no justification for editing history to start in 1955 – that simply marks a reaction to what was there before. The reaction requires explanation, and that can be found as far back as 1550.

It all needs to be given some long trousers, and perhaps it’s something that I can do.

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An Orphic view of the fun fair.

In which Disney’s desire to expunge Mr. Hyde from Dr. Jekyll’s fun fair is argued to be flimflam.

I’m grateful to my missus for David Younger’s Theme Park Design book, which turns out to be a long and deadly serious text. Seeing as you can have physics textbooks with colour pictures and multiple fonts, it feels as if theme parks are being presented here as no laughing matter.

From it I find that my ideas on narrative have been embarrassingly naïve. Just pretend I didn’t write any of it thank you. The discussion of theme park storytelling is long and embattled, with the Europeans somewhat skeptical and the Americans doubling down. It also depends on the era you’re talking about.

Younger has a nomenclature for design eras, very Disney-centric like everything in the book. But to my way of thinking, it starts too late in the history

‘Traditional’ is the design category for the original Disneyland, immersive and thematic. As Disney became more involved in edutainment the real world became more important, and a ‘presentational’ style downplayed theming in favour of clean and simple lines that kept out of the way. In this scheme Fantasyland is traditional, while EPCOT is presentational. When the luster of big science wore off in the 70’s, the ‘postmodern’ style began to tease and mock the earnestness of these formats – as in the early Disney California Adventure.

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Trylon and Perisphere, with the helicline walkway. 1939.

But I think both presentational Tomorrowland and traditional Fantasyland have lived side by side from the very beginning. The two styles also represent something much older – the ‘ying and yang’ of the world fairs which had a light (inspirational, educational) side matched with a dark (exotic, disturbing) side. It seems fair to say the Trylon and Perisphere of the 1939 New York fair are ‘presentational’, as is the Eiffel Tower. Disney would never had allowed Salvador Dali’s Dream of Venus on site (although they did collaborate on a film) but the dark rides of Fantasyland are informed by those of the Amusement Zone.

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How much was Disney inspired by Elektro the Moto-man to create an improved robot of President Lincoln for the 1965 fair? Did he take notes at Frank Buck’s Jungleland? To what extent did the 1939 model ‘city of tomorrow’ presume the model ‘community of tomorrow’ 30 years later? Did the idea for a main street leading to a central hub already exist?

But was Disney involved at the ’39 fair at all?

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Mickey cartoon for the Nabisco Pavilion 1939 World Fair

Yes, deeply at many levels. And when Disneyland was in financial trouble he first wrote to the companies who had been at the fair for the same kind of sponsorship. They turned him down, but responded when a financial man made serious deals – and Monsanto et al. were on-site, plugging their wares.

Disneyland is in many aspects a small copy of a world fair, mixed with copies of European pleasure parks. It did not spring solely from his imagination.

You can argue that Theme Parks have to start somewhere if you’re trying to keep a document under a page count, or that world fairs are not strictly theme parks. But I can’t base my understanding of the design without tracing the ancestry.

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What was Disney’s point of difference?

The main change he brought about was his desire that the dark, unpleasant aspects of the traditional fun fair be expunged so that children could be safe at his park from dirt of all kinds. Pinocchio illustrates his feelings on the matter.

Pleasure Island YANG

Pleasure Island, where unbridled libido is rampant.

The fun fair was a place for adults, where children would be corrupted – turned into jackasses. They were indeed messy and corrupting places filled with more adults than children. That’s the point. Parks are an opportunity for Bacchanalia – the ecstatic, the liberating, drunken and drugged outburst of enthusiasm required by society to keep strong urges in a contained context.

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Still from “Speedy” c.1929 There children mixed in with the adults, but not as expected.

