"I’m not asking for the world here. I really don’t think I am. I would merely like to suggest some manners, no different to those used by anyone out there who wouldn’t walk in front of someone engaged with a painting in an art gallery, or emit a loud noise during the crucial speech in a play. Music needs a certain environment and respect to have full effect. And no – that is not, not, elitist." I, too, could have punched the man – it was clearly a man – who, in what seemed like an attempt to show off about just how much he enjoyed the performance, was early to the gun. Why not let it breathe? Why not let it sit? Currie's description of applause as a train you get led onto is particularly good, as is his point about how applause-whenever can have its place. But there were only two people who should have been making Contacts with things at that point of the concert, and they were both on stage.

Nice article from Tom Phillips on a potted history of graphic scores – with a rather good gallery "attached", buried in the Guardian's IA.

Yuri Suzuki and Mark McKeague have a new design/invention firm. I like that they emphatically describe themselves as making "machines" (along with products and experiences). (Found because of Ototo).

"I was no boy naturalist, unlike Pokémon creator Satoshi Tajiri – whose collecting habits earned him the nickname Dr Bug among friends. And yet I vividly remember catching my first tadpole in a Golden Wonder crisp packet, then cradling this sloppy pouch all the way home to a sluiced-out jam jar. When you know Tajiri wanted to make a game to communicate his joy in catching insects as a boy, and look at Pokémon, it is impossible not to feel how powerfully he succeeded." A really lovely piece of games writing, about breeding and trafficking Pokémon as an adult – but, secretly, about the appeal of the series to players of all ages.

"…the 808 is such a storied instrument in electronics. It casts a large shadow. There's whole genres based on just the kick or the snare or the cowbell sound. As soon as you turn it on and start working, you hear every single gesture that's happened in electronic music since its advent. It's this crazy machine of history, and it's really hard not to be beholden to it in that way." Daedalus on the history embedded in instruments, as part of an interview about his use of technology for Resident Advisor.

"Gor is a simple http traffic replication tool written in Go. Its main goal is to replay traffic from production servers to staging and dev environments." Handy to know about.

"While collaborating with the geniuses at Bot & Dolly in beautiful San Francisco, Munkowitz was tasked to Design Direct a truly unique piece called BOX.. The piece was originally supposed to function as a Technology Demo, but Munkowitz and the team quickly realized it's visual potential and transformed it into a Design and Performance Piece… The resulting short film is a one-of-a-kind visual and technological achievement due to the very special combination of talent and gear behind the doors of the B&D facility…" Projection mapping and motion control all at once; very clever, sure. But it's the art direction of the whole performance (and the camera's dollybot is very much part of that) that really grabbed me – especially 'Escape'.

""Prisms" is fully algorithmic. There are no cuts, just one continuous generative animation. All decisions (camera work, movements, formations, etc…) are made by my system's interpretation of the audio track. My work was creating the system and then curating its output or, to put it another way, I just wrote a computer algorithm, and the computer did it all."

"This is why vacations are essential. They hold up the mirror and show how much energy you’re spending simply to achieve baseline steady state in your day." Yes, that.

"It has reached gabber zero – the point at which a programming language is able to support the production of live techno."

This is the most comprehensive breakdown of Endtroducing…'s samples that I've seen; it's mainly good for all the complete original tracks, some of which are wonderful in their own right. If you like that record, you're going to lose a lot of time to this.

Great CDM post on using pd on the Raspberry Pi, along with hardware controllers, for a headless MIDI interface. Makes me think about what you could do with this, an MBED, and some cunning.

"I’ve attached a 16-step sequencer to the original Auduino lo-fi synth and have added 8 LEDs and 5 buttons to the original design, and thus the Groovesizer is born." Fun.

"Analog a la carte is an experiment I (@urtubia, @bigrobotstudios) am conducting for rendering sequences on real synths remotely. This webfrontend will enqueue sequences into a job list that is read by a raspberry-pi at "headquarters". Once the raspi receives the job, it then both sends the sequence via midi to a synth and records it in realtime. Finally it encodes the resulting audio file into an mp3 file and uploads it to Amazon S3, so that this server is nice and ready for getting more sequence requests."

"About 1 minute and 4 seconds after Gunpoint became available for pre-order on the evening of Monday the 27th of May, it had recouped its development costs. This was not entirely surprising, since the only direct development cost was buying Game Maker 8 for $30 three years ago.

The surprising bit happened next." It is really lovely that Gunpoint has worked out so well for Tom. It's an interesting little game, and I'm glad he's going to keep poke "interesting" games rather than having to make a pile of money. Well done him.

Lovely big oral history of Kompakt, on Resident Advisor; a really good article.