Wednesday, August 24, 2016

GADGETS | Quickie review: ASUS VivoMini UN65H

ASUS VivoMini UN65H
This article is also posted on InterAksyon.com.

Our rating

Simply great!





What is it? 
ASUS VivoMini UN65H


The VivoMini is one of the latest micro computers to hit the market. Manufactured by Taiwan-based technology company Asus, the UN65H is light, small and compact.

This particular model is powered by an Intel i5 processor; enough RAM to run many applications; a right number of I/O ports for its size to accommodate most of today’s standard connectors; the necessary wireless connectivity; and graphics that could run high-definition videos.

What’s it for? 

It’s a mini PC. Yes, it’s not the first. The Mac mini has been around for several years now but that’s Apple OS territory, well, at least for most. While PC-compatible brands have also taken miniaturization to new heights, basing their products on the incredible Intel Compute Stick (Asus has its own version — the VivoStick), the VivoMini is still a standout in its own right.

At 131mm square by 42mm tall, this single-color computer module, to compare, is just a bit larger and heavier than a typical Wi-Fi router. Yes, heavier. All because of the PC components cramped inside. But not that heavy to make it not portable. It is very portable and beautifully designed. It is a full-working computer that could run all kinds of applications under the Windows platform. Best of all, despite its size and unibody approach, there are some upgradable PC components inside, such as RAM and storage.

Although, it may fall short on the expectations of gamers and creatives alike, the power inside this VivoMini is far more than enough for us mere mortals who need a computer for normal everyday use. The only drawback? Like any other mini PC of this class, it’s definitely BYODKM or bring your own display, keyboard and mouse.

The good:

Intel Core i5
Upgradable RAM and storage
Wired and wireless connectivity standards
Compact, no doubt

The bad:

At almost P24k, it’s a bit expensive considering it’s a BYODKM
Thief magnet

Our verdict

What we are looking at here is the future of personal computers on our desktop now. The PC is definitely not dead. Not yet. They just renamed it VivoMini.

Quick specs: 
ASUS VivoMini UN65H


OS – Windows 10 Home
CPU – Intel 6th generation Core i5-6200U Processor
Graphics – Intel HD Graphics 520
Memory – Dual Channel, DDR3L at 1600MHz 2 GB x 2 (expandable to 16 GB); 2 x SO-DIMM Storage – 2.5″ 500GB Up to 1TB SATA III Hard Drive; 32GB Up to 256GB M.2 SSD Wireless Data Network – 802.11 a/b/g/n/ac, Bluetooth V4.0 , or 802.11 b/g/n, Bluetooth V4.
LAN -- 10/100/1000/Gigabits Mbps
Side I/O Ports – 2 x USB 3.0; 1 x 4 -in-1 Card Reader; 1 x Kensington Lock
Back I/O Ports – 1 x RJ45 LAN; 1 x HDMI; 2 x USB 3.0; 1 x DC-in; 1 x Display; 1 x Audio Jack(s) (Mic in/Headphone out)
Card Reader – 4-in-1: SD/SDHC/SDXC/MMC 100G
ASUS Webstorage for 1 Year free usage

This article is also posted on InterAksyon.com.

Saturday, July 23, 2016

A decade of noise

The Children of Cathode Ray and autoceremony are featured in this seminal sound art album.

"July 22 2016, marks the 10th year anniversary of the landmark music anthology release that documented and showcased the plethora of experimental/sound art/unpopular music in the Philippines: S.A.B.A.W. An Anthology of Noise, Electronic, and Experimental Music" -- Tengal Nolasnem



S.A.B.A.W. Anthology of Noise, Electronic, and Experimental Music

This is the digital release of a two-CDR anthology launched at Future Prospects, Cubao X on 22 July 2006. It was broadcasted for the first time in its entirety by WSK.FM at Green Papaya Art Projects, Kamuning, QC on 11 November 2013.

1. Pow Martinez - 1-01 - Colored Noise 02:44
2. Conscript - 1-02 - I've seen god 04:24
3. Blums Borres - 1-03 - Cloth 05:13
4. The Children of Cathode Ray - 1-04 - Stations (part II) 12:11
5. Ascaris - 1-05 - Isolation 03:15
6. Teresa Barrozo - 1-06 - bigKAS 10:56
7. Nasal Police - 1-07 - Fan 08:03
8. Tengal - 1-08 - Piece of work in two parts 13:15

9. autoceremony - 2-01 - Sound Environment v0103 05:48
10. Insomnia - 2-02 - Barbarella 07:27
11. Foodshelter&Clothing - 2-03 - Xenocideremix 05:52
12. EAT TAE - 2-04 - Godhead 06:24
13. Elemento - 2-05 - Excerpt from Liquid Angel 09:34
14. Blend:er - 2-06 - Worm 02:20
15. Inconnu ictu - 2-07 - Aldus Janbrean 04:12
16. Arvie Bartolome - 2-08 - After Concussion 08:31

Original liner notes:

The S.A.B.A.W. Anthology was the result of existing material I had collected from experimental musicians and sound artists who had been working in the Philippine underground (read: under-appreciated and under-funded) scene for the last 20 years. The project, conceived with the intention of not just publishing but also promoting innovations and experiments in music, was born nine months ago when I was still hosting experimental music concerts at mag:net Cafe Katipunan, QC.

Just seven months ago, I began posting invitations in almost every mailing list I knew. The overwhelming response turned what should have been a one-disc album into a two-disc anthology. The artists here represent but a cross-section of a much larger body of musicians and artists. I wished that many more had contributed, but for some reason or another not all were able to participate.

This album is a first step, an attempt to fill a gap made real by the lack of critical appreciation and inaccessibility of sound art and experimental music for the past few decades.

This anthology is not a mere "labor of love," but an act of necessity.

Tengal
Manila, July 2006

Released July 22, 2006

Tracks by:

1-01 Pow Martinez - Colored Noise
Pow Martinez: White, Pink, Brown/Red, Grey, Black, Blue, Purple noise

1-02 Conscript - I've seen god
Tom McWalter: Novation nova synthesizer, Alesis Bitrman effects box, Alesis 6fx mixer

1-03 Blums Borres - Cloth
Blums: Guitar, Effects

1-04 The Children of Cathode Ray - Stations (part II)
Tad Ermitaño: Laptop
Jing Garcia: Laptop

1-05 Ascaris - Isolation

1-06 Teresa Barrozo - bigKAS
Teresa Barrozo: Tascam tape machine, Soundforge 7, Pre-recorded instruments

1-07 Nasal Police - Fan
Pow Martinez: Laptop
Ria Muñoz: Electric Fan, Contact mics

1-08 Tengal - Piece of work in two parts
Tengal: Computer, Kulintang, Reverse Kulintang with electronics

2-01 autoceremony - Sound Environment v0103
Jing Garcia: Computer

2-02 Insomnia - Barbarella

2-03 Foodshelter&Clothing - Xenocideremix
James: Analog bass, Drum programming
Bong: Vocals, Synthesizers, Sound Bites
Ian: Turntables

2-04 EAT TAE - Godhead
Tengal: Composer, Collage, Drums
Anto Bautista: Electric Guitar
Pow Martinez: Guitar Effects
Ivan Garcia: Bass

2-05 Elemento - Excerpt from Liquid Angel
Lirio Salvador: ZPE, Sandata 1G, Sandata 3D, Sampler, Voice
Gilbert Sanchez: Drums, Bicycle Wheel, Found Objects
Kristopher Deuda: Baby Sandata 4
Raymond Patawaran: Paint and Brush

2-06 Blend:er - Worm
Cris Garcimo: Roland sh101, Reason 2.5

2-07 Inconnu ictu - Aldus Janbrean
Inconnu ictu: Tape hiss, Water drops, Basketball, Brass Chimes, Cowbell, Chica, Acoustic guitar, Yamaha DDS, Casio R2-1, Toy Keyboard, Multi-effects, Cassette tape loop

2-08 Arvie Bartolome - After Concussion
Arvie Bartolome: Macmini

Saturday, July 02, 2016

Gone digital in '83



Sinclair ZX-81
I found a very interesting link a couple a weeks ago, shared by my good friend Tad Ermitano. Tad, who is an established multimedia artist and a pioneering member of sound art group Children of Cathode Ray, knew that I would be fascinated by it. And he wasn't wrong.

