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City Jet out of City for ADE and a hi tech lo fi experiment over the water in Velo City, Bike Town, Amsterdam. I love the calm of this town. I love that cyclists rule the centre. I feel at home. On a bike you don’t stop. Pedestrians jump. Motorists slow. You go. All cities should be like this. I am keeping my wits about me. Using not enough film and too much iPhone. Like I said, it’s hi tech lo fi, the way forward. There are meetings, arranged and chance. There is the swapping of cards, CDs and ideas. There is the traditional lack of sleep, excess drinking and steely early morning hangovers, disco lights, misty dawns and bright-angled sunlight, burning retinas, twisting the steel band of headache. There is hope in a changing world, and other pretty meaningless but generally uplifting slogans. And there is cycling. Ah, cycling, in proper bike lanes, up and over the hump backed canal bridges, down beautiful, sunlit streets, as the leaves drop gracefully, in waves, into the murky water.
Find My Way, a new house track from Chris Coco and Jim Breese appears on the Rising Music Autumn sampler for Amsterdam Dance Event.
Despite evidence to the contrary (see picture)
I think the doors of opportunity are still open. I have to embrace new (see instagram picture)
and use the best of the old to make up for the new’s deficiencies.
So, by way of illustration, here is a picture from Bristol of the the more traditional way to work. As you can see it’s a bit difficult now. And a picture of Cross Bones Graveyard, an ancient place of rest for the prostitutes and the poor of The Borough, with a slice of Shard in the background to keep it contemporary.
What I mean is that I am trying to feel it not fight it (as Primal Scream once said, sort of), channel artistic energy to create good stuff, then worry about how that becomes work, if that becomes work, how that makes money. I know it’s not much of a business plan but it is, for better or worse, what I do.
So what I mean is, this is what I do with added new, and a bit of old. There, now it’s totally clear, isn’t it?
Here’s the artist having his portrait drawn by himself, in the form of five robot arms, each wielding a Bic biro and skillfully sketching on a piece of paper pinned to an old school desk.
This is the private view of the latest work from Patrick Tresset. There are five robots on show, all called Paul, and they draw the face of the person seated in a big chair in front of them. Paul number four, at the back of the class, is a little willful, he will sometimes scribble all over his work before it is finished. Patrick programmed the Pauls and spends most of the evening in the chair, enjoying the spotlight while keeping a close eye on his unruly robotic pupils.
James McArthur and I, meanwhile, are in the corner, playing robot music to soundtrack the event. James is using vinyl records played on record decks. I am using digital files played on imaginary decks on my iPhone. It’s the first time I have DJed using a phone, but it seems appropriate for this human meets machine evening. Kraftwerk, Phuture and Sensate Focus feel like they work, as well as some more obscure deep techno and post house.
We spin music that sounds like machines; the robots draw pictures of faces like humans.