[iOS5] Workaround for iPad and iPhone w/ iOS5 running Animoog

I. On your iOS device do the following:

Please shutdown the AniMoog app, in case it is running. Don’t just put it into the multitasking background
then open the AppStore
download Pad MIDI
run Pad MIDI
put Pad MIDI into the multitasking background
start Animoog

II. On your Mac/MacPro/whatever do the following:

initiate Spotlight (click SPACE and CMD together)
enter Audio Midi Setup
run Audio Midi Setup
III. In Audio Midi Setup:

go to Window -> Midi Studio
click the big Network button in the middle
activate Session 1
Click the Plus sign (+) below the Directory and enter your iOS device’s IP address (port is 5004)
activate your iOS device (here it is “iPad”)
Under Who may connect to me: choose Anyone
go to Session and click Enabled

Direction & Design: Deniz Kader & Candaş Şişman
Project management: Selda Taskin
3d Animation & Particles: Deniz Kader
Compositing & Colour & 2d animation: Candaş Şişman
Sound design : Alp Çoksoyluer
Client : Flying Broom Women’s Film Festival

Aşk.. Güçlü bir silahtır. Bizim yararımıza da olabilir, öldürebilir de. Aşk mantığa meydan okur. Aşk zahmetli olabilir.. Hatta uygunsuz bile olabilir. Tehlikeli de olabilir. Yapmayı hayal etmediğimiz şeyleri yaptırır bize. Yanlışmıdır ? Bu, sonumuzun nasıl olduğuna göre değişir. Seninle ben aykırı tipleriz kenarda kalan. Diğerlerini izleriz. Onlar gibiymiş gibi davranıp olmadığımızı iyi biliriz. En büyük umudumuz rol yapmayacağımız bir yer bulmaktır. Herkes bir ev arzusundadır. Temiz bir sayfa açabileceği bir yer. Ama işin aslı ev sadece ev’dir işte. Nereye gidersek gidelim kendimizi ve yaralarımızı da beraberimizde götürürüz. Yuvamız, ona kaçtığımız yer midir yoksa ondan kaçtığımız yer midir? Yoksa her ne koşulda olursa olsun kabul gördüğümüz sığınma yerimiz mi? Bize daha fazla yuvamız gibi hissetiren yerler sonunda olduğumuz gibi davranabileceğimiz yerlerdir.

Sound Design: Alp Çoksoyluer, Giray Gürkal, Görkem Şen

UNDER AN ALIAS from nerdworking on Vimeo.

Under An Alias is the new big fairytale of Nerdworking, a digital historical expression. This time our story takes place in a small German town; Weimar. The effect of a small town with the population of 65,000 people on the world concerns all of us, a city where the majority of its income is from culture. Weimar is a meeting and creation point for eminent intellectuals of our current times. This town, where Goethe wrote his masterpieces, where the music of Franz Liszt could be heard. This is where its republic of Germany was founded in 1919, whose legacy was subsequently marred by the establishment of a Nazi concentration camp in 1937. Weimar, a city that currently merges art and architecture in Bauhaus university, has many untold stories.

Although difficult, telling Weimar’s story was incredibly educational for an Istanbul based group of artists. It gave an opportunity for Nerdworking illustrate a story from another perspective. Dozens of people spent long hours immersing themselves the rich cultural background, whilst taking into consideration the opinions of previous researchers. Under An Alias, created by collaboration of international artists and working completely in cyberspace, made its debut as the main act of the Genius Loci Festival.

Under An Alias was on exhibition from 10th till 12th of August on Fürstenhaus, Franz Liszt Conservatory, each night from 8PM till the early hours, several times a night. We decided that there couldn’t be anything more appropriate, than projecting the analogy onto this iconic building. The initial section is the spirit, then the muscles then the skin of this tribute to the legacy of Weimar was created. The story was based on the linear history of the city, the abstract origin slowly turned into decaying effect in the years of war. Then the exploding Bauhaus movement after the World War II is portrayed with a statement to pay homage to one of movement’s greatest masters; Kandinsky. Then the story flows into the German industrial machine, healing its wounds from the diffused times with aggressive images of engineering and machinery. And finally, after all of city’s turbulent history, we are waving goodbye to Weimar with its peace and order as a giant music box. We appreciate her hospitality.

Under An Alias was made by Nerdworking’s crew of 22 people from different disciplines architectures, new media artists, sound designers and the staff of Genius Loci Weimar. Enjoy the show, till the next fairytale.

