If I navigate to that folder, and use the wget command, I can take care of downloading the files and getting them into iTunes properly in one fell swoop.
Check it out:
misha@computer ~/Music/iTunes/iTunes Music/Automatically Add to iTunes $ wget -r http://SOMEWHERE.net/audio/


The rehearsals were very inspiring. Fernando’s compositional ass kicking really elevated the output to the next level.

We practiced with Kevin doing a live DJ session with Serato Scratch software and hardware.

Fernando built two projector casings at his workshop that mounted right on the ceiling. Somebody had the great idea of using rolls of butcher paper to create a screen-roof over the dance floor of Rev-Hall to encase the dancers in full visual awesomeness. We installed the screen the day of the show and set up our gear.

After jamming with Kevin, Kid Koala took the stage. He had a video zoom on him and his hands on the screen behind him, while our butcher paper rolls dripped with medulla-melting visuals over the audience.

I was super impressed with his performance. A few people came up and told me that I was the first person to introduce them to this guy’s music: I felt special. It was nice to hear him play his older, jazzy stuff and the new rock and pop sampled stuff. Enjoy the videos. Check out more on such video-instrumentalism on the previous post.

We did video for Kid Koala from bob smithson on Vimeo.

When an instrument is being designed and built, the process is marked by long iterations. The instrument creator makes something, then a musician tries it out, then its worked on a bit more and over the years an instrument evolves. In our case, this process has tiny iterations and the instrument is essentially built on the fly….

The live painting by Fernando, as well as the live collage and animation is an input into the instrument, kinda like the visions and emotions a violinist might experience when playing. The software by Dave and his curation of relationships between inputs and outputs, as well as content, drives the evolution of the instrument. My drumming provides a gestural rhythmic connection to music that people can relate to. Kevin’s musical passages are picked live to play off of the imagery and each other. Then there is our collective communication happening on top, built from practicing together. We are in sum an evolving video instrument.

The last time I did live video was with Vidvox at the EMPAC opening weekend party, where we backed Madlib and J Rocc.

Dave and Jack, the founders of Vidvox, wanted to use the drum kit from the game Rock Band as a controller. They knew I play drums in Restys so they invited me to join them. At first I simply unleashed my muscle memory on it. Then, we started to find specific mappings that went along with certain synths Dave was creating. We practiced for a week to a playlist of Madlib and Juseboxxx and developed certain topography of the performance. We had a color bar sequencer triggered by me with song-specific color pallets. Another program allowed me to jump forward and backward through a video clip when I hit the drum pads. The video was an in-camera edit shot through the EMPAC construction site that used the “Reveal and Conceal” technique developed by LMNOPF.

The EMPAC party was totally awesome, and we got to hang with Madlib. W00t!

Despite the Troy government’s reluctance to discuss the issue, the officers at the Troy Police Department have been vigilant on these matters and are working to stop the muggers. Hopefully, through the efforts of police and citizens, we can actually do something about the greater problem as well. Locking teenagers away is one thing, but its not enough – lets explore and fix why they are resorting to this behavior in the first place. In the immediate future, catching the various perpetrators is priority number one, and any attempt to wave off this issue is not going to help. I encourage all Trojans to be aware of their environment when walking around downtown and the RPI campus, especially at night.