Photo © 2010, Stephanie Hough.

Back, behind-the-scenes, I still have some articles in draft form that both detail the nuts’n’bolts decision-making processes in the construction of a machine improviser, and self-reflective critique such constructions, detailing the trade-offs and shortcomings of such an entity, and its design and implementation. I would like to get back to work on these at some point as they may provide as both cautionary tales and critical guides in future constructions of ‘creative’ automata and machine performances, and to anyone engaged in the critical (reverse-)engineering of such entities and their constructions. (There are so many stories, (self-)reflective and (self-)critical, of shortcoming and failures that get lost in our need to tell tales of technocultural heroics.)

Meanwhile, in this post I’d like to provide a selective index of documentation of io 0.0.1 beta++, its construction and performance, both of material published on this site and elsewhere.

Overview

\ constructor: Han-earl Park
\ copyright 2008 buster & friends' C-ALTO Labs
\
\ www.busterandfriends.com/io
\
\ (Edinburgh, November 1996 -
\ (London, August 1997 -
\ (Den Haag, October 1997 -
\ (Valencia, March 1999 -
\ (Southampton, May 2000 -
\ (Cork, April 2006 -
\
\ (Cork, October 2008 -
\
\ REV: 0.0.1 alpha (Southampton, October 2000)
\ REV: 0.0.1 beta (Southampton, November 2000)
\ REV: 0.0.1 alpha++ (Southampton, July 2004)
\ REV: 0.0.1 beta++ (Cork, May 2010)

io 0.0.1 beta++ is an interactive, semiautonomous technological artifact that, in partnership with its human associates, performs a deliberately amplified staging of a socio-technical network—a network in which the primary protocol is improvisation. Together the cyborg ensemble explores the performance of identities, hybrids and relationships, and highlights the social agency of artifacts, and the social dimension of improvisation. Engineered by Han-earl Park, io 0.0.1 beta++ is a descendant, and significant re-construction, of his previous machine musicians, and it builds upon the work done with, and address some of the musical and practical problems of, these previous artifacts.

Standing as tall as a person, io 0.0.1 beta++ whimsically evokes a 1950s B-movie robot, constructed from ad-hoc components including plumbing, kitchenware and missile switches. It celebrates the material and corporeal; embracing the localized and embodied aspects of sociality, performance and improvisation.

Chronology

• 1996–1999: Coding of early experiments, tests, and software components:
  • Edinburgh, 1996–1997
  • London, 1997
  • The Hague, 1997–1999
• March 1999: Construction of io begins in earnest, Valencia, California.
• April 2000: Debut performance of working prototype of io at the Roy O. Disney Concert Hall, California Institute of the Arts, Valencia.
• October 2000: REV: 0.0.1 alpha, Southampton, England.
• November 2000: REV: 0.0.1 beta, Southampton.
• December 2000: Recording of io 0.0.1 beta at De Illusie, The Hague, The Netherlands.
• July 2004: REV: 0.0.1 alpha++, Southampton.
• January 2008: With funding from the Arts Council of Ireland, major update and revision of io begins, Cork, Ireland.
• May 2010: REV: 0.0.1 beta++, Cork, Ireland.
  • Recording session at Ó Riada Hall, UCC Department of Music.
  • Debut performance at Blackrock Castle Observatory, Cork with funding from Music Network and support from UCC Department of Music.
• August 2011: ‘io 0.0.1 beta++’ (SLAMCD 531) released by SLAM Productions.

Documentation

Audio recordings

We watch and listen carefully because we know we’re seeing a kind of manifesto in action. What is an automaton? A sketch, a material characterization of the ideas the inventor and the inventor’s culture have about some aspect of life, and how it could be. io and its kind are alternate beings born of ideas, decisions and choices. It is because io stands alone, an automaton, that the performance recorded on this CD not only is music, but is about music.

Sara Roberts (from the liner notes)

[Additional recording…]

Articles and publications

My article, ‘In Conversation with an Automaton: Identities and Agency in a Heterogeneous Social and Musical Network’ [local copy…], published in the Leonardo Electronic Almanac: ‘My Favorite Things: The Joy of the Gizmo’ (Volume 15, No. 11-12, November–December 2007) is still probably the best description of the motivations and choices behind the io enterprise.