But in 1958 The Saturday Evening Post still counted four adults to one child in Disneyland. The ‘Orphic’ view (as in, that traditionally ascribed the legendary poet Orpheus) is that civilization requires balance with madness, Apollo and Bacchus – and the world fairs had this not by intent, but by demand of their audience. Disney was one man trying to impose his tidyness on the nature of things.

Cutting the dark side of the fun park from the light side wasn’t ever really possible, and lead only to an undeserved historical distaste for the earlier Bacchanalian ‘Luna’ parks. If you can’t climb up, then push down. A ride such as Snow White’s Scary Adventures is just a ghost train with IP attached.

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I argue all of this because I can’t see a logical reason my own city’s park to be cut out of design knowledge. More on that later.

Sevcom 2018 Annual Report, and New Year Resolutions.

2017 being such a frantic year with shows here and in North America, it was inevitable that 2018 would be anticlimactic. It was that – but at times the climate fell into bleakness.

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I’m sure VR will take off soon!

In 2017 we happily sailed the mainstream, the safety zone – live shows of elderly music. Like setting up at a trade show, you’re showing off your existing wares while delaying the development of new ones. It’s instantly rewarding with lots of praise and feedback for what you do – or to be very honest what you once did.

But we can’t continue to work for an audience that’s gone from the most forward looking to the one most adverse to new experience. Right now, they have the money and will pay for the excitement they once felt – the nostalgic T Shirt, the cassette. But that’s not what we wanted – back then or now. We’re supposed to keep pushing.

Thus 2018 was set aside for experimentation – real experiments that could fail. And they did fail – slipping slowly, fingernails scraping, off a cliff.

Clearing the decks

First there were some releases of projects that had been underway since 2017 or before. In April we released Aversion 2, being an album constructed of small splinters of classic rock music. A limited edition of 200 small plastic cases, each with a wire lab rat and USB card. The concept was loosely based around lab rats and experimentation.

Then Publicist, my follow up album to 2015’s Rhine. In June 2018 came Barbara UFOr, which completed the Barbara Island series that began in 2006. These three albums fill up the time in which things other than music albums must be the focus.

An album of ambisonic music was delayed until the concept became clearer.

Seeing the Future

So, what do most people call an experience in 2018? I think it’s useful to put aside your limitations for a moment and ask, ‘if I had unlimited resources…’. Back at the end of 2017 it seemed that surround audio/vision was a focus, and I upgraded our capabilities. We organised travel to the USA to see some of the state of the art in the entertainment industry. There is a movement for game engines to become the stage for motion pictures and experiences in general. I dedicated myself to mastering the Unity engine, at least to the point where I hoped to direct a team.

Puppet show at Halloween Horror Nights. Yeah, puppets.

Puppet show at Halloween Horror Nights. Yeah, puppets, low tech and it works.

Problems became apparent over the months.

VR is only part of a failed concept which I might label ‘constrained experience’. Quickest way to sum it up – once your brain gets used to augmented presentation – 3D, binaural, motorised seating etc. it disappears, as it no longer contributes to the story experience after a few minutes. Wearing a helmet doesn’t seem worth the effort. A standard 2D movie holds 99% of the story. A movie =/= a ride.

I’d rendered VR versions of two videos back in 2016, with little interest. I set about some new ones but found the whole VR realm to be dropping away, even for the largest players. When Google announced VR180, the game was up. Time wasted. I do see the worth in expanding the viewing space ­– with satellite (non-focussed) imagery on side screens. Projection mapping is also a successful area.

I believe that an engine such as Unity is the ‘studio’ for our future production. But even if you are given an entire film studio for free, you need sufficient staff to run it. I found it impossible to hold all the disparate elements in my head – humanoid animation, lighting, material design, coding … once I’d mastered one aspect, another would fall out of my head. I also fell into an endless loop between intentions and capabilities. I would intend something, it would come out differently, which suggested a different intention. This can be great in music, but in a complex world building exercise it’s a nightmare. Time wasted.

