I understand this affair of the art of DJing and performance moral, but if we are to honor ourself mutally the next generation of DJs VJs or performance artist on Social Networks, maybe it’s time to pay the artists to actually have enough time to prepare their contents and respect the local talents by furthering exchange of social status and space for the next generation of producers and performance artists. Any producer want to send me demo please email me at firstname.lastname@example.org especially if you are in Hong Kong and Mainland China, I will find time to publish your work online.
Consider this is a playlist is a anti-thesis on visual music, it is because I am as circular and as angularity for ideas of conscience of fictional figurative Visual but on the progress we have learnt during the Renaissance that ideas are mixed reality regaining again by existing paradoxical learning from formal function of an (generated)education artist for whom that these angles are revealed in colour and splendour of their coordinates by a control of varies source from sound scores to algorithmic fictions in a world, co-existed by variant’s narrator or his exponent in his composed music.
The time has changed and indeed it is a mathematical of a binary of  or binary-14, as this is a decision base on the function of a programmer and thus without underestimating the indemnity on the out come of the project that has been programmable in space for the two character sets 回 or “return home.”
From the triple strokes [|||] a triangular of angulations on the character of stage, home turning to a regenerate of a renegade and to become a few strokes of orientated in Chinese characters to the stages of how we that river becomes run through, we will generate this arrangement of water oasos system:: by a co-axis on coordinates there are, much more, than the Cartesian grid, the more you see in all the programs; the layout is by algorithmic structure of modular or set blocks, not in a loop but maybe nested structure in basic, that the execution is (non)timed and the runtime is supported by the tonal activity of mouse and the speed of the GPU’s connection between the output and input but not so applied just to reaction of the processing of the numbers but by gestures of random orders.
But with that in mind I hope of connecting by having to navigation system of IDE and turn that language in to visual musica. By interlaterus, to bring the visual input from a static structure into a dynamic structure on screen or on the stage by connecting screen from the design of visual and lighting to a live setting with this creature of poetic character and formalism. New to forming an interpretation of typographic landscape of logic; visual characterisation, ad-libra into the visual music memory by the instrument of choice’s our ways of seeing.
By focusing towards the way we produce sound, it is perhaps immediate recognition on the creativity, but by an order of knowing the non-linear strings sequencer in software or via calculation in a live programming environment, we are far too predictable then what we would like not to be too countable by the container of the software IDE or Interface, the speed of random selection and function in the evolution of sound sequencer and software(Digital Audio Workstation) and theoreticians between the form of architecture interface in online system are a history in the making.
We need to focus on how we receive sound; The environment is selectively and collectively building on audio data from the network or offline recordings. Now if suppose we are building a network for sound designer, within an environment(IDE) to create a collective in the improvisation: like putting a fabric of invisibly created information that is unable to understanding all the sublimity with information, what it does sounded like.
For example if we are building for hearing impaired individuals or perhaps weak impairment in what visualizing sound in a tread of vertical urban design, how are we supposedly to understand that the inaudible system like hums and tings will become the friendly reminder of low frequency that create the impaired hearing functions. These are invisible data likely will not become the cover of artist on the Roll’n Stone magazine but all over the entire world, cities in Asia and globally will be blanked by a low frequency AMBIENT SOUND. Whether we are taking it through a formalise speech generator and maybe from human’s speaking through a vibration, but of course the mechanical process of sound wall from buildings and computers.
Towards the reasonable dimension of keeping this virtual state of flux, we cannot allow sound to be muted, just like music studio only looking for investor like myself who has no gains or ROI in production and design. The studios are struggling not to only work as repairman who need to do any repairing on the soundwall or treatment in audio and paying high cost of rent in quiet areas. There are sound design within a tactical location and environment when sensitivity meets construction in your studio area, per sa the focus is HOW WE PRODUCE SOUND!
PRODUCTION IN MUSIC has to have a combination of an input and output selective function, just like a human body to do intake of air and output of sound, for a localization of air intake of silent air purifier for example FOG and air pollution will generate water and carbon dioxide molecules/nano particules LOL.
Sound design as often as a by product of intake in non-reuseble or collection of sounds and that in sense generating a vibro either by chance or via a response in sound design. Of such mannerism is a reproduction in sound visualization, visual in the Spectrascope and waveform.
Although we have no chance of blocking the sound wall from the overall distance in the way vertical forms is in the format inside a building 40 floors up in the skyscrapers. But, for the most part, a diverse group of sound engineer and soundscapes is coming from off the walls within the building blocks of machine and wall absorbers; in finding of living cultivation to producer, and recording music. When you apply the use of mechanical reproduction ideas towards useless sound tactics/fractions of WHITENOISE, this is a psychological statement in association with memories and moods.
FOCUS on versatility and localization of the grassroots – lost in translations – has meaning for noise and information both kinda like data and useless tactical communication system. This focus are scale towards sound that has many attributes, for example within the sociological production of older architectures the sound tension is a visual idea without analytically designing natural homes for low rise housing as visual concept that is more interesting and without lost in translations and with losing of complex ideas.
NOTES: My views on #SkiBeatz video are not a reflection of what I think about music production, his video I added after was because he reminded me on how his music is made and hip hop lives.
Form follow Axis through wavelength of network, instruments convergence is an overtake for all sound device current electrical system;
By focusing towards the way we produce sound, Perhaps we need to focus on how we receive sound.
The environment is collectively building a data for the network of sound authority.
Now if suppose we are building a network within the environment to create collectivity in the impaired like putting a fabric of invisibly to create information that is able to all understanding of subliminal information from data listener.