When living things gain the ability to extract information from their environment and react to it, they can have a survival advantage.   So did our senses evolved;e.g. an animal might "hear that" a predator approaches and evade it.  

Complex beings process complex stimuli for all manner of information, so the cognitive effort after the raw sensation can take time.   This necessary delay, for human beings at least, means experiencing sense-data-in-itself even while reflecting on the question "What is it?"  For music this gives rise to a duality: even as we surrender to an immersive experience we might parse it and deduce some of its structure (or at least experience the mere presence of structure through its artifacts).  

Perhaps "duality" make this too simple: we can also reflect on the feeling of surrender, we can also reflect on the feeling of deductive experience.  We can "hear that" a sound got made in a certain way, we can hear that a sound is similar to different from some other sound, and we can "hear that" a variety of sounds enjoy some order or pattern.   Music is not just how it sounds, it is at least(!) all that the stratified listening mind does.

To Hear and Hear-That, as a kind hypercanon (a canon on a canon on canon on a canon) depends on "transposition up the steps of the overtone series (as opposed to up or down a fixed interval).  

From another but equivalent viewpoint, the many chords here correspond to solutions of the problem of expressing any given beat number, if possible, as the sum of four distinct fourth powers (a.k.a. biquadrates).   From the choice of that problem, and for mathematical reasons, a kind of rhythmic steady state emerges, a flow that neither thins nor thickens on the average, but nevertheless projects predictable/unpredictable variation (depending on the computational power of the agent who would predict).   In contrast to the rhythmic steady state, as the piece progresses the larger beat numbers require solutions with larger biquadrates, so the timbre of the piece slowly evolves from consonance to some kind of resonant dissonance.

For an ending, both a bit arbitrary but also a bit natural, the piece goes on only as long as 32 harmonics suffice.  



To Hear and Hear-That

Flower in Asphalt (2013).

At Fontanepromenade there is sunlight all the time
There’s this will to be weird, there’s this sentimental line
Sky Saxon on the radio, hippie boats on Spree
Freak flags flying high, there’s this will to be free
And to dive and to float and to be
In the universal eye of fantasy

At Fontanepromenade there is Marilyn in the nude
There are seven colored bottles, there’s a pusher in my tube
Lava lamps are glowing, the vinyl is spinning fast
Like a pirate retransmission drawn directly from the past
In her love in her song in her hips
There’s the universal truth of city kids

At Fontanepromenade there is magic of the spheres
There is Crowley on the shelf, there’s Blavatsky in the wings
There’s a TV show from Saturn airing interviews with death
Like Zeppelins in Bohemia like a dragon on my back
Flying low catching up leaving Earth
In the universal eye of neverwere

At Fontanepromenade there’s a devil in my shoes
Devastating all the neons saying “Woman I Love You”
He’s got tired of the parks, all the parks they let him down
With their cans of beer a plenty with the scent of bubblegum
In his mouth in his ears in his hands
Lies the universal truth of nowhere man

At Fontanepromenade there are mirrors on the floor
There’s a bathroom full of glue, there’s dementia in the walls
I’ve been cut eleven times by all these mirrors cracking up
Then I took an elevator to the bottom of my cup
In the fuzz in the bliss in the pines
In the universal eye of Father Time

At Fontanepromenade the whole universe is on fire
There’s a galaxy of thieves, constellations of desire
Like pictures of Christine, her typewriter’s unaware
Rewrite Arabic poems, there’s this need to miscompare
And to rest and to sleep and to hide
In the secret depths of universal eye

At Fontanepromenade there’s a circus and a zoo
There are twenty-seven whores and they all are much like you
There’s Yahowha 13 on the melting TV screen
There are Stooges in the cupboard and I’m feeling pretty mean
While you dance and you turn and you twirl
In the universal truth of a girl

Fontanepromenade

At the Beginning (And In The End)

This is a track from a few years ago.  I recently remixed it with some new parts.  This song is why I think I have ADHD.   

You may know the title from the sound a teenager makes once they've figured out they know everything. 

lyrix:

woah!
ahhh ahh
scheau
scheau
crazy
i like parties 
scheau
lol
scheau
ohhh ohhh oh oh ohhh
(shamanic chants)
scheau x2
oh goddamn
crazy

Scheau

Human Ground (Earth) – KAT x Lou
Rooted in stillness, the pulse of being.

Earth hums quietly beneath the noise,
solid, ancient, forgiving.
A piece that carries both gravity and grace.

Created in collaboration with Lou (@louie_e), whose earthy guitar tone meets my lyrical breath  - 
a dialogue between soil and sky.
Part of the Element Series, this collaboration rests on grounded sound and poetic resonance.

The cover image traces back to my Tribe Painting, created in the deserts of Mexico during a shamanic journey, a circle of life, soil, and song.

Human Ground (Earth)

why was 6 afraid of seven and why was seven afraid of 6
cause 67 is over rated
-Tidus

Will it be weird? Or even too weird? Yes.
But just trust us on this one, not only will you begin to take root in this sound soil but you will grow such a fantastic idea. It may be something so fantastically wonderful! This sound soil is packed with dirty nutrients for growing minds! That's what the headache means.

Stylophone Beats, most Stylophone Gen X-2 and post recording piano : Mitchell 

Bowie stylophone, most in recording piano and sneezing: Tidus

Tidus and Mitchell: In recording Piano and Stylophone Gen X-2 

Seven Do 8 eat 9 ( >_< )

chemical research

At the end of the year and with winter approaching, the night wraps us in its magical aura. Nature offers us its beauty if we take the time to observe it.


En cette fin d'année et à l'approche de l'hiver, la nuit nous enveloppe de son aura magique. La nature nous offre sa beauté s'il on prend le temps de l'observer.

Nuit étoilée

dark time

Corrina

Composer, mathematician, visual artist. 
Seeks collaboration with performers and choreographers.

Please don't spam this account!

To Hear and Hear-That

David Victor Feldman