I was able to clock a ‘world’ with a sequencer. I have so far not been able to perform the ‘world’ with standard musical instruments, partly because live MIDI is alien to game design and partly because I haven’t yet made one worth the effort. That would have come before performing the ‘world’ over a network connection, a goal that was supposed to be finished by now.

At least I get job offers for Unity now. Yay team. Shrug.

Our trip to see theme parks in California was instructive – I saw that some of the failures I’ve realised were ones they’ve suffered as well. I saw that big teams are not just small ones grown up – I’ve been taught the difference between ‘fine art’ and the team work of experience design. Given that few music artists are serious about current forms, and that I identify as an artist, I have to pick those battles I can win unaided.

Picking up the fragments

Ambisonic sound is still worthwhile, as earphones and smart phones are already clothing. If a visual analogue appears, well and good. Wait for that. Making music in surround is itself not easy to do well.

Let’s just convert one or two video clips into game worlds. That keeps the intention/design steady and gives an idea if the conversion provides any real benefit. Once built it’s easier to make modifications to provide MIDI controls, networking etc. I can then demonstrate this to try get support.

Satellite screens for existing videos are achievable. I’m creating some multi-channel work and showing in Adelaide in March 2019.

Continue to study experience design, perhaps enrolling in coursework.

In general, smaller bites, less chewing.

2019 is already happening as we try book gigs. Europe is on but it’s being very difficult to set up. I think we were a novelty in 2016, maybe you have to die and be reborn each time. Like Jesus.

Have a nice Christmas break!

Further lessons from magical kingdoms

In which we draw some technical conclusions.

Sanity Clause.

Before going deeper it’s worth a sanity check, in that the finances of our test subjects are beyond our reckoning. The rides described here cost around $100 million to create – and a whole land such as Universal’s Harry Potter is estimated at half a billion. What can we small makers learn from their construction?

Your short film is not going to be Star Wars – but the expensive failure of the latest Star Wars film Solo is lesson that resonates with any level of storytelling*. The successes and failures of giants still provide lessons for the rest of us.

3D video isn’t viable.

There’s a period from around 2010 to 2016 where Universal used 3D technology on rides such Transformers and the Simpsons – around the same time that cinema took on the format. The obvious Great Disappointment comes in 2016 when the Harry Potter ride was upgraded to remove 3D projection. Notably the more recent DreamWorks Theatre uses no 3D.

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Meh… too dark

The reasons are familiar to any 3D cinema goer – I found the 3D glasses to be clumsy, dirty and to cut out light, making for a dark and distant experience. Instead Potter and DreamWorks use HD screens that wrap around your field of view, and frankly you don’t notice the missing depth.

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Taken from http://www.leparcorama.com here is the Harry Potter ride, giant screens at the left and giant robot arm at right. Look at the curvature on that telly.

Seeing as we’re working on a smaller scale this brings up the question, which I think has moved from “is VR failing?” to “in what way is VR failing?” The parks are finding that glasses are not as effective as real world set building, and VR helmets are even less appealing. Notably Google is moving into something called “VR180” on the basis that almost no one actually looks behind them. It can be experienced on a helmet but will probably end up being a domestic ‘very wide screen’ projection system. This would represent an enormous retreat from the all-seeing 360 eye of VR.

And so they mix video and physical sets.

The latest rides use flat or curved video framed in built sets. No one believes that the video is actually part of the set, but so long as the two are designed to collaborate on story, the effect is accepted. Projection mapping is definitely a key skill as is set design.

Wall panels with video screens placed at the top. You can see at the top left a screen pretending to be one of the panels below.

But motion beats just about anything.

When you are being thrown around by large forces you’re immersed. In fact, some of the rides – Guardians of the Galaxy, The Mummy, and to a certain extent Space Mountain, rely on absence of visual cues. Motion simulators and motorised theatre seating is a proven and effective way to grab people, and no wonder some cinemas, even in Australia, are installing 4DX technology for feature films.

