0:00:00.000,0:00:21.619
36C3 preroll music
0:00:21.619,0:00:24.119
Herald: But thanks that you all are here.[br]Actually, since it's all teardown moment,
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still, we have enough, we have lots of[br]people here. Interesting. This is as well
0:00:30.090,0:00:34.530
an interesting talk because it's Helen[br]Leigh who's going to present this.
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Actually, give us an overview actually[br]about what hackers, you know, in music
0:00:42.370,0:00:47.420
meant actually in the history. So to give[br]an overview, if I understood this well,
0:00:47.420,0:00:52.260
she gives certain examples. And I think[br]she's gonna kick this a little bit further
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because she's going to talk a little bit[br]about her current work and future
0:00:57.579,0:01:05.420
objectives. So I would fasten seat belts,[br]I would say. Yes. Helen Leigh. Give her a
0:01:05.420,0:01:08.800
warm applause.
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applause
0:01:13.270,0:01:19.960
Helen: Hello? Yep. So I'm Helen. This is[br]if you want to follow my stuff or download
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any of my things that I mentioned in the[br]talk about GitHub and various plots of my
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work on Twitter. So here we go. OK. Right.[br]I am going to talk to you today about
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we're gonna give you a story. I'm gonna[br]give you a story about how a group of
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music hackers in the 1940s changed the[br]face of music technology forever and how
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they didn't know anything by what they[br]were doing. But they still manage to do
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some incredibly cool things by just[br]disregarding and being really awesome
0:01:47.629,0:01:52.500
hardware hackers. I'm also gonna give you[br]an overview of some of the coolest
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projects coming out of London and Berlin[br]at the moment. So I've been... I'm living
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in Berlin at the moment, but I was active[br]in the music hacking scene in London for a
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long time as well. So I'm going to show[br]you some cool projects. And before I start
0:02:05.910,0:02:12.711
off on my story and cool projects I'm[br]going to just introduce myself. I am a
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creative technologist, which is a[br]ridiculous buzzword. But people like to
0:02:17.209,0:02:22.540
put you in a box. But I'm basically a[br]massive nerd who really likes arty stuff,
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so I'd like to smash them together. My [br]favorite things to smash together are
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electronics and hardware and with music[br]technologies. And so with that in mind, I
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make a lot of strange musical instrument[br]creations, usually very experimental in
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form. I'll show you some of that as well.[br]This is one of my experimental
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instruments. I make sonic psycho sculpture[br]creatures and I've taken them on
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residencies in London, Shenzen and[br]Copenhagen. And I just really like
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experimenting with what a musical[br]instrument looks like. And not so much
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what it sounds like. I mean, I am into[br]other people's noise art. But for me, I
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like my instruments to sound melodic. But[br]yeah, form, I'm very interested in
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experimenting with. I also really like at[br]the moment - this is made out of brass.
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And I've made a lot of stuff with[br]different metals. But at the moment, I'm
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on a big soft circuit kick. And so I'm[br]experimenting with electronic embroidery
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and soft robotics to make kind of kinetic,[br]sculptural, squishy creature things. And
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I'll show you some of that later, too. And[br]obviously, this doesn't pay my rent,
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shockingly. So I also do some product[br]design and a lot of curriculum based
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things, remember, I'm a writer as well. So[br]this is a product that I designed. That's
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actually my hand on the box. Very[br]exciting. And it's a wearable instrument
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for children sold by PIMORONI and Adafruit[br]and et cetera. And it's a DIY wearable
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gesture based instrument for children to[br]learn how to code with. And I designed
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that with Imogen Heap. And I'll tell you[br]about that cool project later. But that's
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something I do. And I also do a lot of[br]writing. This is a still from one of my
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books I wrote recently. Last year it came[br]out, one called The Crafty Kid's Guide to
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DIY Electronics, where I teach basic[br]electronics through the medium of paper
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craft, origami, sewing and kind of like[br]DIY robotics as well. I also write for
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Hackaday. I've written for blah blah blah,[br]doesn't matter. I write words for money
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sometimes. Anyway, that's me. I am going[br]to tell you as one of my favorite stories
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of music, tech history. I'm going to start[br]off here with this rather pretentious
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quote from a rather pretentious man who I[br]still kind of love is a guy called John
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Cage, who most people know him for his[br]experimental compositions and his many
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and varied writings on on the subject[br]of what is sound and what a sound artist.
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But he was also pretty early on a hardware[br]hacker. He made experimental instruments.
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Actually, one of his first famous pieces[br]was him like smashing up a piano and
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changing that. So he was a composer, but[br]he was also an experimental hardware
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artist. I mean, he said this. There is no[br]noise. There is only sound. And the reason
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I put this quote up there is to kind of[br]make you... remind you that all music is
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made up. Okay. All instruments are[br]inventions. The violin wasn't a violin
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until probably the 13th century when[br]various instruments that came before it
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converged and someone using new[br]techniques, new tools. And it starts and
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it keeps revolving through the ages.[br]Right. And I think you could think of an
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instrument as a - as a specific thing, but[br]it's really not. We've been messing around
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with science since we've been humans,[br]basically, and deter with compositions.
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You might think of classical music[br]mainstays like Stravinsky, Strauss or
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Debussy as, as these kind of like boring[br]establishment figures, but actually in the
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day they were seen as avant garde. People[br]walked out of their performances. There
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were hit pieces about them in the mails.[br]You know, the Daily Mail of the time. So
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basically, anything that sounds strange to[br]you now or something that's experimental
0:06:27.180,0:06:32.569
to us could well have an influence in a[br]long reaching way. So, yes, here we are.
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Oh, I'm going to tell you. But my favorite[br]conspiracy theory as well. So even down to
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the note A, 440 Hertz, middle A. And it's[br]- It was not even - it was not the letter.
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Sorry. It was not 440 Hertz until the[br]1950s when a group of dudes met up in one
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room in London. And then everybody signed[br]this agreement saying, OK, now an A is 440
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Hertz. Before that, a flute in Italy might[br]sound different to a flute in France.
