Echo

This track could be the transformation of some recent lyrical texts into a soundscape. A sophisticated algorithm is inspired by the poem-like texts and translates them (according to semantic criteria) into mathematically calculated virtual instruments. This process is called AEAT (arbitrary extraterrestrial association triggers) and unfortunately only exists in my imagination so far.

But this is one thing that already works today: Human brains are able (by means of excessive association) to extract lyrical texts from the following soundscape ... Have fun!

Psychosomatisches Salzbergwerk

Psychosomatic Salt Mine

This piece is about the transition between life and death.

Oh Charon für Orchester

Live performance of Scribbles (Škrábanice) mixing poetry in four languages: French, German, English and Czech. Michal Rataj and Jaromír Typlt January, 17th 2020 in Liberec, Art´s Birthday 2020. // Živé provedení Škrábanice s básnickými fragmenty ve čtyřech jazycích. Nahrávka z mezinárodního vysílání Art´s Birthday z Liberce 17. ledna 2020.

Scribbles Live 2020 / Škrábanice : Michal Rataj, Jaromír Typlt 2020 01 17

Scene 1: Circus Maximus - War of Talents (Variations)
Scene 2: Management Meeting - War of Vanities (Jazz Episodes)
Scene 3: Office Romance (Adagio)
Scene 4: Teambuilding - Oktoberfest (Scherzo)
Scene 5: Adieu Executives - Deceleration (Passacaglia)

Ballet for Business für Orchester

My first modular synth patch composition - made in VCV Rack

I created this while taking part in @Sarah-Belle-Reid ‘s excellent and very inspiring Sound and Synthesis course 

There came a point in the knob twiddling process when the chaos settled and the circuits seemed to start singing to each other. I think I am now very possibly understanding how people get hooked on modular 😱

Breathe Through (Being Patient is Difficult)

Private copy.

The track appears on 'The Vancouver Soundscape 1973'. 

Directed and edited by R. Murray Schafer.

Part of the World Soundscape Project, Simon Fraser University (1972-73)

Recordists: Howard Broomfield, Bruce Davis, Peter Huse and Colin Miles.

R. Murray Schafer: "Entrance To The Harbour" (The Vancouver Soundscape 1973)

Eine Möglichkeit, Angst in etwas Klangvolles zu übersetzen, schenkt mir die elektroakustische Spontanimprovisation mithilfe von Analog-Synthesizern, meiner Stimme, diversen Geräuschquellen und Computer-Effekten. Improvisation bedeutet für mich das Ausblenden musikalischer Kategorien und das absolute „Im-Jetzt-Sein“ – frei von jeder kompositorischen Absicht. Es geht mir darum, eine Gefühlslage unmittelbar in Klang, Laut und Geräusch zu übersetzen, wobei das Zusammenspiel von Quellen und Effekten für mich stets unvorhersehbare Ergebnisse bringt, auf die ich in der Situation improvisierend reagiere. Ich weiß also nicht vorher, welche Sounds am Computer entstehen, sondern erlebe dies im Tun.
In Anspielung auf Baudelaire nenne ich die hier entstandene Klanglandschaft „Les Fleurs de la Peur“. Dies ist auch ein kleiner Rückgriff auf meinen 2012 veröffentlichten Lyrikband „panik · blüten“. Das ca. 15minütige Klangstück ist auf Soundcloud (aktuell kostenlos) hörbar.


Les Fleurs de la Peur

An impromptu sketch for colorful patch cables and no input mixer feedback.

Cartoon

IN MY NEIGHBORHOOD

Broken Elevator

Bandcamp

Concrete

I experience creating and listening to my soundscapes as a form of meditation. Being in the here and now is decisive for this: the soundscape is an arrival. Finding a home in movement. My technique is one of complete improvisation - largely free of musical or compositional standards. Anyone who closes their eyes, who immerses themselves in this world with the help of a sitting or walking meditation, will embark on a journey. And if you allow yourself to take souvenirs from this world with you, you will have visual impressions that can easily be transformed into paintings or poems ...

Les Fleurs de la Peur

Chrys

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