In a 2014 post by Robert Sorokanich at Gizmodo, he revealed in an article entitled "The 1983 Punk Rock Record With a Digital Music Video For a B-Side" a long lost recording that I myself didn't know even exist. #ThankYouInternet.

Apparently, a 1983 single by an English music artist named Chris Sievey's was released containing the digital noise created by a computer, a ZX-81.

One of the earliest home computers, the ZX-81 was manufactured by Sinclair Research based in Scotland (Yeah, we had one when I was a kid but my sister didn't like the thing because of the small keys and eventually swapped it with a Commodore VIC-20).

And it's not just ordinary digital noise that was produced but rather an entire computer program created from the ZX-81.

Digital sound, in this case a computer program, when recorded and played back in analog will make unbearable screeches -- similar to the sound of the computer modem when handshaking for an Internet connection, if you remember those times; distinguishable only by a computer, decoding the noise as bits of data.

Sorokanich said "(T)he B-side of Chris Sievey's 1983 single 'Camouflage' sounds like an unlistenable malestrom of noise. It's not an avant-garde song; it's a program for the ZX-81 computer, and if you could load it correctly, it gave you a (very rudimentary) computer-animated music video, coded in the grooves of a vinyl record."

Here's a video of that computer program from the single:



Sorokanich continued saying  in his post: "(T)his neat little tidbit is well known to fans of early 80s punk music, butUsVsTh3m brought it back to our attention recently and it's worth re-remembering. Chris Sievey, on top of being a founding member of The Freshies and the mind behind the charmingly offbeat character Frank Sidebottom, was a computer tinkerer drawn to the ZX-81. The hobby computer, weighing only 12 ounces, with zero moving parts and no display (you plugged it into your TV), bolstered its 1kB internal memory by storing data to cassette tapes at a blistering 250 baud."

Truly ahead of his time, Sievey definitely created something that would mark him a pioneer. The only thing though, the song itself is not 'punk' (music) as described by Sorokanich or the editor's at Gizmodo. The only punk there was the way it was packaged in 1983. Indie maybe. But definitely not punk music by 1983 standards. Power pop is more like it.

Nonetheless, Sievey's contribution in pop (tech) culture is marked by this adorable revelation.






Wednesday, June 22, 2016

Rockin’ with Netflix


This blog is also posted at InterAksyon.com.

Popular video streaming platform Netflix originally rolled out its global service in January this year but it was only last May that they officially announced their presence in the Philippines. Of course, for the more enterprising video streaming platform users out there, Netflix has been available in the country for quite some time now.

Nonetheless, the availability of Netflix locally is definitely a welcome treat, this despite the other video streaming options such iFlix and Hooq peddled directly by the telcos. Netflix, being a strong brand in the U.S., will definitely enjoy a great following among the locals, especially for its number of exclusive content with titles like DareDevil, Jessica Jones, and Unbreakable Kimmy Schmidt among others.

However, people who haven’t experienced Netflix locally often ask: What about Internet speed? And people who have experienced Netflix would often answer: What about it?

Yes, notwithstanding the country’s perennial problem with Internet speed, the Philippines is still very much ready for Netflix. Here, let me try to convince you.

This writer has been using Netflix for over a month now; subscribed to the 3Mbps offered by a local telco; bandwidth chopped among other WiFi users at home. In my crude calculation, the 46-inch HD Sony Bravia smart TV used for Netflix streaming gets less than 1Mbps. And the experience? Simply incredible.

At first load, there will be some pixelations on the video. But that would last for just a few seconds. After that it’s smooth sailing all the way. Not once did this writer experienced any lag nor see that tedious buffering icon. Like stated earlier, this country is definitely ready for Netflix. No doubt.

“It’s what we call Adaptive Streaming,” said Jonathan Friedland, chief communications officer at Netflix, in an interview with local media at their Manila launch in May. “This means that the quality or the bitrate that comes into your device — mobile or otherwise — is measured in the milliseconds; you don’t see any buffering, so the pictures are constantly adjusting according to conditions around you.”

In other words: Netflix has its own technology to adapt to any Internet speed or bandwidth that you might have on any devices a Netflix subscriber may be using — fixed or mobile. And that said technology works. Yes, even with the often dismal Internet speed that we have. Netflix, you rock!

“We have this complexity based encoding,” said Friedland. “We can make data log lighter depending on the content, and with our own content delivery network called Open Connect designed for video, this reduces latency.”

However, those lucky enough to have high-speed Internet allow users to sign up for plans that include high-definition (HD) and Ultra-HD viewing. These are ideal for streaming on large screens.

Although, not all content is available on HD or Ultra-HD, but those that do will play in 720p or better with a fast enough Internet connection — at least 5 Mbps for HD and 25 Mbps for Ultra-HD.
So, that’s how they do it at Netflix.

Now, when in doubt about your Internet speed, just go to fast.com powered by Netflix to check if you got the speed to stream those videos.


At Los Gatos

Enjoying Netflix is not enough for this writer. And fortunately for me, together with other tech journalists from the Philippines, we got a chance to drop by Netflix’ Los Gatos headquarters in California, this after visiting other Silicon Valley tenants such a Facebook, Google and Apple.

At Netflix, we found out, that their engineers constantly test several gadgets at their laboratories to ensure quality of service on all range of devices capable of video streaming. These include televisions — from the smallest screen smart TV to the latest model available in the market — and not to mention smartphones, tablets, and even game consoles like the Sony PlayStation and Microsoft Xbox.

The tests, said Marlee Tart, corporate and technology communications manager at Netflix, are needed to ensure that the app will work on all the tested devices and the video content from Netflix will play without a hitch.

Hey, some of those TVs have an exclusive easy access Netflix button right on the remote. Neat!
Furthermore, to better enjoy Netflix on mobile devices, the video streaming company introduced Cellular Data Controls, a new tool that can help users greater control how much data is used when streaming on cellular networks. So, make sure to put this tool into good use, especially those with data cap.

Where to look for this data control on your mobile device?

On iOS and Android devices, cellular data usage can be adjusted in the App Settings from the menu. One can select a lower or higher data usage setting that would work best for the data plan.

So far, Netflix has delivered over 3 billion hours of videos in 190 countries to over 81 million subscribers. That’s really not bad.

It is suffice to say that the best time to stream video from Netflix is now.

This blog is also posted at InterAksyon.com.