Abstract

io 0.0.1 beta is an interactive, semi-autonomous technological artifact that, in partnership with its human associates, performs a deliberately amplified staging of a socio-technical network—a network in which primary protocol is improvisation. In this paper, I explore the performance of identities, hybrids and relationships, illustrating the space between myself (human partner and constructor) and io through imaginary conversations between us. Considering that io highlights, in particular, the social agency of artifacts, I find it fitting that my own notions about the nature of improvisation, the technical and the social have changed through my interactions with io.

[Read the rest…] [Local copy…]

In addition, this site has the following short pieces about the construction of io 0.0.1 beta++:

Han-earl Park, ‘frankenmusic(s),’ November 25, 2008:

Fifteen days ago, during the break between beta test sessions, Franziska Schroeder asked a pithy question that cut to the core of this enterprise: what do I hope to achieve? My answer surprised me even as it reminded me of Sara’s observation: my goal with io (and io++) is to encapsulate my take on improvisation—its mechanisms, its sociality, its significance. [Read the rest…]

Franziska Schroeder, ‘io + I met,’ November 24, 2008:

Who is io? What does she sound like? How would she react to me? Would she respond? Would she challenge me (musically, that is). In other words, would she adopt sensitively to changes, make creative contributions and develop musical ideas suggested by me? [Read the rest…]

Images

images © 2010 Stephanie Hough, and © 2010–2011 Han-earl Park [additional images (google gallery)…]

Source code

Download all source files (requires HMSL to run):

• io 0.0.1 beta++ (322kB .zip archive)…
• Supporting components (180kB .zip archive)…

View individual source files linked below:

\ additional midi stuff

include?  task-midi_plus  myt:midi_plus


\ device classes

include?  task-device           myt:device
include?  task-midi_device      myt:midi_device
include?  task-interpreter      myt:interpreter
include?  task-ctrl_interpreter myt:ctrl_interpreter
include?  task-fan_out          myt:fan_out


\ input components

include?  task-parser         myt:parser
include?  task-mono_parser    myt:mono_parser
include?  task-mono_parser+   myt:mono_parser+
include?  task-poly_parser    myt:poly_parser
include?  task-guitar_parser  myt:guitar_parser

include?  task-parser_list    myt:parser_list

include?  task-pulse_tracker  myt:pulse_tracker
include?  task-pulse_tracker+ myt:pulse_tracker+

include?  task-banalyzer      myt:banalyzer
include?  task-banalyzer+     myt:banalyzer+


\ output components

include?  task-gm_instrument myt:gm_instrument
include?  task-gm_drumkit    myt:gm_drumkit
include?  task-gm_patch      myt:gm_patch

include?  task-vl_sysex      myt:vl_sysex
include?  task-vl_instrument myt:vl_instrument
include?  task-vl_patch      myt:vl_patch


\ "henri poincare"

include?  task-floatingpoint      hsys:floatingpoint

include?  task-hp_util            myt:hp_util
include?  task-hp_fputil          myt:hp_fputil

include?  task-hp_particle        myt:hp_particle
include?  task-hp_force           myt:hp_force
include?  task-hp_space           myt:hp_space
include?  task-hp_gravity         myt:hp_gravity
include?  task-hp_fpgravity       myt:hp_fpgravity

include?  task-hp_particle_player myt:hp_particle_player


\ graphics

include?  task-graph_plus    myt:graph_plus
include?  task-gr_view       myt:gr_view
include?  task-screen+       myt:screen+
include?  task-ctrl_numeric+ myt:ctrl_numeric+


\ io -- globals and configuration

include?  task-io_config   io:io_config
include?  task-io_glob     io:io_glob


\ io -- modules

include?  task-io_interp_table io:modules:io_interp_table
include?  task-io_interp       io:modules:io_interp
include?  task-io_player       io:modules:io_player

include?  task-io_particle     io:modules:io_particle
include?  task-io_space        io:modules:io_space
include?  task-io_patches      io:modules:io_patches

include?  task-io_pdur_dlog    io:modules:io_pdur_dlog


\ io -- main components

io_test? .IF
	
	include?  task-hp_screen   myt:hp_screen
	include?  task-hp_screen+  myt:hp_screen+
	