Producer: NERDWORKING

Design and Art Direction: NOHlab (Candaş Şişman – Deniz Kader)

Motion Design and Animation Teams:

Fehmican Gözüm
Gökalp Gönen
Saygın Soher
Sinan Büyükbaş

Ouchhh

Creative Director: Ferdi Alıcı
3D Artists & Designers: Çağlar Özen, Emre Önol, Ferdi Alıcı
2D Artists & Designers: Dilan Tanrıkulu Regal, Harun Kerem Köse, Yusuf Emre Kucur
Compositing: Ferdi Alıcı

Robotika

CG Supervisor: Coşku Özdemir
3D Artists & Designers : Davut Toy, Vikram Puttanna

Sound Design: Alp Coksoyluer, Giray Gürkal, Görkem Şen

Architectural 3D Modelling: Kerem Asfuroğlu

Storyboard Artist: İsmail Anıl Güzeliş

Documentation: Cansu Turan

Project Management: NERDWORKING (Erdem Dilbaz)

Render Farm: RenderRider

Special Thanks to Gökçen Dilek Açay, İkinciParti Prodüksiyon, Stefan Kraus

Sound Design : Alp Çoksoyluer

 

OFFF ISTANBUL 2012 – Partner Titles from Kurye Video on Vimeo.

Design, direction
NOHlab (nohlab.com)
Deniz Kader
Candaş Şişman

Animation :
ROBOTİKA ( robotika.com.tr )
CG Supervisor: Coşku Özdemir
3D Artists: Davut Toy, Ahmet Şerif Yıldırım
2D Artist : Hakan Ergin

Compositing:
NOHlab & ROBOTİKA

Special Thanks to :
Kurye Video Organization
Ferdi Alıcı

Produced by NOHlab

http://www.geofex.com/article_folders/fuzzface/fftech.htm

Introduction

The Fuzz Face remains an enigma today, perhaps three decades after it first hit the market. This simple, two transistor circuit remains for many the very definition of the guitar effects stomp pedal. What makes such a simple circuit the stuff of legend?

For one thing, it’s got a reputation. There can’t be many guitarists that don’t know that a lot of Jimi Hendrix’ songs were cut with a Fuzz Face. But Jimi had, above all else, a good ear. If it didn’t sound good, he wouldn’t have used it, and furthermore, it didn’t have a rep when he picked it up. A reputation is good reason to look at it today, but not in the beginning.

(more…)

Gordon Mumma (born 30 March 1935, in Framingham, Massachusetts) studied piano and horn in Chicago and Detroit, and began his career as an active horn player in symphonic and chamber music. From 1953 to 1966 he lived in Ann Arbor, Michigan, where he co-founded with Robert Ashley the Cooperative Studio for Electronic Music and the now-historic ONCE Festivals of Contemporary Music. From 1966 to 1974 he was, with John Cage and David Tudor, one of the three composer-musicians with the Merce Cunningham Dance Company, for which he composed four commissioned works. From 1966 he also performed with the Sonic Arts Union, whose members included Robert Ashley, David Behrman, and Alvin Lucier. He has also collaborated with diverse artists such as Tandy Beal, Anthony Braxton, William Brooks, Chris Brown, Marcel Duchamp, Fred Frith, Toshi Ichiyanagi, Jasper Johns, Jann McCauley, Pauline Oliveros, Yvonne Rainer, Tom Robbins, Frederic Rzewski, Stephen Smoliar, Stan Van Der Beek, William Winant, and Christian Wolff.

Mumma has made concert tours and recordings in North and South America, Japan and Europe. His writings on the contemporary performance arts and technology are published in several languages. His best-known engineering design was for an electronic music live-performance system at EXPO-70 (Osaka, Japan) in collaboration with David Tudor.

Mumma has been on the faculties of the University of Illinois, the Ferienkurse für Neue Musik (Darmstadt, Germany), and the Cursos Latinoamericanos de Música Contemporánea (Buenos Aires, Montevideo, and Santiago, R.D.). From 1975 to 1994 he was Professor of Music at the University of California, Santa Cruz, and a visiting Professor at the University of California, San Diego, in 1985 and 1987. At Mills College in Oakland, California, he was the Darius Milhaud Professor in 1981, Distinguished Visiting Composer in 1989, and the Jean Macduff Vaux Composer-in-Residence in 1999.

Mumma’s musical compositions include works for acoustical instruments (mostly solo piano, and chamber music), as well as for electronic and computer resources. His commissions include works for Radio Bremen (Germany), the Biennale di Venezia, the New York State Arts Council, Oberlin College, the San Francisco Conservatory of Music, the Oregon Arts Council, the National Endowment for the Arts, and the San Francisco Contemporary Music Players.

In 2000 he received the biennial John Cage Award from the Foundation for Contemporary Performance Arts.

Mumma’s composing and performing I\in the 21st Century have continued primarily with solo instrumental and chamber music. Some of his recent solo music has employed electronic elements, including music for the 2006 Gaudeamus Festival in Holland. In 2008 he was featured composer at the University of New Mexico Albuquerque and the College of Santa Fe. He resides in both British Columbia and California.

http://brainwashed.com/mumma/index.htm