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Coachella: Björk's wild sound machines, and report from the turf


(Photos, top image and first two in post, by eecue of blogging.la, cc-licensed).

I'm at the Coachella Valley Music and Arts festival in Indio, California this weekend.

More around the web: Flickr "coachella" tagged photos, technorati, LA Times coverage, band lineup, Wikipedia entry.

I haven't been out here in a couple years. The event seems much larger now. The desert town where this takes place only has a population of about 70,000, but they're expecting another 60 - 70,000 200,000 to show up for the event this weekend. Profit estimates I'm hearing for the event's organizers are around $50 million.

I'm crashing on an airconditioned couch in my friend Wayne Correia's world-famous, geek-pimped, beWiFi'd bus on the event grounds. He has a better satellite 'net connection on this thing than my broadband in urban LA.

I'm listening to a low-power FM pirate radio station here at the event site: "Renegade Radio," at 103.3 FM if you're nearby. Paynie put the tracks together.

It's 108° F. outside, according to the gauge on Wayne's bus. When I drove in yesterday afternoon, there were mobile sprinklers all over the place to keep dust down. RVs, tour buses, and tent encampments stretch out as far as I can see in either direction right now.

More than 120 bands are on the lineup this year, and lots of robots, flamey stuff, and software-driven art installations, some of which might look familiar from Burning Man.

Coolest thing that isn't a band so far is the fully functional, but stationary, steam engine. Coal and everything. I'll try to upload video later (or post links to someone else's), but here's a still photo from eecue below.



(At left, Coachella Tesla Coil photo from Flickr user omarr, cc-licensed).

We wandered around from stage to stage Friday night. Interpol, Peaches, Charles Feelgood, Marques Wyatt, Jarvis Cocker, Amy Winehouse, and Sonic Youth all played, among others.

The biggest draw last night seemed to be Björk, performing material from her new album, Volta. The set was great, but what made really my jaw drop (and those of the two nerd pals I was with) was the Mac-based hardware and software system used in her set for live sound manipulation.

Flat video displays flanked the stage, and the camera lingered on closeups of that equipment inbetween shots of Björk, her horn and chorus ensemble, and the live drummer. My friends and I squinted when close-up shots of the gear came up, then googled the brand names we saw on our phones, to figure out what the components were. Here's what we found.


First: JazzMutant's multitouch control surface for live performance called Lemur, built in Bordeaux, France. Snip from manufacturer's description:

At first glance, the Lemur looks like a high-fashion etch-a-sketch. As a performance interface, the Lemur is immediately appealing. You touch colorful rounded interface objects on the 12" LCD display to control your computer in any way you can imagine. The Lemur's elegant simplicity is made possible by its sophisticated graphics processor and proprietary touchscreen interface that tracks multiple fingers simultaneously.

Using the JazzEditor application running on your choice of Mac or Windows, you drag and drop switches, faders, and other objects into an exact simulation of the Lemur's screen. Make any number of interfaces, store them in an XML-based project file, then upload them to the Lemur and it's ready to go. You can reuse them with the Import/Export feature.

The other electronic music instrument that made us drool in in Björk's show was the reactable (think: react + table), which boasts a "tangible user interface." Image below.


I'm seeing reports online that she/they used it for the first time in their show earlier this week, during the SNL performance (Video Link).

The reactable was developed over the last few years by a team led by Sergi Jordà, Martin Kaltenbrunner, Günter Geiger, and Marcos Alonso in Pompeu Fabra University's Music Technology Group, in Barcelona, Spain. Snip from description:

reactable is a multi-user electronic music instrument with a tabletop tangible user interface. Several simultaneous performers share complete control over the instrument by moving physical objects on a luminous table surface. By moving and relating these objects, representing components of a classic modular synthesizer, users can create complex and dynamic sonic topologies, with generators, filters and modulators, in a kind of tangible modular synthesizer or graspable flow-controlled programming language.
(Photo of baby on reactable: diemo schwarz).