.THEN

include?  task-io_hp      io:io_hp
include?  task-io_matrix  io:io_matrix
include?  task-io_input   io:io_input
include?  task-io_output  io:io_output


\ io - user interface

include?  task-io_ui      io:io_ui
include?  task-io_screen  io:io_screen

io_file? .IF
	
	include?  task-file_elmnts     myt:file_elmnts
	include?  task-file_elmnts_mac myt:file_elmnts_mac
	
	include?  task-io_file_scene   io:modules:io_file_scene
	include?  task-io_file_glue    io:modules:io_file_glue
	include?  task-io_file         io:modules:io_file
	
.THEN

io_turnkey? .IF
	
	include?  task-dialog     myt:dialog
	include?  task-midi_menu  myt:midi_menu
	
	include?  task-io_menus   io:modules:io_menus
	
.THEN


\ io - top level

include?  task-io_top  io:io_top

I’m creating YouTube samplers of some of the more recent items in my discography, and I’ve started by uploading a trailer for ‘io 0.0.1 beta++’ (SLAMCD 531) [more info on the recording…].

On the stage: two men, a woman, and an artifact, a freestanding mélange of industrial, military, and domestic hardware. The humans hold graceful, polished objects, but the domed assemblage stands alone. And while the woman and men make sound (vibrate the air) holding and fingering the graceful objects, the artifact, named io 0.0.1 beta++, makes sounds without being touched at all. io and the humans improvise together, listening to each other, responding to each other’s musical gestures.

Sara Roberts (from the liner notes)

Music by Han-earl Park, Bruce Coates and Franziska Schroeder.
Images © 2010 Han-earl Park, and © 2010 Stephanie Hough.
Video collage © 2014 Han-earl Park. ℗ 2011 SLAM Productions.

‘io 0.0.1 beta++’ (SLAMCD 531) is available from SLAM Productions. [Details…]

personnel: io 0.0.1 beta++ (itself), Han-earl Park (guitar), Bruce Coates (alto and sopranino saxophones) and Franziska Schroeder (soprano saxophone).

© 2011 Han-earl Park.
℗ 2011 SLAM Productions.

Han-earl Park and io 0.0.1 beta++ (prototype) (Cork, March 26, 2009). Photo © 2009 Franziska Schroeder.

Almost eight years ago, when io-to-be was a bunch of discorporate code fragments, Sara Roberts remarked that the enterprise of constructing a machine improvisers wasn’t so much megalomanic as Frankensteinian.

Fifteen days ago, during the break between beta test sessions, Franziska Schroeder asked a pithy question that cut to the core of this enterprise: what do I hope to achieve? My answer surprised me even as it reminded me of Sara’s observation: my goal with io (and io++) is to encapsulate my take on improvisation—its mechanisms, its sociality, its significance. As I’ve written elsewhere,

improvisation is performance; it is an act; it is something you do. In order to make an artifact behave analogously to an improviser, I need to ascertain what might pass for, or what might function in the place of, improvisation. To venture into the construction of an improviser is to ask what is improvisation.

[read the whole thing…]

I’d anticipated that consulting with other improvisers with different backgrounds, practices and histories would be helpful to this construction, but I hadn’t guessed that it would bring into relief issues that lie at the kernel of this enterprise.

the techno-musical is political? personal?

This is the first time I’ve embodied the role of (techno-musical) project leader. That’s a problematic enough… but the interrogation and problematization of the technical construction was an interrogation and problematization of Han the constructor, improviser and, for lack of better word, theorist.

As I’ve stated elsewhere, I am reminded that this exploding—this interrogation and problematization—is how improvisers evolve, and the conditions under which practices and approaches mutate.

the machine that once could

In a sense io is stuck as a un-mutant improviser. It encapsulates what I though of improvisation seven years ago. Fine then; not now.

In my report to the Arts Council I wrote that

in exploring improvisation… and in the collision with other approaches and sensibilities, I have learned that this enterprise is ever-evolving as it adapts to new situations and contexts.

