Yasunao Tone Credit: Andy Newcombe

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In his liner note essay for Convulsive Threshold (Editions Mego), Yasunao Tone’s 2013 collaborative album with Russell Haswell, Tony Myatt explains that the veteran Japanese sound artist rejects the notion of abusing or inducing errors into his work with digital sound technology. He prefers the term deviation: creating situations where the technology can take a work someplace new and unintended. That distinction might seem silly, especially if one understands that Tone—a key member of the Japanese wing of the international interdisciplinary creative group Fluxus in the 60s and early 70s—was one of the first sound artists to manipulate compact discs and build works from the digital errors (or glitches) of his interventions in the early 90s. He’s devoted the decades since to exploring new possibilities for electronic music. In recent years Tone has applied his favored concept to MP3 files. His latest work, AI Deviation #1, #2 (Editions Mego), introduces code corruptions to generate new worlds of sound—using artificial intelligence to prevent any repetition. Working with several British software developers, Tone helped to engineer a system that can simulate, but not replicate, performances he made with the MP3 deviations. Comparing those original works to the material on the AI Deviation #1, #2 seems pointless, and would probably require some high-end technical analysis to determine the effectiveness of the software in any case. Still, there’s no denying the power of the slithering, unpredictable electronic noise that results. For this rare local performance Tone will present two new AI deviations, interacting with sound rendered by the program via computer.   v