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about

R. Luke DuBois is a composer, artist, and performer who explores the temporal, verbal, and visual structures of cultural and personal ephemera.
DuBois has lived for the last twenty-seven years in New York City. An active visual and musical collaborator, DuBois is the co-author of Jitter, a software suite for the real-time manipulation of matrix data developed by San Francisco-based software company Cycling'74. He appears on nearly twenty-five albums both individually and as part of the avant-garde electronic group The Freight Elevator Quartet. He is the co-director of the program in Integrated Digital Media at the NYU Tandon School of Engineering, and is on the Board of Directors of the ISSUE Project Room and Eyebeam.
His records are available on Caipirinha/Sire, Liquid Sky, C74, and Cantaloupe Music. His artwork is represented by bitforms gallery in New York City.

lyrics

« I started working on Serge (and Buchla) synthesizers while a student at the Electronic Music Center at Columbia University in 1993, and worked on restoring and integrating them into computer-controlled systems as the center transformed into a facility for computer music research in 1995. From 1996 - 2003 I recorded and toured regularly with the Columbia Serge synthesizers while performing in the Freight Elevator Quartet.
Two years ago, I began collaborating with Patch Point in Berlin to build a "something old, something new" analog studio at NYU Tandon, where I serve as research director of the IDM program. We have a lab which teaches engineering and design students about the beauty of working with sound - from the physical and acoustic to the electric and electronic to the digital and discrete. This past year I have been recording pretty regularly on the equipment there, and we are launching a residency program to support independent experimental artists to come and work with the Serge modular system we've built in the space.
One of the things I always loved about the Serge system was Tcherepnin's avoidance of boxed-in, normative musical vocabulary and his adherence in module design to the idea that the circuits should speak for themselves. This frees the composer / performer to choose from an infinite palette of possibilities for how to interconnect any set of modules. There is no "wrong answer" with Serge systems... if it lets you express your musical ideas with the sounds you want, you're using the system correctly.
One of the things that was always a high priority when I started contributing to creative software, whether RTcmix at Columbia, Max/MSP/Jitter when I worked for Cycling'74, or p5.js as a contributor at NYU, was to emphasize context neutrality - as a developer, it's none of my business what you want to run through the architecture I've put in place - the data you're working with could be video, sound, 3D vertices, text, numbers from a sensor, or something scraped from the Internet somehow, and the system should always empower you to process it however you like. That ethos and set of design principles was very influenced by how I saw the Serge system. »

credits

from Modulisme Session 035, released February 14, 2021

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Modulisme Marseille, France

Modulisme (translates Modularism) is a media supporting leftfield Electronic music (giving priority to Modular Synthesis but not only). Providing ressources/interviews, a radio program aired via 7 antennas, and above all label-like streaming music for you to listen to… ... more

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