Although, io 0.0.1 beta++ as a funded project has a (bureaucratically necessary) end, perhaps it, as an entity, and as a focal point of practice and performance, is—road movie-like—a much more open ended enterprise.

io 0.0.1 beta++, Bruce Coates and Franziska Schroeder (Blackrock Castle Observatory, Cork, May 26, 2010). Photo © 2010 Stephanie Hough.

Seeking performance opportunities; particularly in Europe, 2014: the cyborg ensemble of interactive, semi-autonomous, technological artifact and machine musician and improviser io 0.0.1 beta++ with human musicians Han-earl Park, Bruce Coates and Franziska Schroeder.

See performance proposal for further information (availability, technical requirements, performers’ biographies, etc.).

overview

This quartet (or faux-quartet, if you prefer) performs demanding free improvisation calling on a range of extended techniques. Pieces of dismantled gestures, destabilizing timbres, and impressive synergy.

François Couture (Monsieur Délire)

An idea that would be pleasing to the Futurists of a century ago, a total hymn to modernity…. The completely improvised session requires a lot of attention from the listener, to be fully repaid by that which is a successful experiment.

Vittorio (MusicZoom)

We watch and listen carefully because we know we’re seeing a kind of manifesto in action. What is an automaton? A sketch, a material characterization of the ideas the inventor and the inventor’s culture have about some aspect of life, and how it could be. io and its kind are alternate beings born of ideas, decisions and choices. It is because io stands alone, an automaton, that the performance recorded on this CD not only is music, but is about music.

Sara Roberts (from the liner notes to SLAMCD 531)

An extraordinary meeting between human and machine improvisers. Featuring the machine musician io 0.0.1 beta++ with guitarist Han-earl Park and saxophonists Bruce Coates and Franziska Schroeder, the performance is part critique and part playful exploration, both a boundary-breaking demonstration of socio-musical technologies and an ironic sci-fi parody.

Constructed by Han-earl Park, io 0.0.1 beta++ is a modern-day musical automaton. It is not an instrument to be played but a non-human artificial musician that performs alongside its human counterparts. io 0.0.1 beta++ representing a personal-political investigation of technology, interaction, improvisation and musicality. It whimsically evokes a 1950s B-movie robot—seemingly jerry-rigged, constructed from ad-hoc components including plumbing, kitchenware, speakers and missile switches—celebrating the material and corporeal.

The performances with this artificial musician highlights society’s entanglement with technology, demonstrates alternative modes of interfacing the musical and the technological, and illuminates the creative and improvisative processes in music. The performance is a radical and playful engagement with powerful and problematic dreams (and nightmares) of the artificial; a dream as old as the anthropology of robots.

The construction of io 0.0.1 beta++ has been made possible by the generous support of the Arts Council of Ireland.

The CD ‘io 0.0.1 beta++’ (SLAMCD 531) was released by SLAM Productions in August 2011.

further information

* Additional audio recordings and documentation available on request.

[Full performance proposal…]

updates

11–08–12: this is a repost of a previous article: change of availability from 2013 to 2014.

io 0.0.1 beta++, Bruce Coates and Franziska Schroeder (Blackrock Castle Observatory, Cork, May 26, 2010). Photo © 2010 Stephanie Hough.

Seeking performance opportunities; particularly in Europe 2014: the cyborg ensemble of interactive, semi-autonomous, technological artifact and machine musician and improviser io 0.0.1 beta++ with human musicians Han-earl Park, Bruce Coates and Franziska Schroeder.

See performance proposal for further information (availability, technical requirements, performers’ biographies, etc.).

overview

This quartet (or faux-quartet, if you prefer) performs demanding free improvisation calling on a range of extended techniques. Pieces of dismantled gestures, destabilizing timbres, and impressive synergy.

François Couture (Monsieur Délire)

An idea that would be pleasing to the Futurists of a century ago, a total hymn to modernity…. The completely improvised session requires a lot of attention from the listener, to be fully repaid by that which is a successful experiment.

Vittorio (MusicZoom)

We watch and listen carefully because we know we’re seeing a kind of manifesto in action. What is an automaton? A sketch, a material characterization of the ideas the inventor and the inventor’s culture have about some aspect of life, and how it could be. io and its kind are alternate beings born of ideas, decisions and choices. It is because io stands alone, an automaton, that the performance recorded on this CD not only is music, but is about music.