Friday, May 20, 2016

RETROTECH | Computer Chronicles - Episode One

This what I often do on the Web: watch old episode of The Computer Chronicles. I love the old tech. I love the history.

Below is the very first episode of the series entitled "Mainframes to Minis to Micros" (October 10, 1983)
    

A half-hour television series, The Computer Chronicles was broadcasted from 1983 to 2002 on Public Broadcasting Service (PBS) public television in the U.S.; hosted by its creator, Stewart Cheifet.

Retrotech galore!

I'll be posting more episodes shared from archive.com.

Wednesday, May 11, 2016

My Domain



Finally, my two domains: autoceremony.com and jinggarcia.com. Both URLs will redirect to this blogsite. A blog I've been manipulating since 2006.

Hopefully, on my 10th year of blogging, I'll be able to resurrect myself to post more of the same materials on sound, soundart and music. This time, however,  a bit of tech and other manifestations and enthusiasms I find amusing will be thrown in.

Sound Art. My love for experimental sound and music is still here. This, since I help establish one of the earliest sound art groups in the Philippines way back '89. Read our history; listen to our incantations in my early musings on this page. It wasn't called soundart when we started. Simply experimental music.

autoceremony. An alter ego in the sound art scene. A solo project.

DXing. Never really knew the term until the Internet. It's the art of listening to distant radio broadcasts. My affinity for shortwave and medium wave radio began in '77 with my first AM transistor radio. Later, I discovered SW and lurked on alien stations; giving me a glimpse of the world outside the Martial Law walls. Many radio streams ended up in my autoceremony recordings. Part of my soundart.

...steps on radio: dzme, dwdd, radyosingko. #TechSabado

Music. What are you listening to right now?

Toys. There are some things you just couldn't outgrow. I hoard 1:64 diecast cars and Japanese robots, calling it a collection. Was I deprived as a kid? No.

Books. Most of them I read on my Kindle; some reads I read over and over.

Electronics. The basics. I can tell a positive wire from black. I can identify a resistor, read their values. To melt lead, I handle a soldering iron.  I tinker. Fix things. I try.

Technology. The Internet, computers and gadgets? We are slaves of modern times.


Monday, June 01, 2015




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Wednesday, November 05, 2014

'The only intuitive interface is the nipple' and 10 other things to know about WSK: Festival of the Recently Possible




http://manila.coconuts.co/2014/10/31/only-intuitive-interface-nipple-and-10-other-things-know-about-wsk-festival-recently

 “What started as a joke became something bigger than what we expected,” Tengal Drilon, Festival director says of the 5-year-old WSK: Festival of the Recently Possible. Apart from “traffic becoming worse,” longtime followers will notice that, WSK has (finally!) dropped the “Fete dela” from its name. And from just being a one-time underground sound art festival, the fest has now grown to champion digital culture—expanded cinema, new media art, fringe activities on uses of technology. 

The festival proper happens on the weekend of Nov 7-9 but that’ll just be like a closing party; a week prior, on Nov 1, things will have started by way of radio. Here are 11 things about WSK: 

http://manila.coconuts.co/2014/10/31/only-intuitive-interface-nipple-and-10-other-things-know-about-wsk-festival-recently

It’s no longer called ‘Fete dela Wsk. ”It’s now “WSK: Festival of the Recently Possible.” “We dropped ‘Fete dela’ in the name as a reminder of our maturity. Five years ago, it started out as a pun on Fete dela Musique,” says Tengal.

The festival actually begins Nov 1. As in, you can start listening to WSK’s a pirate radio broadcast starting Nov 1. It’s 107.9 on FM dial. Also: participating artists will have begun their collaborations on Nov 1 at 1335 Mabini.

But the ‘opening party’ is on Nov 7. And it’s called The Drop x Fete dela WSK. This is because it’s in cooperation with Black Market and Nov 7 is a Friday and Friday nights at Black Market are dubbed “The Drop.”

There are four venues this year. 1335 Mabini (1335 Mabini St, Malate, Manila), where the radio broadcasts take place, as well as where the studio workshops happen. Black Market (Warehouse 5, La Fuerza Compound, Sabio St., Pasong Tamo, Makati), where the opening party is going to be at on Nov 7, Friday. The Tiu Theater (Mile Long Compound, Amorsolo cor Dela Rosa St, Makati), where Sat’s audio-visual concert and film screening is happening. And finally, at the Chino Roces Warehouse (2135 Chino Roces, Makati), where exhibitions and the closing concert are at.

Asian artists are taking the festival’s front and center. Unlike previous years where a shitload of Westerners participated, this year's headliners come from our region of the globe. Representing Japan are Daisuke Tanabe and Yosi Horkawa, from Indonesia are Lifepatch and Rick Janitra; Thailand is participating by way of Stylish Nonsense. “Since the beginning, we’ve always wanted to have more interaction with artists and communities’ working in the Asia-Pacific. No coincidence here, we really wanted this from the beginning. Thanks to institutions like Japan Foundation, they made it possible for us,” says Tengal.

Children of Cathode Ray reunion! This is the band’s first performance in 13 years, so Tengal and punks of the 80s underground are terribly excited about this. Background check: Children of Cathode Ray is a three-piece outfit in the 80s comprised of names you’ve surely come across: Tad Ermitano is a well-established media artist and filmmaker. Jing Garcia is a well-known rock journo who made the successful transition as a tech journalist, and “Magyar is an all around handy man. They were underground before we were underground,” exclaims Tengal.

WSK is for the artist as it is for the audience. Tengal would like to think of WSK as a “festival as a laboratory” experience. “A chosen methodology of the festival is that of shaping new interactions. There’s a more process-based approach: We fly in foreign artists to collaborate with local artists, and then we present the collaboration to the public during festival proper, be it as a concert, an installation, an exhibition, or a series of interactions in the open studio,” Tengal says.

Get in on the program. Because WSK champions the alternative, Tengal says there are always new people checking them out. “Maybe because what we do is so strange at first, people can’t determine if they would like it. But almost always, there’s at least one fellow who sticks to it [because] it changes his perspective on art, and then moves on,” he says.

But there’s still a long way to go. “In terms of the art market, so far, collectors and galleries [still] get confused and concerned about things that plug in! Ha ha!”

The after-party party: Pork, inasal, Chinatown, and traffic notes. Tengal is looking forward to getting his Japanese and North American guests to try lechon, sisig, street food, “and other evil things. But we will have some Muslim artists from Indonesia, too, so we will have to take them to Inasal places. And Chinatown! Regardless of their nationality, I think we are all united by the same things Filipinos are bound to: good food, booze, and hatred for traffic. It would be fun to compare traffic notes from those guys from Jakarta and Bangkok!”

The wisdom of the nipple. When asked what’s the best thing he’s learn in the five years he’s been at it, Tengal says: “The only intuitive interface is the nipple. Everything is learned after.”

By Lou Albano October 31, 2014 for Coconuts Manila

http://manila.coconuts.co/2014/10/31/only-intuitive-interface-nipple-and-10-other-things-know-about-wsk-festival-recently

Saturday, September 13, 2014

autoceremony at Today X Future



Will perform at Today X Future. Will test new sound software for Children of Cathode Ray reunion.

Friday, August 08, 2014

MUSIKO IMBENTO


MUSIKO IMBENTO invites all crafters, hobbyists, instrument builders, college students, teachers, performers and supporters of self-built musical instruments in the Philippines to attend the third MUSIKO IMBENTO event happening on August 9, 2014, 7:00 p.m. at Sev’s Café. 

