Her Feedback

Que No Se Diga

Ghosts of Christmas

Time, anytime, ASAP

Video: https://youtu.be/1LBBZi4k6cQ

Spompanadln

Anytime ASAP

脈​脈​と​、​終​焉​と​修​繕 [215 endings to repeat mending]
https://canooooopy.bandcamp.com/album/215-endings-to-repeat-mending

everything is on the ending. 

* 

the way is still 100%SAMPLING製法 / GarageBand though, 
this time i set rules how to use sample sauces like these: 

> must to use the last one sound of each sauces. 

> never use the first half of each sauces 
(use sounds around endings as possible) . 

these rules made this album more abstract than my past works, 
elements of “beats” were almost diluted. 
it keeps on ending while 20 minutes. 

i never forget beat-based style like ever. 
rather, this is a ending to continue making more fresh works. 
and it's not so far. 

* 

everything is on the mending.

脈​脈​と​、​終​焉​と​修​繕 [215 endings to repeat mending]

変容せし声、液晶に散り [21 endings to devoice on device]

Android 6.06

"Who Wants to Listen to That?" audacious artwork defies conventions, immersing visitors in a provocative exploration of sound. Chaos intertwines with playful creativity as polyrhythmic tape delays and experimental heavy-metal-free jazz collide.
The work’s mastery shines through Joy’s recording of multiphonic voices in the bassoon, TAK's audiovisual score performance, and live processing responses. Boundaries between electronics and acoustic elements crumble, revealing a daring sonic landscape.
Textures unfold and mutate, blending vicious attacks with ethereal drones from the resonating thunder tube and singing bowl. Perception is stretched to its limits as spatialization techniques engulf listeners in a multidimensional realm of rebellion.

Dynamic shifts guide visitors through hyperactive gestures and irreverent moments, evoking a sense of defiance and audacity. Long reverbs and precise delays create contrasting sonic environments, further amplifying the work's rebellious spirit.
"Who Wants to Listen to That?" embraces the audacious beauty of intangible sound, challenging norms and expectations. Prepare to be transported into an electrifying experience that defies conventions and ignites a rebellious spirit of sonic exploration.

Huge, huge thanks to Laura, Madison, Marina, Charlotte, Ellery, and Joy, whose patience, kindness, brilliance, friendship, and magical sounds made it possible. 

Big shoutout to Taylor Brooks, David Bird, David Adamcyk, and Murat Colak for the extra support! Let's celebrate the spirit of collaboration and the incredible power of artistic synergy. I am forever grateful for your invaluable contributions.

Who Wants To Listen To That

Jude Sherry is the director of the global design agency Anois, which she co-founded with her partner Frank O’Connor to create value through design for sustainability. She is an international expert & thought leader on ecodesign, sustainable design & circular economy. 

In 2021 she received the Irish Tatler Woman of the year award in Art & Design for her leadership in Sustainable & Ethical Design and alongside her partner Frank O’Connor they are on a vital crusade to highlight the amount of Dereliction and Vacancy in our cities, towns and rural areas to bust the many myths around tackling dereliction in a housing emergency.

Episode # 10 - Jude Sherry (Anois Agency - Eco Urban Design)

Ecart

"Repetición y diferencia" (encargo ArtHaus)

(Eva García Fernández -2022-)
para flauta, clarinete bajo, saxo alto, piano, guitarra eléctrica, violín, cello, vibráfono y batería.

Concierto – La unión hace la fuerza – ArtHaus (17 de diciembre 2023)


Ensamble ArtHaus
Flauta: Amalia Pérez
Clarinete bajo: Federico Landaburu
Piano: Marcelo Balat
Guitarra Eléctrica: Pablo Boltshauser
Violín: Grace Medina
Cello: Clement Silly
Vibráfono y batería: Bruno Lo Bianco
Dirección: Pablo Druker

Repetición y diferencia es una obra que surge a partir de cuestionamientos en torno al ser y la identidad, tanto en el ámbito personal como en el estético o artístico. La identidad no es fija, sino dinámica, se construye a través de la experiencia de la diferencia y la repetición, es esta experiencia la que nos permite relacionamos con el tiempo, con la historia y con el otro. En esta línea, es una obra que dialoga con Gilles Deleuze, Bernhard Lang y obras anteriores de la compositora. La obra es, en sí misma, un acto de repetición y diferencia.

En la obra, esta dialéctica constante entre diferencia y repetición, se expresa en diversos niveles. Por un lado hay repeticiones de determinadas configuraciones, que si bien aparentan ser “exactas”, son repeticiones “puro disfraz”, ya que a la hora de sonar y transcurrir en el tiempo, producen diferencias infinitesimales, estas diferencias se producen en el interior de la repetición.  Por otro lado, hay elementos sonoros que se repiten a lo largo de la obra, diferenciados por su relación en el contexto temporal y material, creando una repetición diferida que reactualiza el presente. De igual manera, hay algunos momentos de articulación formal en donde se escuchan diferencias cualitativas, es decir, en donde los elementos se reconfiguran y se subvierten las estructuras repetitivas preexistentes.

Repetición y diferencia

Repetición y diferencia - para ensamble - (2022)

Etude 1 : Book of Eros

Sound Theater Archives: Silence the Tongues of Prophecy

If you have the Gravikords, Whirlies and Pyrophones CD/book set, introduced by Tom Waits and nicely produced by Ellipsis Arts, you've already heard the shortened version of this song. This  post is of the original, longer version of Silence the Tongues of Prophecy.

Always fascinated by synthetic speech, as soon as the tech became available (early 1980's) I began building human voice synthesizers. In this recording I use an instrument built around the vintage SP0256-AL2 IC. 

The instrument, in fact, uses two SP0256-AL2s to create a stereo human voice synthesizer. Originally named the "R.A.P." (pre-dates popular rap music and stood for Readily Available Phonemes), I've since re-named it after discovering its circuit-bent personality: the Subliminal Chant Generator.

In the text sheet accompanying the IC I noticed a statement something like, "The SP0256-AL2 needs the control of an external microprocessor to concatenate allophones into words." Immediately I thought, "nah." 

After all, address lines are only voltage levels. I wanted to build a machine with which I could activate allophones manually, by pressing keys on a keyboard, a modern version of the classic 1940's Bell Labs Voder talking machine. 

I did that, and with the addition of the final bending of the circuit (allowing bits to float) the vast realm of subliminal chant appeared.

Here, however, the Subliminal Chant Generator operates in its more overt personality, delivering allophones with clear certainty. The subliminal aspect of the voice synthesis is not presented in this recording but will be in an upcoming post of songs from "Voice of America," a cassette album from my old Sound Theater catalog.

Joining the  Subliminal Chant Generator in this post is one of my first incantors (I'd not yet written about the design, at the time of the recording they couldn't be heard elsewhere). 

That's all you need to know to understand what you'll hear. If you'd like to know more about the instrument, check-out my Facebook post of Dec. 2, 2015 for an up-dated excerpt from my EMI article, "The Subliminal Chant Generator."

Sound Theater Archives: Silence the Tongues of Prophecy

KEEPING TRACK is an interview, documentary, and music show hosted by Dave Hackett and based in Cork City.

For updates and more go to https://linktr.ee/Keeping_Track

Episode # 10 - Jude Sherry (Anois Agency - Eco Urban Design)

Keeping Track

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