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You'd have like this small tonal[br]variations. So it wasn't until yeah the
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1950s that it became actually the letter[br]A. There's a wonderful series of
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conspiracy theories around this that[br]actually that they chose 440 Hertz because
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it's a method of population mind control[br]and there are alternative websites out
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there, now you can literally go and if you[br]search for like uhm 440 Hertz
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conspiracies, there are websites that are[br]campaigning like groups that are
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campaigning for it to be changed for the[br]whole of modern music to be a to be
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changed. There's one at 432. There's one[br]at 438. And if you're in the 438 camp,
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because there are opposing camps as well.[br]So if you're in the 438 camp, you're in
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luck because someone's made a music[br]adjustor. OK, so you can take your track
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that you've done and you can put it into a[br]converter and it will convert all of your
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music into 438. So you can do that if you[br]like. And there's even a radical fringe
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group calling for the middle A to be 538,[br]which is absolutely insane. But there we
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are, I love it. And so if you ever want to[br]go down a conspiracy theory YouTube black
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hole, which you probably will do, we're[br]all at camp, uh congress, not camp. You
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can look at that. But basically my point[br]here is that music is all made up.
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Instruments are all inventions. So, you[br]know, there are no rules. I'm gonna take
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you through em - one of the paths, one of[br]the many paths of music history and music
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hacking. And we're going to look at one[br]piece of hacked technology and how people
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who played with that and did things with[br]it that they weren't supposed to do
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changed modern history, modern music[br]production. This is the magnetic tape
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recorder. It's a lovely device. And it was[br]used popularized in World War 2 by the
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Nazis who used it to chop up propaganda[br]and so on. And after the World War, after
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the World War and the BBC took on it, took[br]it on themselves to try and develop a
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version of this. So this is a relatively[br]modern technology. In the 40s and 50s,
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it started becoming becoming popular and[br]it was used for real to real broadcasting,
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right. Before this, it was grammophones.[br]But a bunch of - so they were used in
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music studios and they were relatively[br]expensive. As it became cheaper, a bunch
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of music hackers saw its potential to do[br]something more than just line it up. So
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these hackers got their hands on a bunch[br]of these and a bunch of these magnetic
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tape recorders. And as people want to do[br]with technology that they get their hands
0:09:44.730,0:09:50.150
on it. They started to fuck with it in a[br]new and very exciting ways. And what they
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did is they they as a movement in Paris[br]and then early 1940s called musique
0:09:55.040,0:09:58.769
concrète, which was the first group of[br]people who were doing this. Aside from one
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lonely guy in Egypt as well. But there was[br]like the epicenter of this was - is in
0:10:02.721,0:10:08.510
Paris. And what you do is you see the the[br]actual tape there. You use a razor blade
0:10:08.510,0:10:13.960
to cut it. And then you can, for example,[br]flip it over, tape it back together, and
0:10:13.960,0:10:18.520
then you've got one piece that's[br]backwards. Right. OK. And using that
0:10:18.520,0:10:22.190
technique, I'll show you how actually you[br]this is it.
0:10:22.190,0:10:28.320
sounds playing[br]OK, so not only can you chop things up and
0:10:28.320,0:10:32.540
turn them around, you can speed them up[br]and slow them down. This gives you - this
0:10:32.540,0:10:37.610
seems - so, basically, if you do it[br]faster, it will give you a higher tone.
0:10:37.610,0:10:42.250
And if you do it slower, if you slow it[br]down, it will be lower. OK. We all know
0:10:42.250,0:10:46.079
this kind of instinctually now. But back[br]then, this was fellow. This was completely
0:10:46.079,0:10:50.779
revolutionary. You could make sounds that[br]were not existing in nature. Take, for
0:10:50.779,0:10:55.700
example, the plucking of a violin string,[br]okay, you pluck a violin string. And it
0:10:55.700,0:10:59.910
comes on quick. It's like boom. And then[br]if you let it die off, there's a "laaa".
0:10:59.910,0:11:04.730
So what we call that in music is a sharp[br]attack on a long delay. And that's how a
0:11:04.730,0:11:09.120
lot of musical instruments or natural[br]science will work. OK. They will fade off,
0:11:09.120,0:11:14.790
OK. But using this technology, you could[br]switch it around. So it had the
0:11:14.790,0:11:20.990
opposite effect. So like "uooom" the long[br]attack and a short delay. So you could
0:11:20.990,0:11:25.610
create sounds that are not found in nature[br]now, which is extraordinary. And at the
0:11:25.610,0:11:27.731
same time, there was the advent of[br]something called field recording, which
0:11:27.731,0:11:32.380
was you could go outside instead of having[br]to record in a studio. You could have a
0:11:32.380,0:11:37.010
physical piece of equipment that you could[br]carry around with you and a microphone, so
0:11:37.010,0:11:42.260
you could go and record sounds outside.[br]Found sound is what we call that. Then you
0:11:42.260,0:11:45.389
could take it back to the studio, chop it[br]up with a scalpel, sellotape it back
0:11:45.389,0:11:50.019
together, rerecord it, and you could[br]create... This is just you know, it's just
0:11:50.019,0:11:56.100
a huge, vast new set of tools that you can[br]work with as somebody who's making music.
0:11:56.100,0:12:01.250
Now the first people doing this were, as I[br]say, these French guys in Paris
0:12:03.271,0:12:07.709
and in musique concrète. And they[br]were doing it. And due to modern music,
0:12:07.709,0:12:11.350
digital preservation techniques, you can[br]hear these, the sounds they were making on
0:12:11.350,0:12:15.320
YouTube. You can spend some time and[br]listen to that. And I won't lie, they
0:12:15.320,0:12:21.279
sound pretty awful. Nobody wants to listen[br]to that. I mean, unless you're a true
0:12:21.279,0:12:24.920
enthusiast. But it's not it's not about[br]the music they were making, is about the
0:12:24.920,0:12:28.490
techniques that they were creating, their[br]experimentation sounded terrible but
0:12:28.490,0:12:35.269
actually was incredibly influential. We[br]use sampling now as just an ordinary
0:12:35.269,0:12:41.290
thing, but this was the technology behind[br]it. It really came to a head in the 1960s
0:12:41.290,0:12:47.339
when Beatle - the Beatles were the first[br]people to use this technique on "Tomorrow
0:12:47.339,0:12:52.009
Never Knows". Now, normally, well, I would[br]play this, but when I did, at a talk
0:12:52.009,0:12:55.350
similar to this at the Hackaday Super[br]Conference, they uhm they pulled my
0:12:55.350,0:12:58.949
livestream because there was a 10 second[br]snippet of the Beatles. So I've decided
0:12:58.949,0:13:04.050
not to risk it today. But you can look up[br]"Tomorrow Never Knows" and you can hear
0:13:04.050,0:13:09.220
these "woauum, woauum, woauum" kind of[br]sounds. And that's actually flipped.