This is terrible news for the small designer, who’s unlikely to have access to this kind of effect. No matter how effective a VR headset may be, it can’t compete with motors. I can imagine some technology that would talk directly to your vestibular system, but not this year or the next.

Cheer Up: That we enjoy so many films without physical effects just comes back to the fundamentals – make us care and we’ll watch.

Except sound. Sound everywhere.

Sound is never neglected by the big players. The usual rig involves multiple speakers positioned on a ride car to provide a surround image for the riders. The sound stage for King Kong 3d uses a 22-channel mix, delivered on 16-speaker ‘clusters’ spaced along the stage. Disney places multiple speakers, as much as one per sound, so that they remain invisible to the audience.

Speaker arrays are beyond the reach of most small practitioners, but ambisonics has reached mainstream DAWs in 2018, and every sound designer now has the ability to produce a 3rd order image that can be subsequently mapped to speaker arrays if and when a specific project becomes available.

Haunted Houses.

Most of our vacation was spent being chased by scare actors in Halloween Horror Nights. Definitely something for a select audience, but something that could be expanded into a wider entertainment format.

Not so spooky in the daytime, but you can see the set building.

Not so spooky in the daytime, but you can better see the set building.

HHN includes a set of physical mazes, each about the same size as a small house, ground floor only. A queue of people goes in the front, weaving their way around in near darkness. Some parts of the house open up into wider rooms with set pieces – for example some sequential scenes from the old Poltergeist movie. The corridors are filled with hidden openings out of which pop scare actors, people in costume that pretend to stab or grab you as you go by. The noise level is intense – the Stranger Things house sounded like a plane taking off.

But a couple of things stop these from being scary. Most of all you’re one of hundreds of people flowing through these mazes at fast pace. The constant flow of people means you’re never in a state of apprehension, as tension is rarely allowed to build. If there’s a girl that screams in front of you, every scare actor will go for them and hide again by the time you get there. Lack of room means that the actors can only make repeated motions, although some of the better mazes had enough space for variation (the Universal Monsters maze was best for this).

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There are also scare zones in which the attacks are more free form and creative. They work better because the actors have creative freedom, but are harder to define and market. I think these are models for something new where a ‘swarm’ of characters gather you up into events, the way that massive online gaming works. And yes, I have no idea how you would do this. Yet.

* Don’t extend your population of characters so far that you need an encyclopedia. There’s only so much care to share.

White Board

There’s a white board on my wall on which multiple projects are set out. A few are finishing up – the 200 Aversion2 rat boxes are sent out, with a few still in doubt and replacements in progress. Some are items already promised – the last of the Barbara Island albums Barbara rUFO is here under the heading of LEGACY, along with a note that I spoke with Stephen R Jones about fresh copies of the old videos for YouTube. Some are new constructions, such as ‘Server360’ which I hope to evidence soon. But others are blue-sky-bullshit ideas – still just diagrams in notebooks. It’s these that have me hiding the white board from you, but as silence can seem like death, I want to give some kind of limited update.

(Plus, right now the house is under repair and there’s wood, bricks and rubble everywhere -– any work at all is a trial. At least the chance of sudden building collapse is being addressed).

Let me give a general outline of some of the projects.

One is called ‘Offog’ for reasons that once were obscure, but not now that Google is your friend owner. We’ve made quite a few small and inexpensive musical objects – starting with Blubberknife in 1982 and most recently with Aversion2. Following your feedback, we will attempt something more exuberant, exquisite, and expensive for a very few discerning customers. Something with bragging rights, made more valuable over time through the extra quality. A signal that we care enough about our work to take risks.

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This is not it.

We have some cool ideas competing for ‘Offog’. One is a more portable version of the Home Clavilux made by Paul Greedy and myself in 2013. That’s worth thousands of dollars – but what can be made for $50-$100? The touch surface computer alone was over a grand, but computers have become very small and very cheap.

