▬▬▬ Audio ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
CF - Blue, Red, & Black

MIxed live from cassette. Originally released in an edition of 40
copies by Channel 69, December 2013.

Tracklisting ::
On the Street (R. Tsarlag) ■ Ave Maria / ? (Muriel) ■ Fullness of the Moon ■ Lady in Red (DeBurgh) ■ Fullness (Reprise) ■ Habib (Pak) ■ He Went (B.R. Alpha) ■ That's How Strong... ■ That's How Strong My Love Is (OV) ■ Blue Velvet (Theme) ■ Both Sides Now (Joni) ■ Awake (Tabloid) ■ We Love You / Paint it Black (Stones)

www.free-cf.com

▬▬▬ Text ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
The Radionic Object by Duncan Laurie

Alyce Santoros has proposed in Philosoprops that “there are illustrative works that have caused profound shifts in the way entire populations envision their place in the universe”. Termed ‘philosoprops’, these iconic images—think the DNA spiral (1952), the ‘Blue Marble’ photo of earth from space (1972), da Vinci’s ‘Vitruvian Man’ drawing of human proportions (est. 1500) fulfill the function of a bright light bulb going off in the collective psyche.

Immediately I asked myself, What was the original philosoprop? How does the information contained in the philosoprops alter consciousness?  Do these seminal objects or works radiate an actual energy that is broadcast into the mind of the viewer, or is the illumination purely cognitive? In essence, what power does an image contain and project that it might alter our entire view of reality?

Full text :: http://www.docdroid.net/file/download/9IZS06p/the-radionic-object-duncan-laurie.pdf

CF - Blue, Red, & Black

▬▬▬ Audio ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
Jailblazer - A View From The Hann Window

Recorded and arranged August 13–22, 2015.

Hardware: 
Mutable Instruments Clouds & Frames
Make Noise Function & Wogglebug
Strymon El Capistan

Software: 
Adobe Audition Edits, Mix, & Convolution Reverb with Shepard Tone Impulses

www.justinchrismeyers.com
www.sym-ltd.com

▬▬▬ Text ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
"Hip-hop is currently the most adventurous and experimental form of popular music. When most rappers describe their lifestyles, it's an experience mostly removed from my own, but the idiosyncratic cadence of my favorite rappers is where I find the most appeal in hip-hop. This mix attempts to recontextualize the essence of this appeal by deploying a sampling technique, granular synthesis, which warps and distorts the material defined here within the range of a 1 second audio buffer. The sampled material's amplification curves are reshaped with different envelopes, one being the "Hann Window". In two instances of the mix full songs are sampled and distorted in real time, but most of the material consists of scanning 1 second audio buffer loops, reshaping rapper's characteristic intonations. If the material succeeds for the listener, it does so because of the power of the source material, coming through even while a song is processed to the point of sounding more like stuttering than the usual seamless flow. Distilling this essence of the art form could perhaps give the listener a new perspective on the music and instill the same profound respect for the art from that I have.

Hip-hop is a predominantly African American genre, invented and cultivated in urban and poor cultural centers, but since the early 90's has maintained a large white suburban audience—an audience that couldn't fully relate to the core experience of being black in America. Full disclosure, I'm a white male who grew up in Southern Minnesota. When I had the idea for this mix years ago the implications of race never occurred to me, but that's the advantage of being white in America, I don't have to think about my race on a daily basis. I hope growing up as hip-hop became a mainstream cultural force has given my generation some empathy for the black experience.

The Jailblazer moniker was born out of the desire to explore new methods and concepts in my music, it's purpose is to play with and defy the listener's expectations. I adapted the moniker to distance the material from my previous work, attempting to give the listener a different perspective. The real-life "Jailblazers" were an early 00’s iteration of NBA’s Portland Trailblazers who were notorious for misbehaving, getting caught with drugs, arguing with their coach and amongst each other. They had absolutely no regard for their fan base as well, denying autographs, spitting on hecklers and just not being what the public wants from their professional athletes. They were predominately a African American team, coached by an African American, labeled the "Jailblazers" by a mostly white fan base. The Jailblazer era was over when most of the players were traded away to other teams or retired. Once traded away from a toxic environment, players matured and lead successful NBA careers. My favorite Jailblazer, Rasheed Wallace, went on to win a championship as an integral part of the Detroit Pistons and Zach Randolph is the veteran leader of the gritty Memphis Grizzles, a playoff team in the difficult Western Conference."
- Justin Meyers, August 2015

Jailblazer - A View from the Hann Window

▬▬▬ Audio ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
EVOL - Opus17aSlimeVariation#7

Opus17aSlimeVariation#7 ─ for Topcat bass. Gmebogosse, November 2015.

Opus17aSlimeVariations is a series of reinterpretations of Hanne Darboven's Opus 17a (1984). 

www.vivapunani.org/pmwiki/pmwiki.php/Main/OPUS17ASLIMEVARIATIONS

www.alkualkualkualkualkualkualkualkualkualku.org



▬▬▬ Text ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
Slime Aesthetics by Alexander Iadarola

Slime—often in vibrant neon—is a common trope in the work of EVOL. It shows up in
release titles like Rave Slime, Melting Pinkness, and Purple Melters; in the viscous feel of
their tracks, brought on by acid house-styled sonic bending; and in the monochrome
kandi of their artwork. Although Roc Jiménez de Cisneros and Stephen Sharp’s affinity
for it no doubt has to do with psychedelic rave aesthetics—exploration of rave’s media
history and sonic template is a recurring theme—slime in their zone takes on a life of its
own. There, a big part of its fun as a figure is its ability to function doubly as a conduit
for academic styles of inquiry as well as more everyday, tangible, and straightforwardly
visceral kinds of engagement.

Full text :: https://www.docdroid.net/TBcxsjH/alexander-iadarola-slime-aesthetics.pdf.html

EVOL - Opus17aSlimeVariation#7

▬▬▬ Audio ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
Guy Birkin - Sonic Complexity

2 types of waveform:
- Sine
- Square
4 amplitude levels:
- 0, -6, -12, -24 dBFS
5 file types:
Lossless:
- FLAC, level 8 (max) compression
- Apple Lossless (Apple encoder), automatic settings
Lossy:
- MP3 (LAME encoder), VBR V0 (highest quality) compression
- AAC (Apple encoder), VBR 127 (highest quality) compression
- OGG Vorbis, q10.0 (highest quality) compression

Audio files :: www.nul-ptyx.com/files/sonic_complexity_v3.zip

www.aestheticcomplexity.wordpress.com

▬▬▬ Text ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
Sonic Complexity: Some Basic Tests by Guy Birkin

The aim of these tests is to begin an investigation into sonic complexity. The objective is generate a set of audio files based on variations of a few key musical parameters, and to see how a basic measure of complexity responds. In this case, complexity is measured by the information content (size) of digital audio files. The tests investigate how various audio compression algorithms might be useful as measures of sonic complexity. The hope is that understanding how this measure works with simple sounds will prepare the ground for further tests with more complex sounds and, eventually, with music.

Full text :: https://www.docdroid.net/LRSrwOT/sonic-complexity-v3.pdf.html

Guy Birkin - Sonic Complexity

Digital transmission space focusing on the presentation of audio and text pieces by artists and thinkers. Examining the exchange from one field of study to another.

Encouraging navigational shifts between disciplines through an explorative reconfiguring of malleable boundaries.

http://nul-ptyx.com/index.php/gmebogosse

Established 2015 by Eric Frye.

gmebogosse

Popular tracks