Name: If These Walls Could Talk (I wouldn´t be talking to myself) by Andrei Cucu
Duration: 1 h
Description: Radio program originally broadcast on 04-05-2021 on Free radio Berlin Brandenburg

Radio program originally broadcast on 04-05-2021 on Free radio Berlin Brandenburg

If These Walls Could Talk (I wouldn´t be talking to myself)

Sound of India

Alex G “Kicker”, taken from the brand new album “Beach Music”, coming October 9 on Domino.

"Beach Music" is available to pre-order now on limited edition deluxe colored vinyl with exclusive "Alex G Live at The Headroom" bootleg LP, limited edition cassette (Bandcamp exclusive), CD, and digital download.

Pre-order on iTunes: po.st/BeachMusicDL 
Pre-order on Dom Mart: po.st/BeachMusicDM 
Pre-order on Bandcamp: po.st/AGBandcamp

Alex G Tour Dates:

10/08 - New York, NY @ Baby's All Right
10/13 - Berlin, Germany @ Berghain Kantine
10/14 - Haldern, Germany @ Haldern Pop Bar
10/15 - Paris, France @ Le Pop Up du Label
10/16 - Rotterdam, Netherlands @ V11
10/17 - Brussels, Belgium @ Botanique Witloofbar 
10/19 - Manchester, UK @ Night & Day
10/20 - London, UK @ 100 Club
10/22 - Columbus, OH @ Strongwater #
10/23 - Buffalo, NY @ Waiting Room #
10/24 - Toronto, ON @ Not Dead Yet #
10/25 - Grand Rapids, MI @ The Pyramid Scheme #
10/26 - Deklab, IL @ The House Cafe #
10/27 - Minneapolis, MN @ Triple Rock Social Club #
10/28 - Bloomington, IN @ The Bishop
10/29 - Nashville, TN @ The End #
10/30 - Memphis, TN @ Hi Tone Cafe $
11/01 - St. Louis, MO @ The Firebird $
11/02 - Kansas City, MO @ The Record Bar $ 
11/03 - Springfield, MO @ Outland Ballroom #
11/04 - Oklahoma City, OK @ 89th Street Collective #
11/05 - Dallas, TX @ The Door #
11/07 San Antonio, TX @ The Paper Tiger &
11/09 - Houston, TX @ Fitzgerald’s &
11/11 - Atlanta Purgatory @ The Masqurade &^
11/12 - Durham, NC @ Duke Coffeehouse &^
11/13 - Baltimore, MD @ Ottobar &^
11/14 - Philadelphia, PA @ First Unitarian Church &^

# w/ Title Fight
$ w/ Spencer Raddcliff
& w/ Girlpool
^ w/ Eskimeaux



Alex G - Kicker

...And To All The Ships At Sea

No Last Word is the 9th track from NetWorks 3: Thresholds, the entire album can be heard on iTunes, Amazon, Spotify, etc. or purchased on Bandcamp: shawnbell.bandcamp.com/album/networks-3-thresholds

NetWorks is both a music-generating (MIDI-data-generating) program and a body of musical work. It is based on artificial-life, complex adaptive systems research and the Honing Theory of creativity. NetWorks uses a hierarchical, scale-free network to generate music that can range from orderly to chaotic. At the ‘edge of chaos’ it generates patterns that exhibit emergent complexity through coherent musical development at low, mid and high levels of musical organization, and often suggests a sense of direction through goal seeking behaviours.

Emergence, in the NetWorks program, is achieved, not through Darwinian evolutionary processes, but through a far older form of evolution called communal exchange. “There is extensive evidence that for the first several million years of its existence life on earth evolved through communal exchange of components amongst self-organizing autocatalytic protocells, prior to establishment of a genetic code, and only once a RNA-based self-assembly code was in place did life evolve through natural selection. … the last century’s emphasis on natural selection in evolutionary theory is not warranted by current research; even today, variation-selection is, quantitatively at least, not the dominant evolutionary process.” (L. Gabora, in press).

There are no selective processes (fitness functions) within NetWorks, so if an output stream is perceived to “evolve” it can then be said to originate solely through communal exchange.

Selective processes occur only between the interaction of the musician-programmer and the NetWorks program, when the musician-programmer (1) generates and evaluates network architectures, rule-sets and mappings, (2) orchestrates, mixes, and masters the most aesthetically pleasing instances of these outputs and (3) tweaks and expands the program itself.

In general, the sounds chosen to manifest the musical patterns discovered by the network attempt to reflect the mystery and wonder that virtually unlimited diversity can come from such simple interactive models. When mapping patterns to sound, an effort is made to preserve the integrity of the patterns rather than obfuscate them with complex synthetic textures or other effects that are readily available during mixing.

Since the MIDI data of NetWorks is computer-generated, sampled acoustic instruments are often used to give the music a “human feel”, and to allow the listener to relate and compare the self-organizing patterns to known genres.