Sara Roberts (from the liner notes to SLAMCD 531)

An extraordinary meeting between human and machine improvisers. Featuring the machine musician io 0.0.1 beta++ with guitarist Han-earl Park and saxophonists Bruce Coates and Franziska Schroeder, the performance is part critique and part playful exploration, both a boundary-breaking demonstration of socio-musical technologies and an ironic sci-fi parody.

Constructed by Han-earl Park, io 0.0.1 beta++ is a modern-day musical automaton. It is not an instrument to be played but a non-human artificial musician that performs alongside its human counterparts. io 0.0.1 beta++ representing a personal-political investigation of technology, interaction, improvisation and musicality. It whimsically evokes a 1950s B-movie robot—seemingly jerry-rigged, constructed from ad-hoc components including plumbing, kitchenware, speakers and missile switches—celebrating the material and corporeal.

The performances with this artificial musician highlights society’s entanglement with technology, demonstrates alternative modes of interfacing the musical and the technological, and illuminates the creative and improvisative processes in music. The performance is a radical and playful engagement with powerful and problematic dreams (and nightmares) of the artificial; a dream as old as the anthropology of robots.

The construction of io 0.0.1 beta++ has been made possible by the generous support of the Arts Council of Ireland.

The CD ‘io 0.0.1 beta++’ (SLAMCD 531) was released by SLAM Productions in August 2011.

further information

* Additional audio recordings and documentation available on request.

[Full performance proposal…]

updates

11–08–12: change of availability from 2013 to 2014. [More info…]

Progetto rumoristico, destrutturato, ad elevato tasso di provocazione e insieme di ispirazione ed ascolto “altri”, io 0.0.1 beta ++ salta il preambolo ed esiste d’emblée nelle iperacide note della distorta chitarra di Han-Earl Park che di getto aprono le lievitanti turbolenze di un trio minacciosamente sensibile (o viceversa) e forte, peraltro, di una piuttosto enfatica auto-presentazione “Sul palco: due uomini, una donna e un artefatto, un mélange sospeso di hardware industriale, militare e domestico. Gli umani reggono oggetti lucidi e graziosi, ma il marchingegno si regge solitario; e mentre la donna e gli uomini producono suono (vibrando l’aria) toccando e diteggiando i graziosi oggetti, l’artefatto suona senza esser toccato affatto. Esso e gli umani improvvisano insieme, rispondendo alle reciproche gestualità musicali”.

Le corde tese di Park imbastiscono un plateau scabro ma di lungo e persistente respiro, vivente nelle articolazioni e nella tessitura della sua fisica elettroacustica; mentre sul versante “meccanico” dell’instrumentarium i modi performanti di Franziska Schroeder arricchiscono l’altra metà del sax (a fianco delle Matana Roberts, Alexandra Grimal, Ingrid Laubrock etc.) di una voce sperimentante e nuda, in sintonia e insieme dissonanza con i flussi paralleli e convergenti del free-player purosangue Bruce Coates, e il tutto si dipana entro uno svolgimento a canovaccio libero e istantaneo, lungo il suo deviante svolgimento interrogandosi (senza eccessivo paradosso) se l’autentica “alienità” sia rispettivamente appannaggio della cosa o, piuttosto e viceversa, dell’ “umano”.

E ancora così prosegue la sofisticata presentazione (peraltro abbastanza sinergica agli intendimenti dei tre): “io non ha inclinazione melodica e non ha addestramento narrativo per prevalere: vi è, però, un definito sentimento di connessione in ciò che Park chiama: gestualità non-periodiche, che nondimeno evocano periodicità”.

Ennesimo esempio di post-avanguardia “desiderante” (com’era in voga insinuare nell’era della sperimentazione più politicizzata—almeno negli intenti), io 0.0.1 beta ++ vive di ascolto trasmissivo e di performance aperta, che si abbevera nell’istantaneità, e nell’interplay sdogana il segno ed il polso strutturante dell’aleatorietà.