0:13:09.220,0:13:12.639
That's just flipped sounds that the - all[br]of the Beatles brought in sounds from
0:13:12.639,0:13:17.019
their home. They flipped it around,[br]speeded up and slowed it down. There's a
0:13:17.019,0:13:21.220
famous like very high pitched[br]"hiehiehiehiehie" sound in that song and
0:13:21.220,0:13:24.730
it's just Paul McCartney laughing and[br]they've manipulated it using sticky tape
0:13:24.730,0:13:29.040
and scalpels. Anyway, so that was the[br]beginning of these new production
0:13:29.040,0:13:32.850
techniques, right? You can use these in[br]modern music, you know, when you're in
0:13:32.850,0:13:36.699
your Ableton or your Logic or whatever.[br]You know, those are just standard
0:13:36.699,0:13:42.540
features. But this was the beginning of[br]it. And it's incredibly influential. I could
0:13:42.540,0:13:48.320
follow it down this path. But I'm[br]actually going to take this and
0:13:48.320,0:13:52.500
leave them to go on with modern mainstream[br]production. And I'm going to talk about
0:13:52.500,0:13:57.269
this woman instead. Who was one of my[br]favorite things about hacker culture is
0:13:57.269,0:14:01.780
the way that we learn from each other and[br]the way that we rev off of each other's
0:14:01.780,0:14:06.450
work. And so I'm gonna go slightly[br]sideways and talk about this artist and
0:14:06.450,0:14:12.170
engineer. Her name is Daphne Oram, and[br]who's heard of Daphne Oram? All right.
0:14:12.170,0:14:19.540
Like ten of you. Which is more than usual,[br]actually, to be honest. So Daphne Oram is
0:14:19.540,0:14:24.860
- everyone should know her name and that's[br]why I never shut up about her. She was a
0:14:24.860,0:14:30.980
musician and physicist, an electronics[br]engineer who was unfortunate enough to be
0:14:30.980,0:14:39.779
a woman. And was - has a pretty tragic[br]work history. But she... she's one of the
0:14:39.779,0:14:44.389
iconic figures of early electronic music.[br]She should be as well-known as any of the
0:14:44.389,0:14:50.170
- as Moog or whatever. But anyway, so[br]she's a trained musician and she got a job
0:14:50.170,0:14:54.050
at the BBC queuing up these reel to reel[br]magnetic tape recorders, which is actually
0:14:54.050,0:15:00.720
a pretty big deal at the time for women as[br]well. So she would. She went on a training
0:15:00.720,0:15:05.720
course to Paris and - just studio[br]recording techniques. You know, standard
0:15:05.720,0:15:11.529
corporate training. Right. And while she[br]was there I believe she met some of the
0:15:11.529,0:15:16.040
people behind the musique concrète. And[br]she was basically and they showed her what
0:15:16.040,0:15:19.610
they were doing. And it totally blew her[br]mind. She was like, oh, my God, I will
0:15:19.610,0:15:23.030
take this back to the BBC. It's gonna be[br]so cool. I'm going to revolutionize
0:15:23.030,0:15:28.500
everything. It's gonna be awesome. She[br]took it like that. And predictably enough,
0:15:28.500,0:15:34.600
everyone was like, no, go back to pressing[br]buttons. So she did. But she also would
0:15:34.600,0:15:38.870
run around at the BBC late at night after[br]hours stealing bits of equipment from
0:15:38.870,0:15:43.790
other people's studios and wheeling them[br]into her own studio. And she would
0:15:43.790,0:15:48.779
experiment with all these musique concrète[br]methods. And she was an electronics
0:15:48.779,0:15:54.000
person, as well, and she was one of the[br]first people in the world to make purely
0:15:54.000,0:15:57.450
electronic music, because she was one of[br]the first instances of someone who
0:15:57.450,0:16:02.910
recorded her oscilloscope and then started[br]using that for compositional purposes as
0:16:02.910,0:16:08.339
well. And she was doing this for maybe[br]five, six, seven years. And at the end of
0:16:08.339,0:16:11.890
that, she started to get some interest.[br]She managed finally to convince somebody
0:16:11.890,0:16:16.970
to give her a commission to create some[br]incidental music for a piece of - for a
0:16:16.970,0:16:24.500
show. And erm and it was a success. Also[br]people hated it. Of course. But enough
0:16:24.500,0:16:29.149
people wanted her to repeat it that[br]eventually the BBC gave her her own studio
0:16:29.149,0:16:34.889
which is like absolutely, you know, out of[br]the question for someone in the fifties,
0:16:34.889,0:16:41.900
for a woman in the 50s. And so she she was[br]starting to make this but she erm
0:16:41.900,0:16:44.720
unfortunately at this point she got the[br]BBC Radiophonic Workshop, which is one of
0:16:44.720,0:16:50.740
the most iconic sound design workshops and[br]studios in the whole history of music
0:16:50.740,0:16:56.320
technology. So she starts this workshop,[br]the BBC Radiophonic Workshop, but a year
0:16:56.320,0:17:04.730
later she leaves to start her own artists[br]practice because they - they said she said
0:17:04.730,0:17:09.560
they wanted my ideas and they wanted my[br]work but they didn't want me. So she had
0:17:09.560,0:17:13.290
to leave her life's work. And she was[br]largely erased, actually, from everything
0:17:13.290,0:17:18.699
that she did, even though she founded this[br]iconic this absolutely iconic workshop.
0:17:18.699,0:17:24.150
And she went off and created. She didn't[br]have a sad life after that. She - she went
0:17:24.150,0:17:29.620
off and created em, this wild synthesiser,[br]which is in the London Science Museum. And
0:17:29.620,0:17:34.910
I was like instead of she she loved[br]looking at wave forms of music. So she
0:17:34.910,0:17:37.980
thought she would use watercolor to draw[br]the wave forms and then have a synthesizer
0:17:37.980,0:17:41.400
interpret those wave forms. And that's[br]called the Oramics Machine is like
0:17:41.400,0:17:45.550
absolutely wild. You can look that up on[br]the Internet as well. It's cool to look
0:17:45.550,0:17:51.700
at. So, yeah, she's becoming a bit more[br]popular now because of the work of some of
0:17:51.700,0:17:55.760
the guys at the Radiophonic Workshop who[br]still exist. Some of the old guys who go
0:17:55.760,0:18:00.380
around telling cool stories about them.[br]And but also because of the woman she
0:18:00.380,0:18:05.900
helped bring in who stayed after she left.[br]And she's quite famous now because of
0:18:05.900,0:18:10.039
something I'll show you. It's this lady.[br]And this is Delia Derbyshire, who's head
0:18:10.039,0:18:14.980
of Delia Derbyshire. A lot more of you. I[br]thought so. Now, Delia Derbyshire again
0:18:14.980,0:18:18.230
the same? She's got a maths and music[br]degree. She couldn't get a job, but she
0:18:18.230,0:18:21.970
ended up basically pestering them into[br]letting her do some interning at the
0:18:21.970,0:18:27.539
Radiophonic Workshop and eventually got a[br]job there. And then she was the arranger
0:18:27.539,0:18:34.270
and made the instrumentation for this. Now[br]I'm going to play this for you. Before I
0:18:34.270,0:18:39.600
do, I want you to think about the fact[br]that at the time every sound had to be
0:18:39.600,0:18:46.140
physically cut and sticky taped together,[br]every sing-. And there's no multi-track
0:18:46.140,0:18:50.659
recorders back then either. OK. So you[br]have to. It's an absolutely enormous
0:18:50.659,0:18:54.630
process of recording the sounds,[br]stretching the sound, cutting the sounds,
0:18:54.630,0:18:58.640
sticking it back together, making on a[br]reel, recording that onto a separate reel.