MUSIKO IMBENTO is a one-of-a-kind event where you can DISCOVER, LEARN and PLAY self-built musical instruments from the Philippines. Be inspired to create your own instruments using re-purposed objects, scraps, electronic parts, old toys, and other odds and ends.

There will be a presentation of the different instruments, workshop, short film showing, raffle draw, meet-and-greet session with the instrument makers and live performances.

Feel free to bring your own self-built instruments for an open jam and drum circle. Poster design by Reese Lansangan Feel free to share, twit and repost.

Event Details/Program

MUSIKO IMBENTO Show and Tell/Live Performance/Open Jam Date and Time: August 9, 2014– Saturday, 7:00PM

Venue: Sev's Cafe Basement Level, Legaspi Tower Roxas Blvd. cor. P. Ocampo, Malate Across Cultural Center of the Philippines (CCP) 

Ticket: Php200 pesos P100 consumable at Sev's Café

FEATURING: Erick Calilan Jean Paul Zialcita Jing Garcia a.k.a. autoceremony Jon Romero Modulogeek Richard John Tuason Cris Garcimo

PROGRAM*

6:00 Registration

7:00 Circuit-Bending 101 Workshop By Erick Calilan 

8:50 Documentary/Short Film Showing Building the Shruthi-1 Analog/Digital Synth Time Lapse Video by Modulogeek Bleeps for Peeps: The Modulogeek Q&A http://pinoytuner.com/digradio/content/news/1982/bleeps_for_peeps__the_modulogeek_q_a Jeepnilamella: Custom Musical Instrument for Jeepney Orchestra by Cris Garcimo

9:00 Radio Elemento by Jon Romero Sound devices using deconstructed portable radios and electronic scraps 9:30 Ensemble by Richard John Tuason Featured on GMA’s SAKSI

10:00 Live performance by Jing Garcia a.k.a. autoceremony (Special Guest Performer) Sound artist; producing post-music soundscapes and sound design through analog and digital audio hardware and software synthesis manipulation; founding member of pioneer sound art group “Children of Cathode Ray” autoceremony.blogspot.com

10:30 Make and Play Your Own Percussion using Trash Cans and Water Containers (Sinawali and Aquadrums) By Jean Paul Zialcita, Percussion Performance Artist;Featured on AHA! GMA Channel 7 and recently on “Green Living”, ANC's lifestyle magazine show about sustainable urban living.

11:00 OPEN JAM/DRUM CIRCLE FOR CREATIVITY and PEACE Bring your own handmade/self-built musical instruments or any percussion instrument. *Subject to change without prior notice

Ticket: Php200 pesos P100 consumable at Sev's Café For more information, please email musikoimbento@gmail.com

Special thanks to Sev’s Café. https://www.facebook.com/SevsCafe http://www.kamustamagazine.ph/review-green-goodness-at-sevs-cafe/

Poster Design by Reese Lansangan http://reeseypeasy.com/

Monday, March 17, 2014

Bali-ing at Dawn by autoceremony (2013)




'Listen to My Music': National Artist Jose Maceda's life and works at the Vargas Museum, from June 25 to July 26, 2013.

raymanray by Childen of Cathode Ray (early 90s)


A rare and original recording from Children of Cathode Ray, and with vocals at that!

Retitled to 'Raymanray' this experimental, quirky pop-ish tune was recorded sometime in the early 90s with Magyar Tuazon laying the lead voice. Primitive as it may seem, please excuse the quality of the recording since all the tracks were bounced several times on two-track stereo cassette tapes.

Except for the digital transfer to the computer, most of the original recording was retained to maintain its authentic analog reproduction.

Children of Cathode Ray was established in 1989 and regarded as one of the earliest experimental sound art groups in the Philippines. Its original members were: Tad ermitano on video, visuals, bass, synthesizers, electronics, efx, computers; Jing Garcia (a.k.a. autoceremony) on audio, synthesizers, electronics, efx, computers; Blums Borres on lead guitars, efx, graphics, computers; Peter Marquez on lighting effects, electronics, photos and visuals; Regiben Romana on percussions, efx; Magyar Tuazon on visual effects, bass, electronics

The Electric Sound of Electricity by autoceremony


Uploaded on Jul 17, 2011 my contribution to 'The World Listening Day' , July 18.

Electrostatic 09242008 by autoceremony


Uploaded on March 20, 2011. Jing Garcia a.k.a. autoceremony performing for the 'Electrostatic Sound Conference' on september 24, 2008 at Club Dredd, Eastwood City, Manila, Philippines.

Edit by Children Of Cathode Ray (1994) [autoceremony]


'Edit' by Children of Cathode Ray': from the 1995 'Numeric Sampler 502' CD

Renaissance by autoceremony


Uploaded on Aug 1, 2011 a rare live performance by autoceremony at the 'fete dela wsk!' in November 2010 at B-side, The Collective in Makati City. http://www.wskfete.com/ autoceremony (Jing Garcia) is a sound artist based in Manila, Philippines.

INC. by Children Of Cathode Ray (1995) [autoceremony]

'INC.' by Children of Cathode Ray: from the 'Numeric Smapler 502' CD.

I Am by Dominguez Shimata Colony (1996) [autoceremony]

'
I Am' by Dominguez-Shimata Colony: from the 1996 'Numeric Sampler 507' CD

Saturday, March 16, 2013

Limitations Of Remedies by Dominguez-Shimata Colony (1996 [autocermony]

'
'Limitations of Remedies' by Dominguez-Shimata Colony: from the 1996 'Numeric Sampler 504' CD.

Diagram by Children Of Cathode Ray (1995)


'Diagram' by Children of Cathode Ray: from the 1995 'Numeric Sampler 502' CD.

Thursday, October 11, 2012

U2 producer Brian Eno creates new iPad ‘Scape’

Celebrated music producer and experimental musician Brian Eno explains why his newest release 'Scape', which comes in the form of an iPad app, will change the way people make and listen to music. Reuters' Matt Cowan reports

Saturday, March 26, 2011

raymanray by children of cathode ray

A rare original recording from Children of Cathode Ray, and with vocals at that!

Retitled to 'Raymanray' this experimental, quirky pop-ish tune was recorded sometime in the early 90s with Magyar Tuazon laying the lead voice.

Primitive as it may seem, please excuse the quality of the recording since all the tracks were bounced several times on two-track stereo cassette tapes. Except for the digital transfer to the computer, most of the original recordings were retained to maintain its authentic analog reproduction.

Children of Cathode Ray was established in 1989 and regarded as one of the earliest experimental sound art groups in the Philippines. Its original members were:

Tad Ermitano on video, visuals, bass, synthesizers, electronics, efx, computers;
Jing Garcia (a.k.a. autoceremony) on audio, synthesizers, electronics, efx, computers;
Blums Borres on lead guitars, efx, graphics, computers;
Peter Marquez on lighting effects, electronics, photos and visuals;
Regiben Romana on percussions, efx;
Magyar Tuazon on visual effects, bass, electronics

Thursday, March 24, 2011

autoceremony: electrostatic 09242008




Jing Garcia a.k.a. autoceremony performing for the 'Electrostatic Sound Conference' on September 24, 2008 at Club Dredd, Eastwood City, Manila, Philippines.