‘Pretzel’ and ‘Las Vegas’ are entwined. I must stay vague – but I can point you at my previous game landscape albums – ‘HH’ and ‘Snowglobe’ (now combined as ‘Super Snowglobe’ as part of the experimentation). These are not so much games as virtual walking narratives, in which the participant is a sonic protagonist. I now move from making ‘built environments’ to ‘stages’ – which is more honest (does not claim an entire world), a smaller canvas, more strictly designed and controlled. Stages are not narrative landscapes with sounds here and there – they are strong visual frames for particular musical works.

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‘Pretzel’ will engage one person at a time, whereas ‘Las Vegas’ is a more ambitious system to entertain a large audience in many places at once. Their architectures should cross over, I hope, to keep the labour under control. Later this year we’re off to the USA to experience/document some of the leading theme parks – where I believe the state-of-the-art in staging, media production and presentation will be found. I think there is more to learn from Disney Labs than any traditional academic source.

‘Server360’ is not a complex idea. It follows up the Sevcom Music Server series of 1998 – 2004 but adds 360˚ sound reproduction. Although I’ve released experiments with ambisonic versions of our pop tunes, this kind of slow moving ‘textural’ music lends itself better to positional design. In an age where most people wear headphones, and quite often the same type of Apple bud headphones, there’s some certainty that you can deliver consistent ambisonic sound to a wide audience, and I feel this will eventually be a common feature. Both ‘Las Vegas’ and ‘Pretzel’ will feature 360˚ sound, and so this is a side mission to improve my craftsmanship for these larger projects.

You’ll notice that none of these things are standard albums. Like I’ve said in the past – I am not some sort of hyper-chicken laying out endless albums like eggs. Three albums – Aversion, Publicist and Barbara rUFO are supposed to tide us over for the long term. You could always listen to them twice! I also recommend the last Severed Heads albums – Beautiful Arabic Surface and Donut. There’s no use by date!

Cowardice

This last year I’ve done the things I was never going to do. I’ve abandoned Independence, I’ve abandoned quality, I’ve joined the cold grey mush that passes for online society. I’ve rolled over, four legs in the air and said fine, you win. Have a sniff.

Because when it comes down to it, it doesn’t matter a rat’s. It’s not even as if I’ll get abused for it – no one cares that much.

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You can find my last two albums up on YouTube, put there by me. Which is kind of like taking your painting and leaning it against a dumpster. Partly because I kept finding it there anyway, and partly because a lot of people seem to eat out of dumpsters these days. It’s the banquet room of culture for the people who get their McDonalds delivered by Uber Eats.

There’s two ways you could run this thing. You could be completely uncompromising, willing to hang on to the final drop of blood. People like that get remembered long after they’re dead in somebody’s PhD thesis that no-one reads. I was raised on that stuff – the lone artist, the visionary blah blah – truly inspiring to 20th century me, but not that relevant in the 21st century. Horse and buggy heroics.

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And who am I to claim any special virtue? I make some pop music and some cute videos. This is the same disposable media that filled dumpsters since the beginning of sound recording. Am I trying to enthrone my bubble gum?

The other way is to say, OK, you can’t prejudge progress. Progress may be something you don’t expect, can’t anticipate. If you are progressive, then you ride with the changes, no matter where they might wander. Maybe shitty low quality audio on a video server is akin to the shitty low quality audio of a 7″ vinyl record. You go there, bravery rather than cowardice.

I have no idea which one. Which is why Aversion is a limited edition object, while Publicist is a throw-it-at-the-wall download.

I think this conversation is being held by an ever dwindling number of people, who think that the wider audience give a toss. They are under the illusion that e.g. vinyl sales mean a resurgence of interest in albums. I think it means a surge of interest in antique toys. It will give way to hula hoops. Music will not go back in the sleeve, it will wander wherever it finds a listener.

Meanwhile, abyss and staring.