Significa Sombras is a linear, composed version of the interactive media artwork, "Levántate."  http://aetherbits.net

Composed in 2001-2002, Significas Ombras leverages not only custom proprietary software written by Kent Clelland, but also 

--- °Argeiphontes Lyre, by Akira Rabelais
--- °Soundhack, by Tom Erbe
--- °NI Spektral Delay, by Kent Clelland (Native Instruments)

Special thanks to Berenice Hernández for her Vocal Performance.

Levántate was produced with the assistance of Generaciones 2001, Obra Social Caja Madrid

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......................Significa Sombras, by Pablo Neruda........................
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QUÉ esperanza considerar, qué presagio puro,
qué definitivo beso enterrar en el corazón,
someter en los orígenes del desamparo y la inteligencia,
suave y seguro sobre las aguas eternamente turbadas?

Qué vitales, rápidas alas de un nuevo ángel de sueños
instalar en mis hombros dormidos para seguridad perpetua,
de tal manera que el camino entre las estrellas de la muerte
sea un violento vuelo comenzado desde hace muchos días y meses y siglos?

Tal vez la debilidad natural de los seres recelosos y ansiosos
busca de súbito permanencia en el tiempo y límites en la tierra,
tal vez las fatigas y las edades acumuladas implacablemente
se extienden como la ola lunar de un océano recién creado
sobre litorales y tierras angustiosamente desiertas.

Ay, que lo que soy siga existiendo y cesando de existir,
y que mi obediencia se ordene con tales condiciones de hierro
que el temblor de las muertes y de los nacimientos no conmueva
el profundo sitio que quiero reservar para mí eternamente.

Sea, pues, lo que soy, en alguna parte y en todo tiempo,
establecido y asegurado y ardiente testigo,
cuidadosamente destruyéndose y preservándos incesantemente,
evidentemente empeñado en su deber original.

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Significa Sombras

It was a hot summer night in May... not some ordinary heat, but a full moon high-desert heat that can only exist in such rattlesnake, scorpion, and tarantula infested altitudes such as Val Verde, California.  The occasion was a birthday party I think... or a going away party?  or an end-of-semester party?  Or perhaps even all three.  In any case, the moon was full, the semester had ended.  I was not exactly homeless, but didn't really at that point in time have a particular place to call home.  And so it came to be that I would move into the scorpion, snake, and spider infested desert where the summer heat was so intense and so dry that my computer would turn itself off after 45 seconds of power-on-time due to the heat overload sensor.  Therefore this composition was largely developed during the dark of night, as the temperatures dipped down towards mid 80-degrees (Fahrenheit).  

( ( but I diverge...  back to the party... ) )

Over the course of the evening I had numerous conversations (seven to be exact) with women I had not yet met (no surprise being that I tended towards digital hermeticism in those days).  The *most* striking aspect of these 7 distinct conversations was that they were all laden with a particular yearning to know the future (by all parties.)  We were (all) at the crossroads of our careers and freely discussed our plans, fears, and ideas on the near-to-mid-term future.  We also had a very strong connection (every one of us) in that Susan Allen had played a very significant role in our lives in the past months-- and this was a theme that pervaded each of the seven individual conversations.  In the days, weeks, and months following this cathartic evening I thought much about those conversations: so much so that I composed a variation (and spectral processing algorithm) for each of the conversation partners of that evening.
In the order they appear in the composition:
1) Heather
2) Isabella
3) Tara
4) Caat
5) Amanda
6) Elena
7) Gwenivere

Many thanks to all seven of these women plus Susan Allen for the inspiration and direction.  I hope you are all well, wherever you may be...

|K<

__software used:
* Tereza, proprietary Spectral Processing from Kent Clelland
* SoundHack, by Tom Erbe

Seven Sisters Under a Full Moon appears on the Compilation CD "The Frog Peak Collaborations Project" available through Frog Peak Music:  http://www.frogpeak.org/fpprojectsfront.html

Seven one-minute variations on a vocal performance by Chris Mann.  Each variation demonstrates a different spectral processing algorithm developed by Kent Clelland.  