Insomma, l’avanguardia è tornata: non che fosse mai stata davvero latitante, ma gli interrogativi sonori, lacerati e critici, del trio pongono come oggetto radicale la disumanizzazione progressiva e le implicazioni del sempre più preponderante avvento della macchina, forse retrodatando le intenzioni alle prime decadi del secolo scorso e alle relative allarmistiche dottrine, ma riprendendole lungo le forme acutamente nervose e l’attenzione creativa dei medianici e cyborghiani performers e del loro interplay attrattivamente imperfetto. [Original article…]

Translation by Leofranc Holford-Strevens and Melanie L. Marshall:

A noisy, unstructured project, with a high level of provocation and at the same time of inspiration and listening to ‘other’, io 0.0.1 beta ++ skips the preamble and inhabits straightaway in the hyperacid notes of Han-Earl Park’s distorted guitar, which on one go open the fermenting turbulence of a menacingly perceptible trio (or vice versa), yet strong in a rather emphatic self-presentation: “On the stage: two men, a woman, and an artifact, a freestanding mélange of industrial, military, and domestic hardware. The humans hold graceful, polished objects, but the domed assemblage stands alone. And while the woman and men make sound (vibrate the air) holding and fingering the graceful objects, the artifact makes sounds without being touched at all. io and the humans improvise together, listening to each other, responding to each other’s musical gestures.”

The tight strings of Park improvise a rugged plateau but of long-term and lasting, living in the articulation and in the range of his electroacoustic physics, while on the ‘mechanical’ side of the instrumentarium the performing styles of Franziska Schroeder enrich the other half of the sax (alongside Matana Roberts, Alexandra Grimal, Ingrid Laubrock etc.) with a naked and experimental voice, together in harmony and dissonance with parallel and converging streams of the thoroughbred free-player Bruce Coates, and everything unfolds within a free and instantaneous improvisation, throughout its deviant development inquiring (without excessive paradox) whether authentic ‘otherness’ is the prerogative of the matter or, rather and viceversa of, the ‘human’.

And so the sophisticated presentation continues (quite synergistic with the intentions of the three): “io is not melodically inclined and has no narrative training to overcome; there is, though, a definite feeling of connection, in what Park calls ‘non-periodic gestures that nonetheless evoke periodicity.’”

Yet another example of ‘desiring’ post-avant-garde (as it was fashionable to suggest in the era of more politicized experimentation—at least intended as such), io 0.0.1 beta++ experiences a transmissive listening and open performance, which drinks in instantaneity and in the interplay displays the sign and the structuring pulse of the aleatory.

In short, the avant-garde is back: not that it ever really went away, but the questioning sounds, mangled and critical, of the trio set out as a radical object progressive dehumanization and the implications of the ever more dominant advent of the machine, perhaps backdating its intentions to the first decades of the last century and its alarmist theories, but taking them up through the acutely nervous forms and creative attention of medium-like and cyborgian performers and their charmingly imperfect interplay.

Incidentally, this review quotes from Sara Roberts’ liner notes.

[More info on the recording…] [All reviews…]

‘io 0.0.1 beta++’ (SLAMCD 531) is available from SLAM Productions. [Details…]

personnel: io 0.0.1 beta++ (itself), Han-earl Park (guitar), Bruce Coates (alto and sopranino saxophones) and Franziska Schroeder (soprano saxophone).

© 2011 Han-earl Park.
℗ 2011 SLAM Productions.

The guitarist [Han-earl] Park, sometime member of Mathilde 253 whose fine CD impressed us in March this year, is joined by two improvising saxophonists, Bruce Coates (from the Birmingham Improvisers’ Orchestra) and Franziska Schroeder (member of the trio FAINT), and the record documents the meeting of this trio with the “machine musician” io 0.0.1 beta++. This device is an automaton, a musical robot if you will, built by Mr Park; it’s not just another computer programme that plays random sounds or builds an “interactive” space for other laptop musicians, but actually occupies physical space and performs on the stage alongside its human counterparts. Shades of Pierre Bastien…. The multi-media artist Sara Roberts from California writes the liner notes and she does a much better job than I possibly could in articulating the cultural resonances of this man-meets-automaton event. [Read the rest…]

— Ed Pinsent (The Sound Projector)