Gear list: Korg miniKP; Korg Kaossilator, and AM radio.

the children of cathode ray: mantracks




A rare recording from Children of Cathode Ray, one of the earliest experimental sound art groups in the Philippines.

There was no documentation on this track but it was probably recorded between 1989 and 1990 at North Greenhills and/or Scout Area.

The recording was done bouncing 4-channel open reel and stereo cassette tapes several times, along with grounding exposed PL wires.

The last part of the track was what remain of the original tune that was recorded over on the stereo-channel master reel tape and accidentally retained it.

Children of Cathode Ray was established in 1989 with original members:
Tad Ermitano on video, visuals, bass, synthesizers, electronics, efx, computers;
Jing Garcia on audio, synthesizers, electronics, efx, computers;
Blums Borres on lead guitars, efx, graphics, computers;
Peter Marquez on lighting effects, electronics, photos and visuals;
Regiben Romana on percussions, efx;
Magyar Tuazon on visual effects, bass, electronics

Wednesday, November 24, 2010

jing garcia (aka. autoceremony) performing on the second night of 'fete dela WSK' at b-side, the collective. november 20, 2010.





fete dela WSK! is dedicated to contemporary electronic, digital and experimental sonic art, as well the diverse range of artistic activities in the context of digital culture in south east asia. www.wskfete.com

Thursday, November 18, 2010

The Ampatuan Massacre public service adverts by the November 23 Movement/NUJP



A montage of the gory massacre juxtaposed with press freedom issues, using a high Phantom High Speed Camera and the Red Camera. This short video jolts the audience into what the core issue is all about of the Ampatuan Massacre. Director: JIM LIBIRAN DOP: LUIS LIWANAG Script: TJ BESA Sound: JING GARCIA EP: ALWYN ALBURO PM: VERONICA UY Producer: N23M/NUJP Production: RSVP FILM PRODUCTION Post: RSVP FILM PRODUCTION Talents: 1.ED LINGAO 2.INDAY ESPINA-VARONA

The Ampatuan Massacre public service adverts by the November 23 Movement/NUJP



The families of the victims continue their quest for justice one year after the Ampatuan Massacre... Director: JIM LIBIRAN DOP: NAP JAMIR Script: VERONICA UY Sound: JING GARCIA EP: ALWYN ALBURO PM: VERONICA UY Producer: N23M/NUJP Production: RSVP FILM PRODUCTION Post: UNDERGROUND LOGIC

Thursday, November 11, 2010

Sunday, November 07, 2010

fete de la wsk!

COMING THIS MONTH












NOV 19-28, 2010


Fete dela WSK! is dedicated to contemporary electronic, digital and experimental sonic art, as well the diverse range of artistic activities in the context of digital culture in South East Asia.

WSK! -- three cryptic letters, which can only provide as much as the sum of the parts.

Organized by SABAW Media Art Kitchen – a not-for-profit organization whose primary interests lie in curatorial and research-based production towards the imminent intersections of art and technology.

www.wskfete.con

Wednesday, October 27, 2010

Fete dela WSK

ALL OVER THE METRO THIS NOVEMBER


















PROFILES OF THE LIVE PERFORMERS FOR NOV 19-28!

http://www.facebook.com/album.php?aid=15484&id=116821565045638

But things have gotten decidedly more interesting. Weirder. (a blog by Erwin Romulo in 2006)

Whereas punks before needed only two or maybe three chords, the new breed were happy to discard these altogether. The independent release S.A.B.A.W. is an anthology of experimental, electronic and noise recorded by local artists, some formed as far back as the late 80s/early 90s. It features elder statesmen in the sound-art scene like the multi-media Children of  Cathode Ray (featuring tech-journalist Jing Garcia, media artist/guitarist Blums Borres and acclaimed filmmaker Tad Ermitaño among others), noise terrorists Elemento and Foodshelter&Clothing. to young upstarts like the abstract-rock outfit EAT TAE and modern classical composers like Teresa Barroza. If nothing else, the album is a document of recent times up to the present, making perfect sense amidst the Futurist cacophony that assaults anybody on EDSA during the late afternoon. The cover art itself by visual artist Poklong Anading aptly represents/depicts this savage, noisier era: against a backdrop f flypaper, everything that is thrown on the wall sticks—not just the flies.

Read Erwin Romulo's entire blog at:

http://www.pulse.ph/posts/lunatics-let-loose-in-the-asylum-pinoy-rock-in-2006-by-erwin-romulo/

Wednesday, October 06, 2010



























Profile of participating artists visit:

http://soundartmovementexist.blogspot.com/2010/09/participating-artists-for-active-de.html

Tuesday, September 08, 2009

Sunday, July 19, 2009

ASEUM '09

JOIN US FOR A WEEK OF ASEUM '09

ASIA-EUROPE MEDIA ART SYMPOSIUM
JULY 21 to JULY 25

ASEUM WEBSITE
http://aseum09.tk/

WHAT IS ASEUM?
http://www.tengal.clangfu.com/?page_id=4

LIVE PERFORMERS
http://www.tengal.clangfu.com/?page_id=454

PROGRAM SCHEDULES
http://www.tengal.clangfu.com/?page_id=222

PARTICIPATING ARTISTS
http://www.tengal.clangfu.com/?page_id=416

ASEUM OVERVIEW:

ASEUM is an international network of new media art practitioners initiated by SABAW Media Art Kitchen (Philippines) and Multimedia Center KIBLA (Slovenia) that aims to become a catalyst for a cultural, educational, and technological exchange on emerging new media art practices in South East Asia with Europe.

The symposium, initiated with the support of Asia-Europe Foundation, will consist of a series of workshops, presentations, performances, video screenings, open-studio sessions, round-table discussions, and policy meetings with cultural foundations by both participating organizations, in an effort to advance artistic positions reflecting on the socio-cultural impacts of new technologies and artistic practices that not only respond to scientific or technical developments, but also try to shape the way in which we think about and experience these technologies.

Monday, May 11, 2009

Saturday, February 28, 2009

Field Trip

Media Arts Manila
Field Trip
"Field recordings and soundscapes of corporeal and imagined environments"
Green Papaya
February 25, 2009


Photos: Eddie Boy Escudero















Blums Borres















The space






















Dark side of autoceremony






















Crowding the space






















Lighting the Green






















Tad's right side






















Korg's DS 10






















soundscraping























A tad of light






















sound tripping

Tuesday, February 17, 2009














Media Arts Manila
in cooperation with Green Papaya Art Projects presents

FIELD TRIP
field recordings and soundscapes of corporeal and imagined environments

February 25 (Wed) 9 p.m.
Green Papaya Art Projects
41 T.Gener St cor Kamuning Road (near Brahma Kumaris)
FREE ADMISSION

http://mediaartsmanila.blogspot.com/
http://www.greenpapayaartprojects.org/

The M.A.M. tour bus stops over at the Green Papaya Art Projects and ushers us through an acoustic safari of feral atmospheric fauna. Featured artists present their original phonography, creating immersive environments through the manipulation and playback of captured ambient sounds. autoceremony, Blend:er, Christian Conception, Mark Laccay, Mannet Villariba serves us their own brand of improvised acoustic ecology. Improvised video by Edsel Abesames and Tad Ermitaño. This show is supported by Globe.