Seven Sisters Under A Full Moon

Originally released on the MEGO sublabel Fals.ch as 'Hoerfehler / OhneSorge' in 1999 under the artist name 'KENT'  (FB17) The 'Hoerfehler' release had three tracks in all, of which 'OhneSorge' was the third and ultimate.

HARD (impossible) TO FIND! Offering "hypermusic on purpose", Falsch was operated from 1999-2005 by Florian Hecker (aka Hecker) and Oswald Berthold (aka Pxp).   the Fals.ch catalog is now again availalbe online at:
https://f4lsch.bandcamp.com

Hoerfehler was originally released on the Fals.ch netlabel in the summer of 1999. Fals.ch was (as far as I or anybody else can discern) the very first netlabel, famous for being extremely difficult to navigate and hosting a bounty of noisy and otherwise bastardized genres of mp3's [ALL FREE TO DOWNLOAD!]. The release came about as a direct result of my meeting Florian Hecker at a masterclass at ZKM in Karlsruhe (The Genesis Symposium, I believe it was dubbed).

Hoerfehler presents early works on spectral distortion, and introduces compositional elements which would later become hallmark to my sound as a composer of experimental computer music. Most notably, the use of vocal recordings both as subject matter and as environmental contrapunctus, as well as the importance of processed saxophone (and alto clarinet!), brand these compositions as uniquely Clelland.

OhneSorge was recorded live in Val Verde, California before an exclusive audience at my 27th birthday party and was performed by using numerous (A LOT!) instances of Soundhack simultaneaously. The output of the computer was recorded directly to DAT, normalized and uploaded to Soundcloud without further editing or arranging. The source materials conisist of a single vocal performace by Astrid Baud and a saxophone interpretation of my own invention. The source materials were recorded 'after-hours' in the main atrium (5 stories tall) of the SWF Experimentalstudio, as I was coding the TEREZA program there. These two performances were the primary test material for TEREZA, and appear also in many other compositions during this time period.

Like FoisGras, OhneSorge is also binary in form and utilizes the direct (spectral) translation of many traditional compositional techniques (such as inversion, retrograde, retrograde-inversion, canonization, and call-and-response). Most notably, OhneSorge features prominently the extreme spectral distortion algorithm known as 'Jello-Mold.'

OhneSorge was created exclusively using with the following software:
*==* TEREZA by Kent Clelland
*==* Argeiphontes Lyre by Akira Rabelais 
*==* SoundHack by Tom Erbe

OhneSorge

Recorded Live at the WMF club in Berlin, Mitte (Ziegelstr) in the summer of 2000.

The very first Native Lab gig in 2000 featured live laptop performances by K∑ñ†, LazyFish, and Vladislav Delay.

Text by Giordano Bruno.  Software by Kent Clelland.

Software used on stage:
~=/=~ Reaktor 3.2 for Mac
~=/=~ Spektral Delay 
~=/=~ Vokator
~=/=~ Max/MSP



nun_und_wie_wir_wollen

SeismicXXX is an electro-acoustic composition for 8-channel electronics (computer music), vocalist with 4 feet of pvc tubing, electric guitar, and amplified double-bass.  Composed for performer/composer collective FLEA MARKET ORCHESTRA together with the amateur (very amateur) dance group "Project420," SeismicXXX was premiered at the OVER21 concert at the Los Angeles Art Bank on February 28th, 1997.   In the spirit of low-budget DIY guerilla performances, the 8 channel electronics were played over four antiphonal portable CD-players.  

Personnel:
Merlin Coleman: Vocals
Matt Cohen: Electric Guitar
Adam Lane: Double Bass

The 8-channel computer music elements were composed using
~=/=~ SoundHack, by Tom Erbe
~=/=~ CornBucket, by Tom Erbe
~=/=~ TEREZA, by Kent Clelland
~=/=~ CSound, by Barry Vercoe et al

Live Recordist: Jerry Summers

SeismicXXX

On a cold winter's evening in SOCAL, Tom Erbe and I drank a bottle of Bombay with two lovely women and watched Chris Marker's La Jetée (1962).  Those events directly inspired SurgeSuppression.  The feeling is (was) of being bound.  And of french whispers.  And of obsoleted moving parts in the form of dot-matrix printers moving about above one's bound head: blinded by the sound,  paralyzed by the arrhythmia.  Time travel, still images, a past, present and future and the aftermath of the event horizon. The tale of a man, a slave, sent back and forth, in and out of time, to find a solution to the world's fate.