Meanwhile, what to me is ‘playful’ may be ‘uncompromising’ to someone else. After some very positive reviews (including those by Beppe Colli, François Couture and Bruce Lee Gallanter), Alberto Bazzurro at All About Jazz Italia writes a more reserved take the recoding:

Fra segmenti più atmosferico-minimali, e altri invece più frammentati e nervosi, si procede così, talora arrestandosi a una sorta di limbo emozionale, di quieta truculenza, peraltro sempre ammirevole per coerenza e rigore. [Read the rest…]

— Alberto Bazzurro (All About Jazz Italia)

[More info on the recording…] [All reviews…]

‘io 0.0.1 beta++’ (SLAMCD 531) is available from SLAM Productions. [Details…]

personnel: io 0.0.1 beta++ (itself), Han-earl Park (guitar), Bruce Coates (alto and sopranino saxophones) and Franziska Schroeder (soprano saxophone).

© 2011 Han-earl Park.
℗ 2011 SLAM Productions.

Closing track here, Return Trajectory is a good for instance of the excellent rapport existing among the aforementioned [“flesh-and-blood”] players, whose parallel traveling seems to suggest a good dose of telepathy—check the final moments, the two winds going towards a note in teleological mode. This is the track that, in my opinion, clearly shows more than a trace of these musicians’ formative influences, with Schroeder’s soprano reminding me of Evan Parker (elsewhere on the album she sounds quite more personal), while Coates’ alto is clearly reminiscent of the zig-zag wondering of Anthony Braxton (an influence that is also quite apparent elsewhere on the album, both on alto and sopranino). Han-earl Park’s guitar sits somewhere halfway between Joe Pass and Derek Bailey, being quite aware of the jazz vocabulary and the art of comping, though of course filtered through a modern sensibility, starting with timbre, but not as ‘indifferent’ to the surrounding as Bailey’s sometimes could be.

Were the album as good as its closing track, well… we’d only have a good album, nothing more. But—surprise!—as per its title, we have an ‘unknown quantity’ called io 0.0.1 beta++: a ‘musical automaton’ created by Han-earl Park whose improvising—so rich when it comes to timbres (which are sometimes more than a bit old-fashioned, a fact that goes well with its bizarre physical aspect, so reminiscent of 50s sci-fi movies), so mysterious when it comes to its decision-making—works as a valuable stimulus for its fellow musicians.

If on an aesthetic plane the main parallel that I can trace (one that I hope can be useful to readers) is with mid-80s Company, here the work as it’s offered to the listener appears to highlight the issue of the decisional process which is at the basis of improvisation when seen as a conscious ‘discipline of choices’. And in the CD liner notes penned by Sara Roberts I seemed to detect more than an echo of those debates which flourish about the famous (?) Turing Test. [Read the rest…] [In Italian…]

— Beppe Colli (CloudsandClocks)

[More info on the recording…] [All reviews…]

‘io 0.0.1 beta++’ (SLAMCD 531) is available from SLAM Productions. [Details…]

personnel: io 0.0.1 beta++ (itself), Han-earl Park (guitar), Bruce Coates (alto and sopranino saxophones) and Franziska Schroeder (soprano saxophone).

© 2011 Han-earl Park.
℗ 2011 SLAM Productions.

Franziska Schroeder and io 0.0.1 beta++ (Ó Riada Hall, Cork, May 25, 2010)

In addition to the physical CD, the recording of improvised music by human (Han-earl Park, Bruce Coates and Franziska Schroeder) and machine (io 0.0.1 beta++) performers, ‘io 0.0.1 beta++’ (SLAMCD 531) is now available for download from

[iTunes…] [eMusic…]

I still recommend the physical CD, however, as it comes with Sara Roberts’ smart, witty and illuminating liner notes. You can get the CD from

[Slam Productions…]
[Get it from distributors/shops…] [Downtown Music Gallery…] [Jazzcds…] [Souffle Continu…] [Squidco…] [Wayside Music…]

…or from one of the musicians

‘io 0.0.1 beta++’ (SLAMCD 531) is available from SLAM Productions. [Details…]

personnel: io 0.0.1 beta++ (itself), Han-earl Park (guitar), Bruce Coates (alto and sopranino saxophones) and Franziska Schroeder (soprano saxophone).

