Tag: Boston Post-Mortem

EndWar Audio Post-Mortem

For those who are curious, here are the slides from my Boston Post-Mortem presentation last week. It was a conscious affectation to only capitalize the first word of every heading, and I now regret it, but I’m too lazy to go back and change them all. Also, I’m sorry the font size changes so much from slide to slide. (For more on EndWar audio in prose version, check out this EndWar audio page I put up a while back.)

The talk focused mainly on the audio deployment mechanisms we developed for the game, since I think that was some of the most innovative and fun work we did, and hopefully also the most portable to other projects people may be working on. I spent about half of the time going into some detail about our music system, which I feel was one of EndWar’s key audio innovations. It’s a little tricky to share the music demo I did (mocked up in Max/MSP) online, but I found some gameplay footage on YouTube that showcases the same set of music in the final game. (Music composed by Alistair Hirst and Matt Ragan of Omni Audio!)

It’s actually an instant replay of an online match on PS3. This means that, unlike the actual game, the player is controlling the camera movement here. This provides a good opportunity to hear how the music evolves, depending on what’s going on. There are a few sounds that seem to come out of nowhere; they would normally accompany interface events, but in replay mode, the interface is suppressed. Note also the guitar squeals that indicate you or your enemy has lost a unit (depending on the squeal).

Here’s another video of actual gameplay footage on the Xbox.

Note that the volume periodically ducks down quite suddenly; that’s because this person is using the game’s voice command feature to control his or her troops. When you pull the trigger to talk, other sound ducks down for clarity, but of course in this excerpt, you don’t hear the player talking, hence the dropouts.

This video goes from the little intro movie to the main menu music to the loading music to some actual gameplay. The loading music in particular illustrates our music system’s scalability, as this was done with just a few kilobytes of audio data in memory, algorithmically permutated, nothing streaming. Feel free to search for other gameplay excerpts on YouTube, too.

Anyway, the talk went really well, with a big turnout, an attentive crowd, and a lot of interesting conversations afterwards. Thanks to Darius for inviting me to share my work, and thanks to everyone who attended!

Baldessari Sings Kanye West Tweets

So I’m annoyed that my Boston Post-Mortem lecture tomorrow has been postponed due to the forecast snowstorm, so I’m moping about the apartment, thinking about the following:

I just read that the Walker Art Center (one of my favorite places on the planet) has acquired John Baldessari’s 1972 video Baldessari Sings LeWitt. As the Walker tells the story, this video is Baldessari’s riposte to conceptual artist Joseph Kosuth, who had dismissed Baldessari’s “amusing pop paintings” as “not relevant to the discussion” of conceptual art. So Baldessari made this video, in which he sings Sol LeWitt’s 35 Sentences on Conceptual Art to the tune of popular songs, including “The Star-Spangled Banner” and, I think, “Tea for Two.”

He didn’t write the text. He didn’t write the music. He doesn’t perform the results in any compelling interpretation. All he did was pick a text and (unimaginatively) pick some music and (unimaginatively) kind of mash them together.

In short, there’s nothing here that amounts to a great performance, as opposed to really bad music. Even as a performance piece, it’s lazily presented and poorly rehearsed (and please don’t try to assert that rehearsal is somehow irrelevant to performance art). And it doesn’t even enter the conversation of video art; this video is strictly documentation of an event, ignoring the whole set of issues posed by the medium of video.

What advocates of this work completely miss is that the notable “meta-conceptual exercise” Baldessari performs here is nothing more profound than what every composer must consider when setting a text to music. Why do you choose a certain text? What is the text about? How can you support (or subvert) that meaning in sound? To take this idea to its logical terminus is to raise a whole bunch of issues Baldessari completely skirts by lazily appropriating popular tunes (and of course ignoring that appropriation in music has its own rich history and another whole set of issues; see Luciano Berio’s Sinfonia, also Charles Ives, Frederic Rzewski, Peter Maxwell Davies…).

This piece exemplifies what I think is one of the major fallacies of art discourse in the past 50 years or so, which is the idea that sound represents some uncharted new territory for artists to transform into arable aesthetic soil. This attitude seems pervasive, and it strikes me as ignorant and condescending, since there are artists who have in fact been tilling the field of sound since the beginning of recorded history, and those artists are called musicians.

I am consistently surprised at how people working in or writing about the visual arts have so little understanding of what’s going on in new music. For me, the ideas are out there, the zeitgeist, the great conversation with history, and an artist continues the conversation by expressing new ideas in one medium or another, be it painting, sculpture, dance, literature, music, film, video, or whatever. Sure you gain competence and craft the longer you work in one area, but it behooves an artist in any medium to be aware of these conversations that transcend discipline and to address the ideas themselves, whatever their final form.

I don’t mean to suggest that visual or conceptual artists should not venture into sound or performance, but they would save themselves a lot of trouble by paying attention to the work that’s already been done by musicians. Or if it is strictly a conceptual gesture, there’s no reason to actually make the video; just circulate your proposal, “I’mma sing Sol LeWitt’s Statements on Conceptual Art to popular tunes LOL!” (see, it fits into one tweet!), and we’ll all have a good chuckle and get on with our days and certainly not be talking about it in 40 years. (I guess here is where commercial concerns come into play, having a video to hawk; at least in Baldessari’s case, it’s cheap.)

Speaking of Twitter, I am not kidding when I assert that John Groban singing Kanye West tweets is a more successful artistic venture on all fronts.

It’s a lot funnier than Baldessari, and perhaps in spite of itself, it touches on the fragmentation of today’s media landscape and celebrity obsession, all the more effectively since the music, tossed off though it is, fits the words.

I had a great plan a few years ago to set a piece of spam I received to music, for voice and laptop. There were 3 different layers of text in it: a decoy text, the actual ad copy presented as an image, and a bunch of random keywords, to throw off spam filters, I guess. I thought setting it to music presented some interesting structural opportunities, e.g., stratification of the different texts, and could also touch on ideas of alienation and superficiality in the digital era. But alas, I lost the text, and I’ve never found another one as suitable (I guess spam filters have gotten better; I’m not complaining).

But I did get around to setting a bunch of personal ads for voice and piano. What do you think? Is it a conceptual gesture? Or just music?