0:18:58.640,0:19:01.750
Then you've got this and then you add more[br]sounds and then you have like several
0:19:01.750,0:19:08.090
tapes that you have to condense into each[br]other without multi-track technology. OK.
0:19:08.090,0:19:13.880
They're literally on different machines[br]shouting "Go" at each other. And that's
0:19:13.880,0:19:17.400
how they recharged multi-track. But she[br]was very blasé about it. It was kind of amusing
0:19:17.400,0:19:20.809
because it seems ridiculous to me now[br]to be able to compose a piece of music
0:19:20.809,0:19:26.940
like that, like a jigsaw puzzle. But[br]she just shrugged and said, well,
0:19:26.940,0:19:34.550
seemed to work. I find that kind of charming[br]but yes. So that's. Oh, no. Why didn't it play?
0:19:34.550,0:19:37.170
low volume static noise
0:19:37.170,0:19:44.530
Oh, no. Huh, goddamned. Well I'm gonna[br]play it for you anyway.
0:19:44.530,0:19:48.620
Oh, it's playing! Oh good, it just took a minute.
0:19:48.620,0:19:59.760
Doctor Who Theme playing
0:19:59.760,0:20:03.710
[over the music] No theremin. No[br]synthesizers existed. This was literally
0:20:03.710,0:20:13.429
just tapes. And she also made her own[br]instruments so she [inaudible], including
0:20:13.429,0:20:17.240
my favourite which is called the[br]wopulator(?). And that just a good name
0:20:17.240,0:20:24.078
Yeah, so uhm, they actually used a lot of[br]electronic engineering gear in their work.
0:20:24.078,0:20:27.910
Anyway, we know how this goes. And I don't[br]want to get another copyright violation.
0:20:27.910,0:20:31.567
Doctor Who Theme stops[br]So let's move on. I did actually want to
0:20:31.567,0:20:37.100
play one of her own songs, so that's her[br]commercial work. But she was also an
0:20:37.100,0:20:42.809
electronic experimental musician of her[br]own and on her own accord. And she I think
0:20:42.809,0:20:49.250
you kind of forget that music in the 50s[br]and 60s actually kind of was wild as well.
0:20:49.250,0:20:51.829
Let's see if we...[br]Music playing
0:20:51.829,0:20:55.340
[talking over music][br]This is one of her tracks from the 60s.
0:20:55.340,0:21:13.369
Kind of a banger.[br][making sounds]
0:21:13.369,0:21:19.609
You might even recognize this track,[br]because someone did sample it.
0:21:19.609,0:21:23.659
Die Antwoord literally just rapped over the[br]top of that and then released it as a
0:21:23.659,0:21:32.659
track. She made this for a science fiction[br]show that was based on an Asimov story and
0:21:32.659,0:21:36.049
this remains, but the Asimov story that it[br]was made for has been deleted from the BBC
0:21:36.049,0:21:42.510
archives, which I find to be an absolute[br]tragedy. I would love to watch that. If
0:21:42.510,0:21:47.140
you uhm if you flip it back, the robotic[br]sound is singing "praise be to the
0:21:47.140,0:21:50.590
master".[br]Music stops
0:21:50.590,0:21:54.690
Thank you, Daphne. And so that's the[br]that's my story of the BBC Radiophonic
0:21:54.690,0:21:58.620
Workshop. But I wanted to leave you with a[br]quote from one of the BBC Radiophonic
0:21:58.620,0:22:03.350
Workshop engineers. Unfortunately unnamed[br]in the documentary that I watched and I
0:22:03.350,0:22:06.720
just thought this was kind of a cute[br]sentiment because they were making things
0:22:06.720,0:22:09.960
up. They weren't - they weren't the[br]experts in the room. They didn't know what
0:22:09.960,0:22:15.330
they couldn't do. So they just basically[br]managed to mess around with stuff and
0:22:15.330,0:22:19.179
ended up with something really special and[br]really cool and something that was just
0:22:19.179,0:22:24.260
iconic. You know, some of the biggest[br]electronic music acts in the world today,
0:22:24.260,0:22:29.101
still say that the work at the BBC[br]Radiophonic Workshop was one of the big
0:22:29.101,0:22:37.040
influences in life as well. So. So, yeah,[br]that's the BBC Radiophonic Workshop. And I
0:22:37.040,0:22:41.571
think it's very important that we allow[br]for ridiculousness in technology and we
0:22:41.571,0:22:48.240
allow for ugly noises and we allow for[br]stupid things that don't fully - you don't
0:22:48.240,0:22:54.620
really see what they're for. Like the[br]power of them allowing for experimentation
0:22:54.620,0:22:59.210
that isn't very successful at first or[br]doesn't sound successful. The idea is
0:22:59.210,0:23:07.100
really important. Yeah. So outsiders,[br]hooray. That was a golden age. We've got
0:23:07.100,0:23:12.419
the invention of a new technology and what[br]resulted in democratization. You know, the
0:23:12.419,0:23:18.309
availability of a new technology to a[br]reasonable number of people led to this
0:23:18.309,0:23:23.429
uhm to this amazing sea change in the way[br]that people made music, made digital music
0:23:23.429,0:23:27.960
and analog back then. But, you know, the[br]way that we make music was changed by
0:23:27.960,0:23:34.050
these experimenters. It was definitely a[br]golden age for - for new techniques. But I
0:23:34.050,0:23:37.840
think that we're currently in a golden age[br]for people who are working with
0:23:37.840,0:23:45.990
experimental instruments and experimental[br]sound in general. And I think that we. So
0:23:45.990,0:23:49.200
we've got loads and loads of really[br]exciting new technologies that are
0:23:49.200,0:23:53.640
available. We've got cheap[br]microcontrollers. We've we can make our
0:23:53.640,0:23:58.260
own PCBs. We can make our own[br]synthesizers. We can access people, which
0:23:58.260,0:24:02.160
is which is really crucial. I mean, think[br]about Daphne. She didn't learn about
0:24:02.160,0:24:06.270
musique concrète and she didn't find the[br]BBC Radiophonic Workshop until she had a
0:24:06.270,0:24:10.950
spark of an idea from somebody else. So[br]really, it is learning tools, learning
0:24:10.950,0:24:15.970
type, you know, gaining access to tools,[br]learning new techniques and learning and
0:24:15.970,0:24:20.410
being inspired by other people is really,[br]really critical for anything to to really
0:24:20.410,0:24:24.360
change and to really and to happen. But I[br]think that at the moment we've been
0:24:24.360,0:24:27.950
really, really cool, accessible new[br]technologies that more and more people are
0:24:27.950,0:24:34.020
learning how to use and more and more are[br]becoming much simpler as well. And and
0:24:34.020,0:24:37.970
crucially, people are more accessible. So[br]people share, particularly in our
0:24:37.970,0:24:42.659
community, people share their knowledge[br]and very freely. And you don't have to be
0:24:42.659,0:24:44.659
in the same room to do this. I know a[br]bunch of people are listening on the
0:24:44.659,0:24:49.750
livestream right now. So you don't have to[br]be here to learn about things.