Edsel Abesames

is a video editor / motion graphics person / director / racketeer / guitarist / poser / anime fan /overweight 32 year old / discontent drunkard.

autoceremony a.k.a. Jing Garcia

sound artist and award winning music producer. He established the Children of Cathode Ray backed in 1989, one of the early experimental and sound art groups in the country. Produced several music albums for different alternative music artists in the 90s. He is currently the tech editor for The Manila Times and Speed Magazine. He also hosts a tech segment on the late evening news on TV5

BLEND:ER a.k.a. Cris Garcimo

is an electronic music creator and a noise enthusiast who lives in Cavite, Philippines. He started experimenting with audio acrobatics and technoid sonic landscapes in 1999. Being included in various album anthologies like Mood Swing Theater Volume 1 (2004) released by Kittenwhip Compilation and S.A.B.A.W. Anthology of Noise, Electronic, and Experimental Music (2004), Blend:er has often collaborated with E.X.I.S.T., SABAW and Electronica Manila artists.

Tad Ermitaño

is a media artist, writer and filmmaker. As far as the media art goes, he is interested in algorithmic/procedural editing and composition, new uses for the moving image and have been lately drifting into elementary robotics. His work "Quartet" was exhibited in the recently concluded International Symposium for Electronic Arts (ISEA) in Singapore.

Grnd Ctrl a.k.a Christian Martelino Concepcion

a manila based art director, experimental musician, DJ and event organizer. His breed of work roots from his propensity in the field of music and design. It is his passion for avant-garde films, art, fashion, experimental music and bizarre imagery that led him to create audible pieces as well as to do graphic design work. It wasn't until implementing his studies of traditional fine arts and his enthusiasm with avant-garde music that began his realization of his ideas, philosophies and visions by combining dissected sound textures with rhythm, to create soundscapes that pierce images inside our minds. His currently an active band member for the ambient/experimental/industrial band "The Slave Drum", busy with his own electro industrial act "Decay Transit" and does solo performances as "Grnd Ctrl". Uses both traditional and non-traditional sound sources with using samplers, synthesizers, transducers, effects and anything he can get his hands on. Has participated in several events from various production outfits and his group called "Circa1849".

Mark Laccay

is an award winning Audio Engineer who is the CEO of Sonic Logo Multimedia Inc. and a managing partner of Sweetspot Studios. He has worked as a Sound Designer for various films and is the main audio consultant for the "Dr. Jose Maceda Collection Digitization" Project. As an educator he taught audio classes at DLSU-CSB. He recently returned from the Austrian Academy of Sciences where he acquired a certificate of Audio Tape Restoration and Digital Audio Archiving.

Mannet Villariba

is a performance artist, painter, sound artist, visual programmer and designer. He has been active in diverse fields of art and design - including research and development. Yielding the outputs of sounds, images, and light through analyzing and transforming the numerical values gained from various sensors and input devices, he is a visual artist pursuing sensual peculiarity and interaction.

Wednesday, February 04, 2009

EXPERIMENTAL AUDIO RESEARCH

I've been a great follower of E.A.R. (along with Spacemen 3 and Spectrum) since i accidentally found a CD copy of 'Beyond the Pale' at CD Warehouse in Greenhills back in the 90s. Since then, it has very much influenced the sound i create for (lately) autoceremony and (my previous incarnation) the dominguez-shimata colony.

So, as a simple tribute to this enigmatic and obscure soundart project group, I'm posting their band message taken from the Sonic Boom website (http://www.sonic-boom.info/ear.php), which also very much sums up what autoceremony do (as posted on this page's title head).

===============================

Experimental Audio Research was formed in 1990 by Sonic Boom as a solo and collaborative ensemble in order to pursue the more experimental work he had contributed to Spacemen 3 since the 1980s.

The project revolves around two separate yet overlapping areas - studio recording and live performance, both environments being treated as complimentary but different sides of the same coin.

EAR's main ethos, embodied in their acronymous name, is one of necessary experimentation. They create a space where any sound or texture, technique or emotion is treated as a possible contribution to the piece(s) in hand. The same applies to the interaction of the performers improvisation and integration are left open, until what feels like the right moment, all the while keeping an eye on the whole, and avoiding a forum where concept overtakes content.

EAR's members and musical philosophies run the gamut from purely Electronically generated sounds -produced instantaneously- to beautifully crafted, acoustic techniques - the product of a lifetime's experience. This is a rare terrain where individual extremes merge in the collective sound - each member exploring the possibilities of the integration of opposites. By definition each of the group's performances are quite different -to replicate performances is of no interest. Surprise and variety are far more important - yet all within and around their intended framework and disciplines. In this way the group creates a special kind of sound-scape and mood space aiming forwards whilst heeding yesterdays experiments and advances. To ignore the work of Cage, Varese, Stockhausen or Cardew would be foolhardy. To dismiss the expeirments of LaBradford, Joe Meek, Eno or Kraftwerk would equally be a mistake. EAR exists in the furrow between the low brow and the high brow, between traditional and contemporary, independent of categorisations, where AMM can meet Spacemen 3, where classical music can meet My Bloody Valentine. Where Preconceptions and prejudice can be left outside and sounds can exist for their intrinsic values. Where sounds can show their true selves.

To assume that this approach must lack discipline is a common mistake. The discipline is mirrored by the freedom given the performers, keeping its aims pure and free from excess, aiming to be progressive, but not just for progressiveness' sake.

The Instruments used in their recordings and performances do not revolve around the chromatic scale, and no amount of divisions per octave is defined before hand - indeed many of the instruments from the Theremin and Modular synthesisers to the Insect and Human voice generators "lack" any fretted or keyed sequential controllers to even suggest a particular mode or scale. In this way, the most stimulating range of sounds is come by, because it is the most stimulating and not for any predetermined reasons. Likewise, the sounds selected come from various random or heuristic programming functions and improvisational playing techniques rather than from a preset bank of sounds - none of these instruments have a 'memory' or "preset" facility -giving unique sounds every time the instrument is used. In this way the performer becomes the selector from the near infinite possible range of textures.

Monday, January 19, 2009

Tech Times editor on list of influential

http://manilatimes.net/national/2009/jan/19/yehey/top_stories/20090119top4.html


Manila: A local magazine listed The Manila Times’ technology editor as among the most influential people in the technology business in the country, the only person from a Filipino daily newspaper to be honored.

Jing Garcia, editor of the Tech Times section, said he was not aware that he was chosen as one of the most influential people in the technology business until a friend told him that he was included in the January-February edition of T3 magazine as among the “movers and shakers” who shape the gadgets that consumers buy.

Garcia was one of the three cited “tech journos,” along with TJ Monotoc of the television network ABS-CBN and Leo Magno of Inquirer.net. They were among the nine Filipinos on the list by T3, which is published locally by Summit Publishing Co. Inc.

The Tech Times editor, who started working for The Times in 2005, is also the newly elected president of the cyberpress, the country’s only organization of information-technology writers—the IT Journalists Association of the Philippines (ITJAP).

“Before jumping in IT, the three-time Awit Award nominee was instrumental in shaping the Pinoy alternative rock scene during the 1990s,” the magazine said of Garcia, a graduate of the University of Santo Tomas in Manila.

“I got hook on computers when I was inside the recording studio,” he said.

Garcia said people who want to have a better choice of the gadgets that they need “should always read tech writer’s review before buying a certain gadget to have an idea about the thing that they want to buy and not to waste their money.”

Tech Times, which features Garcia’s articles and reviews about the latest gadgets, appears on Mondays in The Times. He also hosts technology segments on the television network TV5.