Videos of the reactable in action: 1, 2, 3 (or on google video: 1, 2, 3, 4, 5)

Electronic music godfather Robert Moog playing an early prototype of the reactable at the NIME conference 2004 in Hamamatsu, Japan. Here's a Video Link.

More about the Björk show from bandmate Jónas Sen's Volta tour blog: Link. Excerpt:

I must confess I felt I was about to faint when we walked on stage. Such an enormous audience! Almost the entire population of Reykjavik.

(...) We have “ear monitors” with a metronomic click sounding in our ears to keep the band’s playing together, plus everything else we need to hear. In some songs I want to hear as little from the drums as possible (even though Chris’ playing is damn good!). In other songs I want to hear the drums clearly but less of the brass. This is so unreal… yet amazing that it is possible.


(Björk photo from Friday night's Coachella set by Flickr user mediaeater, cc-licensed, more here.)

Big ups to all the BoingBoing readers out here! It's been great meeting so many fellow happy mutants here at Coachella. Thanks for saying hello. <throws internet freak sign>.

(Thanks, Wayne Correia!)

  • Update: eecue has more photos up: 1, 2.

  • Update 2: Best botched press coverage so far surrounds a police raid at a Mexican Mafia meth lab yesterday in the Coachella Valley. Again, the Coachella Valley, but not *at* the Coachella Festival site itself. During the raid, officers found 50 guns, live pipe bombs, tonza tina, tens of thousands of dollars in cash, and evidence linking the activity to "La Eme." But an Austrian publication misreports that the bust took place on-site at the festival, while Björk and Sonic Youth played: Link. There have been minor drug arrests at the festival, 25 of them according to Indio police as of mid-day Saturday, but far more low-profile than the big bust referenced above.

  • Reader comment: Kasey says,
    Saw that you have a photo of the coils that Syd Klinge built and took out to Coachella. It'd be awesome if you could throw his name in there. I don't have more details on the coils, but I believe they're the largest dueling coils ever run. Here's his site: Link.
    Update: Here's more video of the Reactable device used in the Bjork show: Link (thanks, Nicholas Mir Chaikin!)
  • Stumbling on Happiness: why we suck at being happy

    Daniel Gilbert's Stumbling on Happiness is one of those pop-science books that delivers a serious a-ha punch at least once a chapter, a little insight into the way that the world works that stops you right where you are and makes you go back and reevaluate how you got there.

    Gilbert is a Harvard Psych prof, and in this book, he doesn't seek to explain how to be happy -- in fact, the introduction specifically disclaims this intention -- but rather, how happiness happens. And why happiness is so elusive.

    Happiness is certainly elusive. How many times have we chased some goal, some purchase, some strategy, sure that we needed it to be complete, only to discover later that we're no happier than we were when the whole steeplechase started? This is the crux of Gilbert's thesis: why are we so consistently bad at estimating how happy some course of action will make us?

    For Gilbert, the answer lies in our faulty perceptions. We misremember how happy we've been in the past, we mispredict how happy we'll be in the future (his section on futurism should be mandatory reading for every science fiction writer and tech journalist). Citing study after study, Gilbert lays out the lucid and funny case for the idea that our brains aren't very good at measuring what's going on in our brains.

    Gilbert's funny, conversational style reminds me of Freakonomics, as does his subject-matter. For happiness is at the core of more than psychology -- it's also at the heart of justice, economics, political science, ethics, and many other key organizing disciplines that set the Earth in motion. This was the kind of book that made me reexamine more than my life's goals -- it made me re-think my politics and economic activity, too.

    I listened to an unabridged edition read by the author, and it was very fine. Gilbert has the timing of a stand-up comic, and the book itself is just so funny to begin with. Highly recommended.