0:24:49.750,0:24:54.840
And you don't have to be in the room to[br]lend it - to attend a workshop with
0:24:54.840,0:24:58.909
somebody. Right. There's these wonderful[br]YouTube tutorials now for sharing
0:24:58.909,0:25:03.700
information. Niche communities are just[br]way more accessible through online places.
0:25:03.700,0:25:11.120
And we've got an incredible community and[br]abundance as well. So this is I mean, I
0:25:11.120,0:25:14.409
shouldn't have put this slide in here but[br]it doesn't matter. Uhm so this is this is
0:25:14.409,0:25:19.679
one of my old hacker spaces. It's Machines[br]Room. In uhm in London. And it was where -
0:25:19.679,0:25:23.669
where the music, technology, one of the[br]places where the music tech community in
0:25:23.669,0:25:29.470
London was centered. And they did some, it[br]was there on the London hackerspace, but
0:25:29.470,0:25:34.530
we did a lot of things. But there's a[br]community called the hackoustic that I was
0:25:34.530,0:25:38.900
involved with. And we used to do a lot of[br]events there. I'm saying that the reason I
0:25:38.900,0:25:43.230
put this slide down was just just to show[br]that hacker spaces and maker spaces often
0:25:43.230,0:25:47.549
have some kind of music technology[br]partnerships and those kind of central
0:25:47.549,0:25:51.450
spaces where you can share things and[br]share knowledge and get inspired by each
0:25:51.450,0:25:55.080
other's work and also hold events is[br]really, really crucial. Actually, I do
0:25:55.080,0:26:01.070
know why I put this slide in. So, so this[br]slide the - this this was a wonderful
0:26:01.070,0:26:07.120
space for uhm for three years. And then[br]the landlord raised the rent four times
0:26:07.120,0:26:15.010
and this amazing community of artists and[br]designers and music hackers was removed,
0:26:15.010,0:26:19.169
and at the same time, the London hackspace[br]moved from central London to west London
0:26:19.169,0:26:23.070
and a bunch of other hacker spaces and fab[br]labs closed as well just because of how
0:26:23.070,0:26:29.309
expensive the center of London had had[br]become. And there's just as a direct
0:26:29.309,0:26:33.679
result of that, I moved to Berlin. So like[br]this is there by, by, uhm by allowing this
0:26:33.679,0:26:37.830
kind of gentrification of our hackerspaces[br]we actually do destroy community as much
0:26:37.830,0:26:44.980
as we can create community online as well.[br]Like this. So this is uhm this is an
0:26:44.980,0:26:49.370
example of awesome online community. This[br]is, um, YouTube uhm video from someone
0:26:49.370,0:26:53.179
from the London music tech hacker scene[br]and probably the most famous person from
0:26:53.179,0:26:57.640
it. And it's a guy called Sam who goes by[br]"Look Mum No Computer" on the Internet.
0:26:57.640,0:27:01.980
And he he's an electronic engineer and[br]general purpose weirdo. Which is why I
0:27:01.980,0:27:07.549
like him. And this is one of his[br]creations. He made a Furby synth, which is
0:27:07.549,0:27:13.570
as horrific as you imagine, if not more[br]so. So don't look that up. I mean, do look
0:27:13.570,0:27:18.200
that up. But it is genuinely be prepared[br]to not have a nice time. But he doesn't
0:27:18.200,0:27:22.080
just show his instruments. He doesn't just[br]perform with them. He he does really
0:27:22.080,0:27:25.640
awesome electronics teardowns as well. So[br]I've learned a bunch of stuff from
0:27:25.640,0:27:30.500
watching his videos and looking at[br]actually how he's done them. And that's
0:27:30.500,0:27:34.409
something that's really exciting. I mean,[br]like maybe 20 years ago, I wouldn't have
0:27:34.409,0:27:36.960
had access to this kind of knowledge. I[br]just would have I probably wouldn't have
0:27:36.960,0:27:40.630
even known that I like this kind of stuff,[br]you know, wouldn't have been exposed to
0:27:40.630,0:27:43.820
it. And then I certainly wouldn't... You[br]know, I've been going down my my local pub
0:27:43.820,0:27:49.011
saying, hey, he wants to work on, uh, on a[br]weird Furby instrument with me. And they'd
0:27:49.011,0:27:54.010
be like, well, no. So it's kind of nice to[br]be able to show your weird passions with
0:27:54.010,0:27:58.240
the people on the Internet. And then, of[br]course, we have, we're at one of these.