Wednesday, January 14, 2009

Transmissions by Gangan Ensemble (part 2)



January 10, 2009
Mogwai, Cubao X,
Philippines

mobilevid by autoceremony

Transmissions by Gangan Ensemble (part 1)



January 10, 2009
Mogwai, Cubao X,
Philippines

mobilevid by autoceremony

Tuesday, September 16, 2008

ELECTROSTATIC SOUND CONFERENCE III








NMAM's ELECTROSTATIC SOUND CONFERENCE III
September 24 (Weds) 9 p.m.
Club Dredd (2nd Flr Gweilos)
Eastwood Cyberpark, Libis, Quezon City
FREE ADMISSION!

New Media Arts Manila presents ELECTROSTATIC SOUND CONFERENCE III. The blackwinged furies of Sonic Art take to the air once again as Manila's sonic hatcheries crack out the incubators at Club Dredd on September 24. Australian Darren Moore of Iron Egg joins the flock with Edsel Abesamis, autoceremony, Teresa Barrozo, Blums Borres, Tad Ermitano, Inconnu Ictu, Mark Laccay and Manet Villariba for a night of anti hymns in praise of Hundun, the egg god of chaos.

Video art by Edsel Abesamis, Blums Borres, Tad Ermitano, and Manet Villariba.

In addition, Tad Ermitano will give a short presentation on Quartet, the robotic gamelan installation he created in August for the International Symposium on Electronic Art (ISEA). Mark Laccay will also talk about the Jose Maceda Collection Digitization Project and his experience in Austrian Academy of Sciences where he acquired a certificate in Audio Tape Restoration and Digital Audio Archiving.

Proceeds from this event will be donated to the fundraising effort for Tara Bosch-Santelices.

This event is sponsored by Intel, Sony Ericsson, and Globe Telecom

Darren Moore is an Australian musician based in Singapore. He is involved in various projects as a drummer and as an experimental laptop artist. He has performed and collaborated with musicians such as Jon Rose, Chris Abrahams, Johannes Bauer, Jeff Henderson, Scott Tinkler, Eugene Pao, Will Guthrie, Eric Boeren, Wilbert de Joode, Micheal Vatcher to name a few. Currently, He leads a jazz quintet and is a member of Iron Egg - an electro-acoustic visual experimental trio with Tim O'Dwyer and Brian O'Rielly.

Edsel Abesames is a Video editor / motion graphics person / director / racketeer / guitarist / poser / anime fan /overweight 32 year old / discontent drunkard. That about sums it up.

autoceremony a.k.a. Jing Garcia sound artist and award winning music producer. He established the Children of Cathode Ray backed in 1989, one of the early experimental and sound art groups in the country. Produced several music albums for different alternative music artists in the 90s. He is currently the tech editor for The Manila Times and Speed Magazine. He also hosts a tech segment on the late evening news on TV5

Teresa Barrozo is one of the emerging women composers of the country. She started her career as a student of the UP College of Music. Her compositions range from solo, chamber ensemble, orchestral, vocal & electroacoustic. Her works have been performed in the Philippines and in various Asian music festivals (Japan, Thailand). In 2007, she was one of the featured Filipino composers in the Asia-Pacific Weeks 2007 in Berlin, Germany. Teresa also works as a composer for theater & film; and as an arranger for various choirs and orchestras.

Blums Borres guitarist and media artist who experiments with sound, video, and animation. Formerly a technical director at Toei Animation Philippines, he has a BA in Multimedia Design from the Royal Melbourne Institute of Technology. His work has been featured at the Australian Center Moving Images (ACMI), and in cinemas and television in Japan. His career in post production spans over 14 years and has involved himself in both professional productions and education. He teaches 3d animation at DLSU-CSB.

Tad Ermitano. The artist was forced into the hell of art making as consequence of his enemies' envy of his enormous pencil and mastery of the black arts of nuclear canelloni. In revenge, he conquered the three continents of Fairyland by masquerading as five of their seven dead kings and obtained the Dread Dagger of Demosthenes by which he obtained dominion over the twin race of Electrons and Positrons that mortal scientists have confused with inanimate matter and probability waves. In his next work, the artist plans to have the two races meet in battle, guaranteeing an antimatter conflagration that should end the known Universe. Autographs given to women of adequate pulchritude.

Inconnu Ictu a.k.a Roger Llagas Lopez a post-musician,experimental composer,improviser,multi-instrumentalist,visual art enthusiast who reside in the shoe capital of the Philippines. Inconnu Ictu(s) means an unknown mans blow or a stroke,as a sound constructor he explore his interest by using an obsolete electronic gadget,cheap equipment set-up,pedal efx box,deffective rhytm console,found object,d.i.y mic and a circuit bend materials. Inconnu Ictu was participated and affiliated with S.A.B.A.W and EX.I.S.T(experimentation in sound art tradition) a sound art collective,multi-media and explorative art enthusiast.

Mark Laccay is an award winning Audio Engineer who is the CEO of Sonic Logo Multimedia Inc. and a managing partner of Sweetspot Studios. He has worked as a Sound Designer for various films and is the main audio consultant for the "Dr. Jose Maceda Collection Digitization" Project. As an educator he taught audio classes at DLSU-CSB. He has recently returned from Vienna where he acquired a certificate of Audio Tape Restoration and Digital Audio Archiving from Austrian Academy of Sciences.

Mannet Villariba is a performance artist, painter, sound artist, visual programmer and designer. He has been active in diverse fields, such as art, design, and even research and development. Yielding output of sounds, images, and light through analyzing and transforming the numerical values gained from a various sensors and input devices. A Visual Artist pursuing sensual peculiarity, and interaction. He is a graduate of Bachelor of Fine Arts, Major in Painting at the University of Santo Tomas.

http://newmediamanila.blogspot.com/

Friday, May 02, 2008

NMAM: Minus Ten Decibels



New Media Arts Manila
Minus Ten Decibels
Mogwai FIlm Club,
Mogwai Cafe, Cubao X
April 30, 2008

video by: Janette Toral

http://rockistacraze.blogspot.com/

Sunday, February 03, 2008

Cuts and Bruises

here are tracks by autoceremony.

cuts and bruises is a collection of old singles recorded between 1995 and 1998. except for holy money and retiring a human by mistake the rest of the tunes came out in the numeric sampler 502 (diagrams, edit, inc.) and 507 (warranty for the first end user) released back in 1995 and 1996, respectively. listen and learn.

diagrams
http://www.4shared.com/file/36672932/b8274e4a/autoceremony_diagrams.html
edit
http://www.4shared.com/file/36673128/f746a0c8/autoceremony_edit.html
holy money
http://www.4shared.com/file/36673841/d7118465/autoceremony_holy_money.html
inc.
http://www.4shared.com/file/36674000/57be18f6/autoceremony_inc.html
retiring a human by mistake
http://www.4shared.com/file/36674276/f218ff6a/autoceremony_retiring_a_human_by_mistake.html
warranty for the first end user
http://www.4shared.com/file/36674405/20dd44a5/autoceremony_warranty_for_the_first_end_user.html

best on headphones.
free download.

