WOTJA ALBUMS SOFTWARE
WOTJA ALBUMS TRIAL
WOTJA ALBUMS SERIES

The way I imagine controling that would involve human interpretation in a trial and error loop, and therefore a lot of bad music. The dynamics of a Markoc Chain are either limited or hard to control as far as I can tell, as its a random process. The latter notion may be a meta constrained, so you get a dynamical system. Vice versa, adding a lot of complexity just to satisfy a weird constrained, instead of relaxing the constraint can seem overloaded. It's not strictly simple, not everyone can do it freely, but the more complexity, the harder it is to stay within any given constraint. Hence a lot of music is formulaic, but the problem with that is that the formular is predictable on purpose. In effect, that's what's done when creating structures 'organically'. I think it should be more interesting to create a formular that sounds nice. So then I would need to put in this box a device that represents my taste for choosing pieces. You might want some Shostakovich slow-movement-like music to be generated. You could buy a Shostakovich box, or you could buy a Brahms box.

WOTJA ALBUMS SOFTWARE

In the future, you won't buy artists' works you'll buy software that makes original pieces of 'their' works, or that recreates their way of looking at things. But I want to be able to sell systems for making my music as well as selling pieces of music. Q: Why do you want to do that? You have you.Ī: Yes, I have me. I could program this box to be my particular taste and interest in things. I would love to have this machine stand for me. A thing that makes choices about its outputs, and says to itself, This is a good output, reinforce that, or replay it, or feed it back in. Q: If I could give you a black box that could do anything, what would you have it do?Ī: I would love to have a box onto which I could offload choice making. Amongst other things, he talks about lifting himself to the next meta-level of composition, where he doesn't write music, he writes rules for a box which makes music: There was an interview with Eno in Wired in 1995 that i still think about sometimes. (If the tape lengths are L and L+d, for small d, then the repeat time could easily be as long as L*(L/d), and even longer if d does not divide L evenly.) Thus, it is very different from what you get with a Markov chain. This interaction of periods will have long memory. What I mean is they all repeat in cycles that are called incommensurable - they are not likely to come back into sync again.' The third one every 29 15/16 seconds or something. The next lowest loop repeats every 25 7/8 seconds or something like that.

WOTJA ALBUMS SERIES

It is in fact a long loop running around a series of tubular aluminum chairs in Conny Plank's studio. 'One of the notes repeats every 23 1/2 seconds. As you listen, you can hear phrases that occur nearly together and then later, well-separated in time, as the periods of these loops go in and out of phase: I don't disagree with this observation, but I wanted to mention a counterpoint.Įno's 'Music for Airports' famously uses a system of multiple tape loops that produce sequences of different periods.

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