0:27:58.240,0:28:02.809
This is me and my friend Phoenix. We've[br]done a fair bit of music tech hacking
0:28:02.809,0:28:08.830
together. And this is actually the British[br]version of Congress, EMF camp. I guess
0:28:08.830,0:28:12.440
it's the version of Chaos camp, actually.[br]But so yeah, EMF camp, which is actually
0:28:12.440,0:28:17.360
in 2020 this year. It's a yes. It's really[br]cool small hacker festival or but these
0:28:17.360,0:28:22.419
kind of spaces and these kind of events[br]really allow. I mean, I've learned so much
0:28:22.419,0:28:27.559
just by being here the last couple of[br]days. And every time we do this, we should
0:28:27.559,0:28:32.400
cherish and we should cherish the hacker[br]spaces and the events. And we should also
0:28:32.400,0:28:35.991
support people like Sam, who makes his[br]living through Patreon and on YouTube, you
0:28:35.991,0:28:41.130
know, so by supporting maker spaces and[br]events and also by supporting individual
0:28:41.130,0:28:45.560
people who are putting the effort in to[br]create and share work, I think and we can
0:28:45.560,0:28:52.419
cherish this community. OK. Onto the final[br]bit. I'm going to show you some - some of
0:28:52.419,0:28:58.270
the cool projects that I've been working[br]on with other people. But the reason I've
0:28:58.270,0:29:03.190
chosen the ones that I'm showing you is[br]because they are also using some of my
0:29:03.190,0:29:08.220
favorite ways that you can hack on[br]instruments. So I figured I'd show you a
0:29:08.220,0:29:13.010
project, but also show you how to make,[br]you know, how you can have a go at it. So
0:29:13.010,0:29:18.500
recently I've lived in London and Berlin,[br]and one of my favorite things to do is
0:29:18.500,0:29:24.460
when I'm in a space is to make an[br]instrument in the context of two people's
0:29:24.460,0:29:29.169
work, two or more people's work. I always[br]find like my work is always way better if
0:29:29.169,0:29:34.730
I'm collaborating with somebody else. So[br]you know what they do and what I do
0:29:34.730,0:29:38.340
smushed together to create something[br]that's better than either of us could have
0:29:38.340,0:29:43.620
done on our own. And I think this is a[br]good example if it will play and this is
0:29:43.620,0:29:46.320
one of my first sonic soul circuits[br]sculpture creatures.
0:29:46.320,0:29:51.950
plucking sounds[br]This started off as a hack just overnight
0:29:51.950,0:30:00.789
hack with my composer friend Andrew Hockey[br]and Drew Fustini from Oshpark and myself,
0:30:00.789,0:30:05.000
obviously, and we worked together[br]overnight to create this. This is a
0:30:05.000,0:30:09.240
circuit sculpture. If you don't know what[br]a circuit sculpture is, it's basically uhm
0:30:09.240,0:30:14.039
instead of putting your circuit inside of[br]a box, all of the parts or the key parts
0:30:14.039,0:30:20.300
of it are shown and are actually[br]celebrated as art in their own light. And
0:30:20.300,0:30:23.299
so that's what a circuit sculpture is. And[br]there's a couple of wonderful people and
0:30:23.299,0:30:29.240
there is this guy called Mohit(?) who[br]makes really beautiful things. He's living
0:30:29.240,0:30:34.940
in San Francisco. And then this guy called[br]Giri(?), who is in Prague, I want to say.
0:30:34.940,0:30:41.610
And they make really, really awesome,[br]tiny, neat things. But I I'm not tiny and
0:30:41.610,0:30:46.529
neat, so I make big, massive and messy[br]things. So this is the first one I made.
0:30:46.529,0:30:50.140
It was really interesting to me. I really[br]like capacitive touch as a technology and
0:30:50.140,0:30:55.880
it's can be unreliable, but I find it kind[br]of really fun to work with. And it's very
0:30:55.880,0:31:01.809
intuitive for a musician. And then that[br]led to me developing a second creature.
0:31:01.809,0:31:07.750
And I'm really inspired by kind of utopian[br]science fiction. And I wanted to make a
0:31:07.750,0:31:12.470
series of creatures that inhabited the[br]same world and sung when you touch them.
0:31:12.470,0:31:17.169
So this was the second in the series. This[br]is a more traditional instrument. I mean,
0:31:17.169,0:31:20.710
obviously, it's still weird. It's more[br]traditional in the - past one, the second
0:31:20.710,0:31:27.130
one, the first one was generative in some[br]way, like semi generative. And this one is
0:31:27.130,0:31:31.450
more like one note per limb with two modes[br]of modulation. This is a bass.
0:31:31.450,0:31:45.740
synth bass sound playing[br]"wobb wobb wobb".
0:31:45.740,0:31:58.780
Helen chuckles[br]So that's my base creature, which I'm
0:31:58.780,0:32:03.549
actually developing for a real musician[br]now and a woman, amazing bassist called
0:32:03.549,0:32:07.220
Ayse Hassan who is the basis for the[br]Savages and just was on tour with the
0:32:07.220,0:32:13.169
Pixies and I'm going to - I'm making her a[br]stage presence one. And so she's going to
0:32:13.169,0:32:16.770
be able to play it, but that's gonna be[br]more generation based as well. But it's
0:32:16.770,0:32:21.590
kind of interesting to to try and create[br]something that in its functionality is
0:32:21.590,0:32:27.899
very traditional, but in its form is[br]really weird. And that's kind of fun to
0:32:27.899,0:32:34.840
play with. But now my latest one is [br]another creature. But this is kind of like
0:32:34.840,0:32:41.039
an abstract sensicle pod. It's gonna be[br]human sized. And each of the limbs will
0:32:41.039,0:32:45.460
pay a different part of the choral[br]arrangement. And then there's like some
0:32:45.460,0:32:48.640
kind of like sunlight feature at the top[br]where you can modulate it by touching the
0:32:48.640,0:32:54.269
copper rods. I've actually made a[br]prototype, which you can listen to. So
0:32:54.269,0:32:58.390
this is this is the latest version of one[br]of the limbs of the tentacle, which I made
0:32:58.390,0:33:02.529
and it just made it for the form. But then[br]everybody seems to really like cuddling
0:33:02.529,0:33:07.580
it. It's very comforting. So I decided to[br]make it purr after I'd finished
0:33:07.580,0:33:12.529
prototyping. If you want to listen to my[br]purring tentacle afterwards, you can. It
0:33:12.529,0:33:17.850
does sometimes work, but I should say[br]actually. Hello. So this is it. This is,
0:33:17.850,0:33:21.769
um. This is machine embroidered conductive[br]thread so that - that is able then to
0:33:21.769,0:33:27.200
detect capacity. That's a capacitive touch[br]sensor essentially - It's a sensicle. And
0:33:27.200,0:33:30.620
so yeah you can see that afterwards if you[br]want. It mostly works. I made it yesterday
0:33:30.620,0:33:38.269
so that's quite fine. But again, you know,[br]I would not have been able to create the
0:33:38.269,0:33:43.160
intricate sounds without the help of my[br]composer friend, and I would not have been
0:33:43.160,0:33:46.470
able you know this and I would not been[br]able to get the implementation that I
0:33:46.470,0:33:51.299
wanted onto the beagleboard whithout erm,[br]Drew. And so it's, it's, it's, it's really
0:33:51.299,0:33:55.260
nice to kind of like sit together and mash[br]up your mash up your skills.
