’25’ at iFIMPaC

HELOpg performed at The Wardrobe, Leeds, on 13 December 2012, as part of the International Festival for Innovations in Music Production and Composition.   In preparation for this gig we set out with an intention to do something more beat based than our usual thing; the idea being to use the SLIME systems to share tempo and other data during performance.  The potential of incorporating Albeton Live was discussed, but eventually Julian Brooks proposed ’25’ as a piece responding to the 25th anniversary of the explosion of Acid House.


Telematic Music: Hug the World

It’s ten days now since 1 May 2012, and about time for reflection on the Hug The World telematic music performance which was part of the 11th Deep Wireless Festival.

(edit: it’s almost 2 years later and the links above seem dead now, but info can be found on the Concordia University website)

This performance involved sending and receiving audio, via internet connections, to people performing at different locations around the world.  HELOpg were at the University of Huddersfield and joined in during the first hour or two of what was to be a six hour jam session.

HELOpg Hug the World (1 May 2012)


automated(?) copyright notice on HELOpg video

from HELOpg email communications:

Scott Hewitt
5 March 2012 15:40

I have received a copyright notice about the video
Anyone using source material they do not have permission for??
There is a mastered sound around 5 mins and perhaps other later.
All the best

Samuel Freeman
5 March 2012 15:56
I wasn’t there for that recording…
very interesting that that has happened: what did the notice say?

Adam Jansch
5 March 2012 15:57
I’m watching through now. Interestingly, the page says that the Artist is Jon Flores… maybe it’s an algorithmic matching error?

Scott Hewitt
5 March 2012 16:02

Your video, HELOpg – 2011-01-20-helopgres-mix , may include content that is owned or administered by this entity:
Entity: DigDis Content Type: Sound Recording

Thats all they say I think there is a sample around 5-6mins

Adam Jansch
5 March 2012 16:05

The audio between 5′ – 7.30′ is from Tape Findings (specifically here: http://www.sweetthunder.org/ tapes/weektwentyseven.html), so I’d be surprised if that’s a problem.


Adam Jansch
5 March 2012 16:07
There is also a screeching cello sample that comes in around 11’30 – that is probably from one of my own recordings.


Sam Birkhead
5 March 2012 17:41

Johnflores.info ?

Julian Brooks
5 March 2012 20:14
Pretty confident after checking his page
that I wouldn’t go within 10 feet of any of his tunes.

See you in court mofo.

Where’s the copyright notice stuff?

Sam Birkhead
5 March 2012 23:34

I think this is the track YouTube thinks is sampled.


Released on undercool productions


There’s someone called Albena Flores on the digdis distributions site.

Has the copyright owner actually submitted this pull down request?

Do we have the multitrack session for this track? I’m sure it’s a to be album track.

I’m done investigating now!

Samuel Freeman
6 March 2012 07:06

nice one Sam,

jon flores: 2011-09-14 , (Release Date)
[[ http://www.beatport.com/track/deep-soul-original-mix/2667054 ]]

HELOpg: 2011-01-20 , Uploaded to youtube on Jan 28, 2011
[[ http://www.youtube.com/watch?v=coWBQsSbbBA ]]

since yesterday the link to ‘deep soul’ on our video on youtube has been removed.


on Metacosm at NMF, by sdf

reflections on the first Metacosm performance, by sdf 20120131

What HELOpg proposed to the Network Music Festival (NMF) requested the use of a space for an interactive installation / performance that would last several hours.  During that time we would have continuously constructed, mostly through livecoding, the Metacosm instrument (if instrument is the best word for it) which is conceived as a single entity comprising multiple laptops and other hardware.  The technical and philosophical underpinnings of the Metacosm were named as the SLIME System.

Understandably, the NMF was unable to allot a suitable space to host our experimental happening, but did offer a 30minute performance slot instead.
In accepting this performance opportunity it was necessary to rethink the construction of Metacosm, and so used the three rehearsal times we had available to develop the SLIME System.

For each of us (sjb, jb, sh, and i (sdf)), the task was to adapt our own individual laptop-instrument-systems to interface with one another, and thereby create a single entity collaboratively controlled by the group.  The SLIME System involves networks of both control data (via OSC on UDP) and audio data (via analogue connections to and from the NetMixer by sh).

For my own part a decision made at the start of this process may have set me up for avoidable hardship;  rather than take ‘sdfHELOrig’ (the modular performance toolset that has been in use with HELOpg since 2009, and is itself built upon the _inever system developed as part of my MA in 2007), I opted to take my current PhD project sdf.sys_beta and implement some the network features that were already high on the to do list of that project.
The result, therefore, was a experimental extension of an experimental system which was initially designed for compositional modes of working rather than improvised performance.  None the less a specific setup of sdfsys was established and a set of /slime OSC namespaces published to the other HELOpg players.

HELOpg performed Metacosm at the NMF on Sunday 29 January.  The published program note was that of our original proposal for a long installation type performance thing. My contribution to the 30 minute set was hindered by (perhaps inevitable) technical problems : the laptop I was using to send and receive OSC was not receiving all of the messages, and a level of panic set in. I have yet to see/hear a recording, so cannot be sure how it went, but at the time it felt like there was some strong transitions of state in the soundscape, and agreed with someone who afterwards said it sounded ‘really tense’.

In conclusion of this rambling post,  the SLIME System offers valuable modes of interaction but more careful planning is required to make good use of the possibilities in performance, and, finally, while the pursuit of experimentality is worthy one should not abandon one’s tried and tested tricks.