Headphone listening is recommended.

This was a preliminary mix. The final mix is available on Bandcamp: https://shawnbell.bandcamp.com/album/networks-3-thresholds

Album artwork evolved using SBart4 by Unemi Tatsuo.

NetWorks 3: Thresholds

No Last Word

Spindrift II is the 10th track from NetWorks 3: Thresholds, the entire album can be heard on iTunes, Amazon, Spotify, etc. or purchased on Bandcamp: shawnbell.bandcamp.com/album/networks-3-thresholds

NetWorks is both a music-generating (MIDI-data-generating) program and a body of musical work. It is based on artificial-life, complex adaptive systems research and the Honing Theory of creativity. NetWorks uses a hierarchical, scale-free network to generate music that can range from orderly to chaotic. At the ‘edge of chaos’ it generates patterns that exhibit emergent complexity through coherent musical development at low, mid and high levels of musical organization, and often suggests a sense of direction through goal seeking behaviours.

Emergence, in the NetWorks program, is achieved, not through Darwinian evolutionary processes, but through a far older form of evolution called communal exchange. “There is extensive evidence that for the first several million years of its existence life on earth evolved through communal exchange of components amongst self-organizing autocatalytic protocells, prior to establishment of a genetic code, and only once a RNA-based self-assembly code was in place did life evolve through natural selection. … the last century’s emphasis on natural selection in evolutionary theory is not warranted by current research; even today, variation-selection is, quantitatively at least, not the dominant evolutionary process.” (L. Gabora, in press).

There are no selective processes (fitness functions) within NetWorks, so if an output stream is perceived to “evolve” it can then be said to originate solely through communal exchange.

Selective processes occur only between the interaction of the musician-programmer and the NetWorks program, when the musician-programmer (1) generates and evaluates network architectures, rule-sets and mappings, (2) orchestrates, mixes, and masters the most aesthetically pleasing instances of these outputs and (3) tweaks and expands the program itself.

In general, the sounds chosen to manifest the musical patterns discovered by the network attempt to reflect the mystery and wonder that virtually unlimited diversity can come from such simple interactive models. When mapping patterns to sound, an effort is made to preserve the integrity of the patterns rather than obfuscate them with complex synthetic textures or other effects that are readily available during mixing.

Since the MIDI data of NetWorks is computer-generated, sampled acoustic instruments are often used to give the music a “human feel”, and to allow the listener to relate and compare the self-organizing patterns to known genres.

Headphone listening is recommended.

This was a preliminary mix. The final mix is available on Bandcamp: https://shawnbell.bandcamp.com/album/networks-3-thresholds

Album artwork evolved using SBart4 by Unemi Tatsuo.

Spindrift II

Lucretius Alap, Michael Pisaro, 2009-12

String Quartet:
Lorenz Gamma, violin 1
Min Lee, violin 2
Mark Menzies, viola
Mona Tian, cello

CalArts String Workshop:
Alessandra Barrett, Ava Burtch, Marcus Buser, Emily Call, Vasco Cesaretti, Georgi Dimitrov, Madeline Falcone, Jarrett Furst, Ginny Luke, Bianca McClure, Thea Mesirow, Elizabeth Rettig, Sam Rose, Kaelan Schorger, Henry Webster

Recorded by Chris Wilmott, CalArts, The Wild Beast, April, 2012

Lucretius Alap

elektronischer salon podcast 001 // ian max mauch

notes: recording of an improvised rehearsal for elektronischer salon live 017 using a few analogue synths routed through old guitar pedals and lots of digital post-processing

001 // ian max mauch

Bélaműhely-Csengős (album verzió)

Andrei Cucu is a multimedia/sound artist and sound designer from Berlin trying the boundaries between sound/image/text/space/nature. His work often approaches translations between these different languages, with a special focus on sound, trying the interstices, correlations, interactions. The endless possibilities of manipulating these languages are explored and expanded in sound pieces, audiovisual pieces and images. Andrei has studied literature, comparative studies and sound design, all of which are reflected in the multifaceted manifestations of his art. His works are deeply personal, reflecting small moments, deeply intimate experiences or transformations.

Despite growing up in a city in the middle of Transylvania, his direct contact with nature was very limited, which is why many of the pieces deal with natural surroundings, open spaces, natural/contemplative themes, as a means of rediscovery of the outside world through art. The extremely occidentally focused perspective of early 90s Romania has helped form a cosmopolitan worldview which became even more acute after Andrei´s move to Berlin in 2014. This new environment and the beginning of his sound design studies have left a massive imprint on his art, turning it onto an experimental, conceptual area, opening an immense space for exploration and unexpected sensations.

If These Walls Could Talk (I wouldn´t be talking to myself)

Andrei Cucu

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