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Index of Titles Filed Under 'Composition'
There is no such thing as voice in literature. That is, we assign chimerical properties to characters’ voices; fictions based on voices we have heard in relation to the description of the characters’ personalities; identities we want to confer on the characters. Whilst we read and listen to this voice, it is neither true nor false. It is the product of a careful assembly of traces and features we believe represent a person – more physically even than their own body….
“Bifurcating a Resounding No!” compounds a variety of prepared acoustic situations, computer synthesis & field recordings developed in the software bidule. It strives to create a multidimensional listening experience both subtle & engaging. It is intended for listening in quiet environments through headphones or monitors with little distraction.
The photograph is a book (The Queen’s Gambit), a bookmark (acid) & one of Ingmar Bergman’s favorite quotes “We come into this world with sealed orders”. All of this is inspired by smothered mate (chess) which is a checkmate delivered by a knight in which the mated king is unable to move because ...
Boids is an artificial life program, developed by Craig Reynolds in 1986, which simulates the flocking behaviour of birds.The name “boid” corresponds to a shortened version of “bird-oid object”, which refers to a bird-like object. Taking the position of the bird-like object, how does other creatures sound like? The limitation of labelling computer generated species after preexisting ones complicates our relation to the former. Digitally sythesized -oids lost in the deep sea, later found and played back in 2x speed. A group of dead -oids scattered along the timeline. It’s our choice to hear an -oid.
RHSM is a crystallization of MSHR’s live performance- an electronic ceremony that glides through four movements. Each movement acts as a virtual scape, defined by a distinct system for improvisation between the players and their handmade analog electronic instruments. MSHR’s pathway through the possibility matrix of each scape was mapped to an 8-track tape machine and digitized multiple times per track. These tracks were interwoven to create the iridescent effect of tape phasing as a compositional element, augmenting the psycho-acoustic content of the original improvisation.
Scape 1: Unfolding Hyper-Shape Alap
This track was recorded live in an electronics array in our bedroom ...
“yoooooowhatuhoe” was developed on a tour of the American West Coast in February 2015.
The macro form of the piece was predetermined with special attention paid to temporal ratio between sections, while the material filling out the different sections was generated by procedures ranging from retyping the content of a G-Chat conversation on the Computer MIDI Keyboard to capture the typing habits of the composer and thereby generating pitch and rhythmic data, to using weighted random processes to build dense stacks of pitches.
The sound sources used in the piece are the following:
General MIDI (10. Glockenspiel; 38. Slap
Bass 2; 54. Voice Oohs; ...
Music is not what you think
My puffy morning face cushions the small indented buttons that are my eyes, like those of an old pink armchair and remain this way until the introduction of coffee restores and dilates them. I’m standing half-dressed in a T- shirt like some obscene cartoon character, all cold feet on the tiles wishing I had put my dressing gown on before going to the kitchen or that I even owned a pair of slippers.
Each day is full of choice and choice should not lead to repetition, but even choices once seemingly easy become hard. Indecision mounts to higher levels that cascade ...
MERGE LANE
$3.33 / Celia Hollander
Last week, within 5 days, I took a car to a bus to an airplane to an airplane to a car to my feet to a car to a bus to a subway to my feet to a subway to a train to a shuttle van to my feet to a shuttle van to a train to a subway to my feet to a subway to a train to an airplane to a bus to a car to my bed. Collecting myself horizontally, I realized that my insides had been whisked into a pureé from all ...
PublisherDJ/rupture2001-2012
Yeah, I have tinnitus by now but it’s not so bad.. I’ve DJed a lot of parties and made a lot of mixtapes over the years… And now you can listen and download most of them right here. The best place to begin is 2001’s game-changing live 3-turntable mix, Gold Teeth Thief. This influenced a lot of people & opened many ears; over a decade later, the world sounds a lot more like I was hearing/blending it back then.
Here’s a list of most of my mixes in chronological order for free download as V0 mp3s. After the list you’ll find cover ...
The Berlin-based producer and artist Steven Warwick presents a unique audio-visual ‘mixtape’ on PAN, compiled of a series of darkly lyrical and sonic musings, as well as personal snapshots, written stories and videos taken across trips whilst residing in LA and Berlin. Arriving as his first musical release under his own name, Warwick (aka Heatsick)’s latest venture also utilises a new sonic repertoire allowing for a new route for his music, “It’s a reset in a way, creatively and emotionally”.
Titled ‘Nadir’, the release reflects on a somewhat sardonic, and at times melancholic and unsettling mood. Recorded in both Los Angeles, ...
PublisherDJ/rupture2012
SUFI PLUG INS is an interdisciplinary project by Jace Clayton. Version 1 is a free suite of music-making software apps, based on nonwestern notions of sound & a poetic interface.
“it’s one of the few digital tools I’ve seen that I would also consider art. It’s a tool that is not only designed to help musicians make new sounds, but also to self-consciously influence what is produced. Interface design decisions are guided both by functionality concerns and the creative expression of its maker.” – Paddy Johnson, Art Fag City
More than 15,000 people have downloaded Version 1, and the plug-ins have been ...
THROAT’ is the new album by composer/producer Aaron David Ross (ADR). Arriving as the New York artist’s second release on PAN, ‘THROAT’ is made entirely from vocal sounds. It could only be crafted in the ultra-present; an age where the poetry of songwriting is flattened into catchy hooks. As words are sliced into sounds, ideas are reduced to sibilant syllables that still contain a range of emotional power, but deliver it in subversively different ways.
‘THROAT’ exploits these ways, borrowing vocal fragments from everywhere to collage a choral congregation of singing servers; pinging one another to create open-source equal-opportunity electronic pop music. Reichian ...
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