Featuring Serafine Klarwein: Vocals, Dave Lasley: Bass, ImageWriter2: dotmatrix.
Premiered in 1995 in collaboration with Estelle Woodward (Choreography), 
SurgeSuppression features the PVOC stylings of Tom Erbe's Soundhack bar none. Released on Mego's sublabel, Fals.ch in 1999 as free mp3 downloud under the artist name KENT (fb17 -- Hoerfehler).

Software Used:
~/~  SoundHack, by Tom Erbe

SurgeSuppression

Alèthéia (1998) is an experimental film integrating live action and 3-D computer animation to create a metaphorical immersion into the mind, a journey of audiovisual alchemy through the labyrinths of memory.

The soundtrack is computer music concréte using the following sources:
* water
* glass
* alto clarinet
* alto saxophone

the software used to process the sounds:
*--&gt; TEREZA, by Kent Clelland
*--&gt; SoundHack, by Tom Erbe

__ AWARDS __
* 1998 Special mention of the jury: VideoArt Festival, Locarno CH
* 1999 Best video award: Concurso de Creacion Audiovisual de Navarra, Pamplona, ES
* 2000 Special mention of the jury: Interferences Festival, Belfort, FR
* 2000 Best original music composition: Certamen de Video de la Comunidad de Madrid, Alcala de Henares, ES

©1998 Soundtrack by Kent Clelland, Film by Denis Lelong &amp; Mariela Cádiz.

more projects online at:
<a href="http://aetherbits.net" rel="nofollow" target="_blank">http://aetherbits.net</a>



Alèthéia

A sonic collage incorporating materials from various soundtracks in progress, 
earworms of the disillusioned, and memes making the rounds, Allumeuse embodies
the timeless wonderment of the event horizon: a voyage into the unknown.
Allumeuse (1996) is dedicated in loving memory to Buballah Meshugenah.

A combination of recordings made with Clelland's trusty Yamaha SY-99, a bent (though
not broken) interpretive score for trombone performed by Scot Ray, custom ambient
and nature recordings acquired explicitly for use in films by Serafine Klarwein and 
Amy Alexander, and even vocalizations by Amy and Serafine themselves: Allumeuse
leaves no stones unturned, and no turns unstoned.  

Premiered in the Modular Theatre at CalArts (which is btw where the EMPIRE STRIKES BACK
was filmed:  the scene where the freeze Han Solo in Graphite-- that's where this was premiered.)
during the CSSSA (pronounced "Sissa" stands for "California State Summer School for the Arts.")
Unperformed until NOW, the only people who have ever heard "Allumeuse" are a couple dozen
very musically talented (1990's) teenagers.  Allumeuse premiered under the context of a CSSSA
workshop in which we (the Daniel Rothman Ensemble) performed (with master classes) dress
rehearsals of CEZANNE'S DOUBT (1996). 

__ Software used in Allumeuse: __
*--> SoundHack, by Tom Erbe
*--> CornBucket, by Tom Erbe
*--> CSound, by Barry Vercoe et al

__ links related to Allumeuse: __

<a href="http://vimeo.com/24886589">"End Was Here" (1996) by Serafine Klarwein</a> (film)
<a href="http://amy-alexander.com/projects/films/unbroken-pieces.html">"Unbroken Pieces" (1996) by Amy Alexander</a> (film)
<a href="http://www.unitedstatesartists.org/showcase/cezannes_doubt_end">Cezanne's Doubt (1996) by Daniel Rothman</a> (chamber opera)
<a href="http://www.allaboutjazz.com/php/musician.php?id=2911">Scot Ray, Trombone</a> (instrumentalist)
<a href="http://www.imdb.com/name/nm0000634/">Peter Sellers, Video Samples (of)</a> (actor)
<a href="http://www.vintagesynth.com/yamaha/sy99.php">Yamaha SY-99</a> (synthesizer)


Allumeuse

	
Broadband noise in repetitive glyphs, distant voices warped by intrusion: singularity versus contusion. btt2k represents Clelland's minimal aesthetic combined with his ardent use of specular distortion.  Realtime interpreted software syllogistics interspersed with the discrete software synthesis (as run in the debugger) yield an accelerated abuse of time based asymmetry. Keep up with that!