Saturday, January 12, 2008

The 2nd ElectroStatic Sound Conference

New Media Arts Manila (NMAM) presented its second offering on January 2, 2008 at Club Dredd in Eastwood another packed crowd of sound-art enthusiasts, who braved New Year hangovers and the ever present possibility of permanent hearing damage to watch another installment of the sound-art showcase called THE ELECTROSTATIC SOUND CONFERENCE. This time around, the show featured Filipino-Canadian guitarist Maggot Breeder (left); Lirio Salvador and Jonjie Ayson of Elemento playing Lirio’s chome-plated alienware; the Trojan Whores; and Ugong. In addition, The Children of Cathode Ray performed live soundtracks for the experimental films /mutation (pronounced “permutation”) by Tad Ermitano, and Ink and Lizard, two classic films by Roxlee, the godfather of Philippine Experimental Film. NMAM performances are supported by: Globe, Sony Ericsson, Intel, Microsoft, Asus, and Behringer. The next NMAM performance will be in April 2008.

Soundartist Ugong and his homebrew soundware.





Soundartists Lirio Salvador and Jonjie Ayson of Elemento





Trojan Whores' Pow Martinez tweaking a classic analog Yamaha synth.





Soundart group The Children of Cathode Ray with The Manila Times' tech editor Jing Garcia (left), experimental film and video director Tad Ermitano, and computer graphics expert Blums Borres.



Photos by Peter Marquez

Sunday, September 23, 2007

Sound Art Conference this October

New Media Arts Manila(NMAM) was formed to curate, stage, and promote New Media Art -- art made with electronic, audiovisual, and information technologies. It includes sound art, video art, interactive electronics, algorithmic art, computer music, and whatever art forms new technologies may yet spawn. As NMAM's first project, ELECTROSTATIC SOUND CONFERENCE will showcase the full range of performative sound art pieces through the performances of the following artists:

Malek Lopez, Berklee-trained virtuoso who is the principal composer for the band Drip, and half of the abrasive electronica duo Rubber Inc.;

Mu Arae Transmission, (aka Moon Fear Moon aka John Sobrepena), who composes haunting and eerie instances of IDM (Intelligent Dance Music);

Blums Borres, 3D animator, performative video artist, and sound artist who dedicates himself to expanding the sonic territory of the electric guitar;

Jing Garcia, tech editor of The Manila Times who founded the seminal sound art group Children of Cathode Ray in 1989 and composes industrial/ambient pieces as autoceremony;

Tengal, frenetic composer, a tireless sound artist, the founder of S.A.B.A.W. sound art collective, and a one-man record label;

Lirio Salvador, sculptor and luthier whose ornate, chrome-plated instruments are featured on television, displayed in galleries, and played by his group Elemento;

Tad Ermitano, filmmaker and video artist who creates custom programs and hardware for his art installations. His work has appeared in Time magazine.

The ELECTROSTATIC SOUND CONFERENCE will be on October 10, 8:30 pm at Club Dredd, 2nd floor Gweilos Eastwood.


Admission is FREE!





Sunday, August 12, 2007

The genius of the songs

So this is permanence, love's shattered pride.
What once was innocence, turned on its side.
A cloud hangs over me, marks every move,
Deep in the memory, of what once was love.

Oh how I realised how I wanted time,
Put into perspective, tried so hard to find,
Just for one moment, thought I'd found my way.
Destiny unfolded, I watched it slip away.

Excessive flashpoints, beyond all reach,
Solitary demands for all I'd like to keep.
Let's take a ride out, see what we can find,
A valueless collection of hopes and past desires.

I never realised the lengths I'd have to go,
All the darkest corners of a sense I didn't know.
Just for one moment, I heard somebody call,
Looked beyond the day in hand, there's nothing there at all.

Now that I've realised how it's all gone wrong,
Gotta find some therapy, this treatment takes too long.
Deep in the heart of where sympathy held sway,
Gotta find my destiny, before it gets too late.
-- Twenty Four Hours (1980)

This is a crisis I knew had to come,
Destroying the balance I'd kept.
Doubting, unsettling and turning around,
Wondering what will come next.
Is this the role that you wanted to live?
I was foolish to ask for so much.
Without the protection and infancy's guard,
It all falls apart at first touch.

Watching the reel as it comes to a close,
Brutally taking its time,
People who change for no reason at all,
It's happening all of the time.
Can I go on with this train of events?
Disturbing and purging my mind,
Back out of my duties, when all's said and done,
I know that I'll lose every time.

Moving along in our God given ways,
Safety is sat by the fire,
Sanctuary from these feverish smiles,
Left with a mark on the door,
Is this the gift that I wanted to give?
Forgive and forget's what they teach,
Or pass through the deserts and wastelands once more,
And watch as they drop by the beach.

This is the crisis I knew had to come,
Destroying the balance I'd kept,
Turning around to the next set of lives,
Wondering what will come next.
-- Passover (1980)

In fear every day, every evening,
He calls her aloud from above,
Carefully watched for a reason,
Painstaking devotion and love,
Surrendered to self preservation,
From others who care for themselves.
A blindness that touches perfection,
But hurts just like anything else.

Mother I tried please believe me,
I'm doing the best that I can.
I'm ashamed of the things I've been put through,
I'm ashamed of the person I am.

But if you could just see the beauty,
These things I could never describe,
These pleasures a wayward distraction,
This is my one lucky prize.
-- Isolation (1980)


When routine bites hard,
And ambitions are low,
And resentment rides high,
But emotions won't grow,
And we're changing our ways,
Taking different roads.

Why is the bedroom so cold?
You've turned away on your side.
Is my timing that flawed?
Our respect runs so dry.
Yet there's still this appeal
That we've kept through our lives.

You cry out in your sleep,
All my failings exposed.
And there's a taste in my mouth,
As desperation takes hold.
Just that something so good
Just can't function no more.
-- Love, love will tear us apart again (1980)

Procession moves on, the shouting is over,
Praise to the glory of loved ones now gone.
Talking aloud as they sit round their tables,
Scattering flowers washed down by the rain.
Stood by the gate at the foot of the garden,
Watching them pass like clouds in the sky,
Try to cry out in the heat of the moment,
Possessed by a fury that burns from inside.

Cry like a child, though these years make me older,
With children my time is so wastefully spent,
A burden to keep, though their inner communion,
Accept like a curse an unlucky deal.
Played by the gate at the foot of the garden,
My view stretches out from the fence to the wall,
No words could explain, no actions determine,
Just watching the trees and the leaves as they fall.
-- The Eternal (1980)

This is why events unnerve me,
They find it all, a different story,
Notice whom for wheels are turning,
Turn again and turn towards this time,
All she ask's the strength to hold me,
Then again the same old story,
Word will travel, oh so quickly,
Travel first and lean towards this time.

Oh, I'll break them down, no mercy shown,
Heaven knows, it's got to be this time,
Watching her, these things she said,
The times she cried,
Too frail to wake this time.

Oh, I'll break them down, no mercy shown,
Heaven knows, it's got to be this time,
Avenues all lined with trees,
Picture me and then you start watching,
Watching forever, forever,
Watching love grow, forever,
Letting me know, forever.
-- Ceremony (1980)

Caressing the marble and stone,
Love that was special for one,
The waste in the fever I heat,
How I wish you were here with me now.

Body that curls in and dies,
And shares that awful daylight,
Warm like a dog round your feet,
How I wish you were here with me now.

Hangman looks round as he waits,
Cord stretches tight then it breaks,
Someday we will die in your dreams,
How I wish we were here with you now.
-- In a Lonely Place (1980)