Dawn Chorus on Easter Sunday - Ammerland, Bavaria

Dawn Chorus on Easter Sunday

Cut My Lip (Twenty One Pilots cover by Charlotte)

Unknown album (4/4/2020 5:21:49 PM)

Into your Horizon

UMBRELLAMANCER (Produced by RedMessiah)

Down and Up EP

Beatport

noisy cello - 1st experiment, low-fi recording with AKAI X201D

Noisy cello - 1st experiment, lo-fi recording with AKAI X201D

I decided, after looking at several of Martin's paintings, that I wanted to focus on that precision repetition, the light/dark alternation, and the subtle gradations of field.

The track is an improvisation inside Live, with one instance of the Buchla Music Easel (providing the upper-register track) and one of ARP 2600 V3 (providing the lower one), with Live's BrainDance and Squishy Beat Repeat effects to put in additional emergent rhythmic effects. I potted down both synths, gradually faded them in, and then slowly tweaked the filter frequency and resonance on the ARP, gradually adding in ore modulation from the ring modulator, then slowly removing it. The Buchla's variations came from tweaking the effects following it, but basically leaving the patch alone to imitate the regular ruled lines.

The Tree, 1964 [disquiet0456]

According to art historian Lawrence Alloway, Agnes Martin was one of the principal pioneers of the “Hard-Edge” 1950's painting movement. “Even where forms are not purely represented,” he wrote, “[Hard-Edge] abstract artists have tended toward a compilation of separable elements, treated as discrete entities. Forms are few and the surface immaculate … the whole picture becomes the unit. The result of this sparseness is that the spatial effect of figures on a field is avoided.”

Martin’s work evokes not only austere minimalism but also a cerebral airiness, perhaps gained from when Martin lived in New Mexico while attending university. Her work appears to vibrate off the canvas, the rigor of her craft subtly transformed into a sort of trembly dissonance. Even a simple line appears to breathe; a series of seemingly identical shapes reveal hidden nuances on close inspection.

For this piece written for fake violins, Suss Müsik interpreted Martin’s lovely 1961 work entitled Words (ink and graphic on paper, mounted on canvas) as a graphical score. The parallel lines are represented by sustained, repetitious phrases playing a single note. The triangles are conveyed through a simple 3-note counterpoint performed in consecutive sets of four, four, six, six, six, six, four and four. 

The piece is titled Words and was recorded live with one overdub for piano embellishment.

More on this 456th weekly Disquiet Junto project, Line Up (The Assignment: Interpret a painting by Agnes Martin as if it were a graphic score), at:

https://disquiet.com/0456/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0456-line-up/

There’s also a Disquiet Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Words [Disquiet0456]

Flavie Deprez co-fondatrice de Carenews répond aux questions de Si On Changeait
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https://www.carenews.com/
Twitter: @CarenewsCom 
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Source: Ministère de l'économie et des finances, BPI
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Graphisme: Marie Guilloteau/Musique: Arno Dufour
Réalisation: Valérie Janin

S02E04 - Carenews - Le média des acteurs du changement

falling away, from its wing
from this feeling
off the heat

flew too close to the sun,
beaten and shunned,
thousands of eyes watches as he falls by
and starts seeping down

on the orders of the king
by the end of last year's spring,
as the final kingdom's reigning,
neptune stopped its spinning

love ceased to exist
left the knight in disbelief
drunk in misery, he screams
into the floyd, over and over and

why can't i want you?

a tale of a knight

hidden among the trees
a shrine with mice and 
red leaves on the ground

a tale of a knight

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