Like the shadows of memory mirroring the concept of self, the residue of high sound pressure levels combined with the homoöpathic anti-oxidants led to the misconception that love of loud not meaneth loud of love.  brain_tumor_test_2000 was born out of porting NI's Reaktor to the Macintosh platform.  Months spent running realtime synthesis software in MacsBug left relics of diskfarts roaming across the internel networks.  Many of which became fodder for subsequent (if not consequent) realtime oddities performed in various dark places.  This one got lost in the eddies of time.  Until now.  

Having failed to convince the technical people at NI that it made sense to embed a realtime interpreter into the Reaktor environment, I abandoned my hybrid HMSL/Reaktor builds to the annals of time.  Not for lack of vision did they fail to share my enthusiasm for the concept (after all it was a full 8 years before 'Max/MSP for LIVE'...) Nonetheless my hybrid mutation of HMSL and Reaktor yielded timeless gems of minimal distortion drones throbbing like insatiable feral guppies.  Like slowly being bombarded by intensely focussed low watt Electro Magnetic Fields, brain_tumor_test_2000 will help you on your way to higher digital awareness...  (or give you cancer)

__software used__
--- HMSL, by Phil Burk, Larry Polansky, David Rosenboom et al
--- Reaktor3 for Mac, by Stephan Schmitt, Volker Hinz, Kent Clelland et al
--- TEREZA, by Kent Clelland
--- Absynth, by Brian Clevinger

brain_tumor_test_2000

High Density, High Tempo, Highly Malformed, Insanely Spektral, Gabber from Clelland's 2000 Computer Music Studio in Berlin.  Recorded on high-density dual-spindle gigachurn hardened rotating disks at 7200 RPM, this near-fatal approach to spektral distortion, pain-panning and extreme vibrations may damage your ears, reputation, relationships, rental agreements or all of the above.  You have been warned.


Abbruch

Floating Point Entertainment and Binary Sound Culture Present K∑ñ†.
ComputerMusic realized LIVE on stage.  
Avant Club Noise, NativeLab #1

Part 2 of Clelland's Multi-Set A/V experience on Saturday July 29th, 2000
WMF Club, ZiegelStr: Berlin Mitte.  
30 Minutes of Live Computer Music Madness.  
Powerbook G3 blowing brains again after midnight.  

__software__
* Reaktor 3
* Max/MSP
* Spektral Delay
* Vokator
* B4

Computer Assisted Application Singing After Midnight Pt2

.
.
Kenneth (Kent) Clelland aka c/// is a composer, software developer, multi-instrumentalist, and interactive media artist working in Switzerland. An autodidactic computer programmer, Clelland's first software releases were in the form of live performances of realtime brainwave music as a part of the David Rosenboom Ensemble ("On Being Invisible II").  Clelland's software inventions would later be licensed to his future employer, Native Instruments (1999-2005)... where he designed and programmed software used in productions ranging from Aphex Twin to ZZTop.  

Clelland is a founding member of the New Meda Art Collaborative Network: Aetherbits.net whose works have been exhibited on every continent (excepting Antarctica-- for the moment!) only to receive broad (positive) critical acclaim.  As chief technology developer for Aetherbits, Clelland has put his years of expertise in realtime audio DSP to use in the realm of realtime video synthesis, upon which all of Aetherbits' current works are based.

This soundcloud archive of Clelland's early compositions serves as an historical background overview of Clelland's work.  Most of these pieces have been premiered live though never released on a high-definition format. Labels specialising in experimental computer music please get in touch:  we are looking to release high-definitions of these compositions at some point...

Additionally, Clelland is always happy to collaborate with like-minded artists.  Whether it's a track, a piece of software, or an interactive installation you are interested in working on together: get in touch!  

Happy to make your acquaintance,
nice to see you hear!

c///

Clelland ( c/// )

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