    Link to book, Link to audiobook

    Update: Louis sends in this video of the author speaking at the TED Conference

    Coke skin-cream

    Coca-Cola has teamed up with L'Oreal to make a skin cream neutraceutical beverage. Nice -- working both sides of the street. First they ruin your skin and health with toxic sludge, then they sell you medicated mayonnaise to make it all better again. Link

    Update: Meg sez, "Coke's not making a skin cream, it is a 'nutraceutical' beverage to be called Lumae. They want to sell it at places like Saks apparently. "

    Disneyland Paris's four best rides as simulators


    TheMagical has created ride-simulators for four of the best rides at Disneyland Paris. These aren't 3D ride-throughs -- they're simulators for the control-systems for the rides! You are the god of the ride, in charge of opening the doors to different load-systems, dispatching maintenance personnel, and operating the lights and so forth. The sims are brilliantly done -- there's one for the Phantom Manor (Haunted Mansion), Tower of Terror, Big Thunder Mountain, and Space Mountain. It's like playing Lemmings, but with little theme-park guests impatiently milling around, waiting for you to scare the pants off of them.

    I love this approach to simulating Disney rides. It's clearly aimed at those of us who, like me, are more fascinated with the ride's artistry than its thrills, the melding of artistry and engineering in the service of fun. My dream has always been to work at the Haunted Mansion (I even wrote a novel about it) and this was totally hypnotic as a result. I could have played it for days. I probably will. Link (Thanks, Metavisual!)

    Economist slams DRM

    The Economist has come out against DRM in a tell-it-like-it-is editorial that explains why anti-copying technology is bad for the entertainment industry.
    The movie industry, which nowadays depends as much on DVD sales as on box-office receipts, still seems to think that making life difficult for its customers is a recipe for success.

    After likewise shooting itself in the foot for ages, the record industry is now falling over itself to abandon DRM (digital rights management) on CDs. A number of online music stores such as eMusic, Audio Lunchbox and Anthology have given up using DRM altogether. In a recent survey by Jupiter Research, two out of three music industry executives in Europe reckoned that dropping DRM would improve sales.

    The editorial goes on to promote AudibleMagic's "audio fingerprinting" scheme as an answer, citing YouTube's proposal to use software to catch infringe ing user-generated content. This idea isn't totally bankrupt (though swallowing the self-interested claims of firms like AudibleMagic is pretty credulous of the Economist), but only if the technology is used to figure out how to pay artists -- not to stop music from flowing on the Internet.

    A blanket licensing scheme -- you pay a collecting society, they pay artists, you get the right to file-share using any protocol, file-format and software -- needs a bunch of ways to figure out who gets paid what. There are a lot of ways to measure the popularity of music online, including audio fingerprinting, Neilsen-style sample families, and anonymous monitoring of P2P networks. Some weighting scheme agreed upon by all the stakeholders could ensure that artists get paid when their music gets shared.

    But systems like AudibleMagic are no good when it comes to enforcing a ban on file-sharing. These systems can't detect all infringement, can't tell the difference between infringement and fair use, and sometimes block non-infringing works.

    In other words, audio fingerprinting is useful as part of a system to allow file-sharing, but useless as part of a system to stop file-sharing. Link (Thanks, John!)

    Slashdot: the flowchart


    Wellington Grey's latest flowchart shows the process by which Slashdot readers post to the site -- so utterly true! Link

    See also: Science and faith: two flowcharts

    Turn WordPress blogs into Commodore 64s


    Rod McFarland's "Commodore" theme for WordPress turns your blog into a command-line driven Commodore 64 interface. It's endlessly fascinating and deliciously pointless. Link (Thanks, Rod!)

    Update: James sez "I really enjoyed the C64 theme. Here's another done Unix style."

    Barenaked Ladies want a compulsory P2P music license

    Barenaked Ladies frontman Steve Page gave an eloquent interview to Ars Technica about "compulsory licenses" -- a license fee that you and I could pay to get the right to download all the music we want. The idea is to compel the music industry to sell its wares over P2P, the way that the music-listening public wants it (70 million filesharers in the US alone!). Blanket licenses already enable jukeboxes, records, radio, and live performance -- it's just poor individual music-lovers who don't get a blanket license deal from the industry.
    "Not everyone's an artist," Page says, "but people can now express themselves like artists do, by sharing something that means something to them. If we had a system of compulsory licenses, they don't have to worry about going and getting a license to do it, or circumventing the system."
    Link (via Copyfight)
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