© 2011 Han-earl Park.
℗ 2011 SLAM Productions.

updates

08–18–11: add Jazzcds to list of shops.

02–15–12: add Souffle Continu to list of shops.

03–28–12: add Squidco to list of shops.

io 0.0.1 beta++ (SLAMCD 531) © 2011 Han-earl Park

Released as part of SLAM Productions’ August 2011 CD catalog: ‘io 0.0.1 beta++’ (SLAMCD 531) with Han-earl Park, Bruce Coates and Franziska Schroeder. [Slam Productions catalog page…]

[Get it from Slam Productions…]
[Get it from distributors/shops…] [Downtown Music Gallery…] [Jazzcds…] [Souffle Continu…] [Squidco…] [Wayside Music…]
[iTunes…] [eMusic…]

Note: downloads, in contrast to the physical CDs, do not include Sara Roberts’ liner notes.

description

personnel

track listing

recording details

about the performers

Also available from SLAM Productions: Mathilde 253 (SLAMCD 528) [details…]

Performers: Charles Hayward (drums, percussion and melodica), Han-earl Park (guitar) and Ian Smith (trumpet and flugelhorn) plus Lol Coxhill (saxophone).

© 2010 Han-earl Park.
℗ 2010 SLAM Productions.

updates

07–16–11: add links to Downtown Music Gallery and Wayside Music.

08–04–11: add iTunes, eMusic and Amazon.

08–18–11: add Jazzcds to list of shops.

02–15–12: add Souffle Continu to list of shops.

03–28–12: add Squidco to list of shops.

io 0.0.1 beta++ and Bruce Coates (Blackrock Castle Observatory, Cork, May 26, 2010). Photo © 2010 Stephanie Hough.

Fourth and final excerpt from Sara Roberts’ liner notes to ‘io 0.0.1 beta++’ (SLAMCD 531):

There is the limbic tickle of Freud’s uncanny, yes, our scanners are confused by this non-human playing music with humans.

But even beyond that animal attentiveness we watch and listen carefully because we know we’re seeing a kind of manifesto in action. What is an automaton? A sketch, a material characterization of the ideas the inventor and the inventor’s culture have about some aspect of life, and how it could be. io and its kind are alternate beings born of ideas, decisions and choices. It is because io stands alone, an automaton, that the performance recorded on this CD not only is music, but is about music.

© 2011 Sara Roberts.

previous excerpts:

‘a curious situation (liner notes: io 0.0.1 beta++)’
‘its own sound (liner notes: io 0.0.1 beta++)’
‘standing alone (liner notes: io 0.0.1 beta++)’

‘io 0.0.1 beta++’ (SLAMCD 531) will be released by SLAM Productions in fall August 2011. [Details…]

personnel: io 0.0.1 beta++ (itself), Han-earl Park (guitar), Bruce Coates (alto and sopranino saxophones) and Franziska Schroeder (soprano saxophone).

© 2011 Han-earl Park.
℗ 2011 SLAM Productions.

updates

06–11–11: change release date to August 2011.

io 0.0.1 beta++ (Blackrock Castle Observatory, Cork, May 26, 2010). Photo © 2010 Stephanie Hough.

Third excerpt from Sara Roberts’ liner notes to ‘io 0.0.1 beta++’ (SLAMCD 531):

For the audience, wondering how this artifact has so much presence, is so handily managing a situation they themselves might be challenged to negotiate? There is something in io’s performance that a human musician, even playing io as an instrument, could not do, even were the human to give up agency entirely and act as an automaton.

The fact that this assemblage stands, studded with missile switches, alone, on stage is meaningful.

© 2011 Sara Roberts.

previous excerpts:

‘a curious situation (liner notes: io 0.0.1 beta++)’
‘its own sound (liner notes: io 0.0.1 beta++)’

‘io 0.0.1 beta++’ (SLAMCD 531) will be released by SLAM Productions in fall August 2011. [Details…]

personnel: io 0.0.1 beta++ (itself), Han-earl Park (guitar), Bruce Coates (alto and sopranino saxophones) and Franziska Schroeder (soprano saxophone).

© 2011 Han-earl Park.
℗ 2011 SLAM Productions.