0:33:55.260,0:34:00.260
bottles falling over[br]Now, these all use one of these and this
0:34:00.260,0:34:07.389
is another one of my instruments. This is[br]a wearable, flexible PCB, it's gonna be a
0:34:07.389,0:34:12.090
vocoder, but it's not finished yet. But.[br]But the reason I'm showing you that is
0:34:12.090,0:34:17.040
because that's the sensor that I use. This[br]is a they call it the trill. It's
0:34:17.040,0:34:20.550
essentially like if anybody viewed any of[br]you who used capacitive touch before, you
0:34:20.550,0:34:27.760
probably used an MPR121 sensor. This is[br]like an MPR121 sensor ++. It's much more..
0:34:27.760,0:34:34.170
they've got... a) it's got like 20[br]something pins, which is wild and it's way
0:34:34.170,0:34:38.260
more sensitive as well. So I find it[br]really really great. So if anybody's doing
0:34:38.260,0:34:41.030
stuff with cap touch and they're having[br]some problems with it: a) make sure you
0:34:41.030,0:34:45.500
ground it and b) have a go on that trail.[br]It's like 10 euros. I think that, that
0:34:45.500,0:34:49.980
sensor. And it is done by bela. You can[br]see one of their boards there. Now I'm
0:34:49.980,0:34:53.490
gonna do a whole slide about bela and Fan[br]Girl about them because they're my
0:34:53.490,0:34:59.170
favorite technology at the moment to use[br]for embedded systems, for embedded
0:34:59.170,0:35:02.760
instruments. And this is like the size,[br]this is this big. It is based on the
0:35:02.760,0:35:07.020
pocket beagle, which is the size of a[br]small Altoids tin. So it's very, very
0:35:07.020,0:35:13.331
small. But it runs, it runs, it's a full[br]Linux computer and is really, really
0:35:13.331,0:35:16.950
awesome. Super, super responsive, super[br]low latency, which is really important
0:35:16.950,0:35:22.010
when you're creating instruments. But also[br]the cool thing is it runs this. This is
0:35:22.010,0:35:26.350
PureData. It's a visual programing[br]language for sound creation. A lot of
0:35:26.350,0:35:32.590
artists and sound designers and music[br]creators, they use this already. You
0:35:32.590,0:35:35.450
might. This is very similar to something[br]called Max, actually made by the same guy.
0:35:35.450,0:35:42.140
But this one's open source. Yeah. So and[br]so that's bela and PureData. Definitely
0:35:42.140,0:35:46.641
worth checking out if you're interested in[br]instrument design. The reason the bela is
0:35:46.641,0:35:51.830
special is because, because of the[br]latency, but also because no other... So
0:35:51.830,0:35:56.120
you can't get a microcontroller that will[br]run PureData except for the Raspberry Pi
0:35:56.120,0:36:01.190
does. But the latency on the Raspberry Pi[br]is like meeh. So I would always suggest if
0:36:01.190,0:36:08.850
you're doing something. The bela and[br]PureData is a nice combo. OK. That's that
0:36:08.850,0:36:13.870
one. Then the other project I wanted to[br]talk to you briefly about is, is this is
0:36:13.870,0:36:16.850
Ariana Grande, who you probably don't know[br]who she is, but anyone under the age of 13
0:36:16.850,0:36:19.790
certainly will. And here she is demoing[br]and is called MI MU glove.
0:36:19.790,0:36:21.160
music playing[br][talking over music]
0:36:21.160,0:36:29.550
It's a gesture control. I say yes, gesture[br]control. And she's controlling, she's
0:36:29.550,0:36:36.750
doing looping. She's doing effects using[br]gestures. Obviously, gestures, various
0:36:36.750,0:36:39.750
gestures. Thank you, Ariana.[br]music stops
0:36:39.750,0:36:43.581
So that's that's the that's the. This is[br]what she's using here. And this is coming
0:36:43.581,0:36:49.420
out of London. About of the music tech[br]company called MI MU, that was originated
0:36:49.420,0:36:54.770
by Imogen Heap, if you know her. And I saw[br]the Ariana video and something I didn't
0:36:54.770,0:36:58.340
mention is I actually do quite a lot of[br]teaching as well. And when I saw that
0:36:58.340,0:37:01.731
Ariana video, I just thought I was like,[br]oh, my God, if I showed this to a 12 year
0:37:01.731,0:37:06.580
old girl and told them we could make one,[br]they were going to lose their mind. So
0:37:06.580,0:37:10.160
these cost like five grand, though. So I[br]don't think I could get one of these in
0:37:10.160,0:37:15.490
the classroom. So I just messaged Imogen[br]and asked her if I could make a children's
0:37:15.490,0:37:26.110
version. And so I did. She said yes. And[br]she - we, this is this is a wonderful
0:37:26.110,0:37:31.940
piece of technology called the micro:bit.[br]And it's a DIY, it's like my first
0:37:31.940,0:37:36.310
microcontroller that is made by the BBC.[br]It's like 10 pounds. It's very, very
0:37:36.310,0:37:41.620
cheap. It doesn't do a lot. But what it[br]does, it does very well and very simply.
0:37:41.620,0:37:49.070
And I was able to make an approximation of[br]a five thousand dollar glove with a ten
0:37:49.070,0:37:54.560
dollar microcontroller, which is nice.[br]That's what the core of the product that I
0:37:54.560,0:38:01.080
made is actually in. But. I haven't got[br]the time to talk to you about that. That's
0:38:01.080,0:38:04.090
my leather robot unicorn. I gesture[br]control, but I can't tell you about that.
0:38:04.090,0:38:07.350
This is another artist, got no time for[br]that. So we're getting onto this last one.
0:38:07.350,0:38:15.380
So basically I was able to - with one[br]bridge, one micro:bit and a little bit of
0:38:15.380,0:38:18.890
code to get it to work on professional[br]music software. And this is a musician
0:38:18.890,0:38:24.830
called Bishi who's really awesome and this[br]is her using my ten dollar hack.
0:38:24.830,0:38:28.560
music playing[br][talking over music]
0:38:28.560,0:38:35.130
To do very similar things. To the 5000[br]dollar. And of course, that's not stadium
0:38:35.130,0:38:40.810
level. Ariana claimed they couldn't use[br]that on tour. But it's it was a fun
0:38:40.810,0:38:45.620
project that we hacked together.[br]music stops
0:38:45.620,0:38:51.840
And that is that's my time. I have done[br]all of it, by the way. All of this, how I
0:38:51.840,0:38:57.390
did that. And that's all on my GitHub. All[br]of the code. If you've already got a
0:38:57.390,0:39:02.000
micro:bit, you can do, you can do it[br]yourself or you can get the kits for like
0:39:02.000,0:39:05.830
30 bucks. It's not very expensive. So all[br]that's on my GitHub along with some weird
0:39:05.830,0:39:10.720
factory signs of things. And you can[br]follow along on on my weird electronic
0:39:10.720,0:39:17.390
adventures on my Twitter. I'm pretty[br]reactive. So say hi to me and I'll be
0:39:17.390,0:39:21.150
hanging around here if you want to listen[br]to my tentacle. So the end, okay.
0:39:21.150,0:39:24.330
applause
0:39:24.330,0:39:37.870
Herald: Helen Leigh, woo. Thank you, Helen,[br]for his fantastic presentation. I'm
0:39:37.870,0:39:43.370
wondering actually, how are we gonna play[br]that thing there? What it's like. I had a
0:39:43.370,0:39:49.460
questions here. No. Yes. Yes. Online, of[br]course. They are far more, more speedy
0:39:49.460,0:39:52.990
than we are. Shoot![br]Signal Angel: So the question from the
0:39:52.990,0:39:59.290
Internet is: Have you ever considered[br]creating music without human interaction?
0:39:59.290,0:40:01.350
Helen: Yes.[br]laughs
0:40:01.350,0:40:08.110
Her: Okay then, next one.[br]Hel: Thank you. Good night. No, I mean,
0:40:08.110,0:40:13.810
I'm personally I'm a very tactile person[br]and so I like creating instruments that
0:40:13.810,0:40:22.470
you... that you stroke that are[br]affectionate almost and kind. I like
0:40:22.470,0:40:26.180
giving the things that I create some kind[br]of persona and that you interact with
0:40:26.180,0:40:29.520
them. However, a lot of people use...[br]there's a lot people doing really
0:40:29.520,0:40:35.320
interesting things with generative, non-[br]human interactive art. In fact, the
0:40:35.320,0:40:38.790
composer friend that I was talking about,[br]Andrew Hockey, who's done a lovely... He's
0:40:38.790,0:40:44.020
haked a musical marble run and that is[br]just automated. I mean, when the marbles
0:40:44.020,0:40:48.180
go down, the marble run. It will trigger[br]generative signs, which is really, really
0:40:48.180,0:40:53.570
cool. There's lots of people doing it. But[br]for me personally, I just I know. I like.
0:40:53.570,0:40:57.320
I like touching the objects that I make.[br]You know, I'm the kind of strange person
0:40:57.320,0:41:00.520
who walks around a craft store with a[br]multimeter kind of like touching things
0:41:00.520,0:41:04.040
and figuring out if they're conductive,[br]like adequately conductive.
0:41:04.040,0:41:08.230
Her: You're measuring out...[br]Hel: Yeah. So for example, in fabric
0:41:08.230,0:41:10.760
stores, there might be something that's[br]conductive. That's not actually built as
0:41:10.760,0:41:15.480
conductive. Or I'll often go to art stores[br]and craft stores or architectural supply
0:41:15.480,0:41:21.040
stores. And you can find you know, you[br]don't have to go to Conrad. You can go to
0:41:21.040,0:41:26.290
Modulor with your multimeter. If I just[br]like you can, you know see if it's
0:41:26.290,0:41:28.600
conductive or it's not.[br]laughs
0:41:28.600,0:41:34.000
Herold: We believe you. I'm just imagining[br]you there.
0:41:34.000,0:41:37.760
Helen: Oh, yeah. No, it's...[br]Herold: At a flea market.
0:41:37.760,0:41:40.650
Helen: I've had some strange looks.[br]laughing
0:41:40.650,0:41:44.780
Herold: That question here from number two[br]please here in the front.
0:41:44.780,0:41:50.180
Mic 2: Have you also created instruments[br]that actually work with the physicality of
0:41:50.180,0:41:58.010
the object that you have built instead of[br]triggering some processing?
0:41:58.010,0:42:06.740
Helen: So actually, you mean...[br]Mic 2: Like what if the tentacle itself,
0:42:06.740,0:42:11.400
the sound it produces would be amplified[br]and somehow that, the base of the
0:42:11.400,0:42:17.030
processing of the actual...[br]Helen: Oh, you mean more acoustic. Yeah.
0:42:17.030,0:42:20.970
Actually when the tentacle is done it will[br]have some kind of physical feedback loop
0:42:20.970,0:42:27.970
in it that will be reactive to its uhm, to[br]its space, to its personal space even as
0:42:27.970,0:42:30.870
well. So actually the cool thing about[br]capacitive touch technology is if you get
0:42:30.870,0:42:37.330
the thresholding right, you can not just[br]sense touch. You can sense proximity and
0:42:37.330,0:42:40.710
that kind of also very cool how many[br]people are in the room as well. So you can
0:42:40.710,0:42:45.210
get it to react quite... not uniformly,[br]but you can get it to react quite nicely
0:42:45.210,0:42:51.410
to its environment and also the[br]way that people are manipulating it as
0:42:51.410,0:42:54.650
well. And you can also code some cool[br]things into that as well. So basically
0:42:54.650,0:42:59.510
based on, you know, like the number of[br]touches. How often people have played with
0:42:59.510,0:43:03.500
it and, you know, and then and how people[br]have played with it. And get that type of
0:43:03.500,0:43:08.140
feedback in to the music that it's making[br]in a generative fashion. There's lots of
0:43:08.140,0:43:10.880
cool things that I want to do with this[br]next sculpture. But yeah
0:43:10.880,0:43:12.430
laughs[br]Mic 2: Thanks.
0:43:12.430,0:43:19.570
Herold: I'm so sad. I really have to spoil it[br]here. Really... we have to shut this now.
0:43:19.570,0:43:26.760
And I would like you to ask do to talk to[br]her personally. Here next to the stage.
0:43:26.760,0:43:31.490
Thank you all for being here. Thank you.[br]Thank you. And leave for this fantastic
0:43:31.490,0:43:33.490
presentation on.
0:43:33.490,0:43:34.490
applause
0:43:34.490,0:43:35.490
36c3 postroll music
0:43:35.490,0:44:00.000
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