Live Impro with Two Benjolins and SuperCollider At Studio Loos, Den Haag, 12/June/2014

TimeFolding V.7.0 Live Performance at Studio Loos

A live performance compressed into 5 minutes. The instrument built for it is inspired on David Tudor's neural synthesis works.

Feedwork • 2017

Transriver- Track 1 Headwaters, Hinterding - CD published as a part of The immaterial's Language, Molecules and Vibration,  Haines/Hinterding with essays by Ann Finegan and Amanda Williams. Composition based on the Electromagnetic Field recordings of the Parramatta River Headwaters.

Transriver - Track 1 Headwaters

Live Coding [excerpt], performed at Music, Humans and Machines (ODC 2019), Orpheus Institute, 22.05.2019

'Translation, traces and intervention'

Technical autonomy usually depends on abstraction or attempts to generalize behavior. Generalizing often involves a translation, a mapping between different modes of representations in order to simplify or combine. However, processes of abstraction can distantiate agency from its origin, sometimes introducing a by-product “a remainder, a set of discarded information—the différance, or the crucial distinction and deferral of meaning that goes on between the map and the territory. In ‘Translation, traces and intervention’ the idea is to explore the boundary of software abstractions and direct access to computer sound synthesis.

Live @ Music, Humans and Machines (ODC 2019)

There are no walls. 
1. Tilt your head to left and right
2. Wander with eyes closed
3. Find your spots
4. Walk through the walls of sound (with open eyes)
5. Repeat above in arbitrary order 

Saxophone by Jamal Moore

07. There Are No Walls by Mint Park

Crosstalk A and Crosstalk B are the first works I composed for Wave Field Synthesis playback. 
As a starting point for Crosstalk A, a series of sounds with clear, single pitches was used. This series of sounds was transformed electronically in many ways, during which each transformation also imposed a specific spatial quality on the material. The extent to which the pitch information survived the transformation was a parameter too, as was the duration of the transformed sequence of sounds: from several minutes to only a few seconds. The transformed sequences themselves were again transformed, until a matrix was created which was used as a basis for large-form decisions. The different sections of the piece limit themselves to certain zones from the matrix.

Crosstalk A was commissioned by the Fonds voor de Scheppende Toonkunst and was premiered during the Inventionen 2009 festival in Berlin.

06. Crosstalk A by Kees Tazelaar

Virus Sine Fantasy is an experiment of synthetic acoustic space artificially populated in an exploration of a visionless dream.

05. Visus Sine Fantasy by Joel Thurman

“Vernal (Edit)” was recorded shortly after the Spring Equinox of 2020, in the early days of quarantine, as the crowded hush of isolation was just settling in. Its pitch series is derived from a spectral analysis of the featured bell sound, and its two synthetic sources (digital sine and analog square waves), in addition to the organic bell, were subjected to various tape recording and resultant degradation processes, then mixed in the WFS environment. Despite this somewhat analytical methodology, it still manages somehow to belong within the uncertain expectancy of this liminal period, in which something – nobody knows what – is waiting to assume shape, during which the contents of mind are the only actual resources available (as ever), and for which everything made must inevitably be about, even the things that aren’t. Perhaps that makes this a song about waiting; waiting (instinctively avoiding the presence of other bodies, never breathing in too deeply – which is not at all instinctive, but second nature) for this New Creature, which emerges strangely from around the next, near corner.

04. "Vernal (Edit)" by Brian Short

This piece plays with the listener’s sonic expectations of what is familiar by fusing sounds, which a person can easily recognize, with new previously unheard sounds generated by algorithmic processing. By using various sounds and sonic artifacts that are common to the human experience, the work directs the listener to draw upon his inner visual associations with specific sounds and paint a mental soundscape of the acoustic experience. The introduction of other, unfamiliar processed sounds into the composition, invites the listener to break away from this familiar associative chain of acoustic phenomena and push the boundaries of his perception, in the process forming new sonic combinations and auditory experiences.
The musical piece was fully recorded and compiled in the Tonshoom Studio in April 2020. Some sounds were recorded using musical instruments, sound props, and speech; others were synthesized with SuperCollider. The final track was mixed down in Pro Tools and WFSCollider.

03. hybrid by Ivan Yerofeyev

"…and this too will be swept away" was made in May 2020. The title is a quote from Roman Emperor and Stoic philosopher Marcus Aurelius (121–180). The decision to choose this title initially stemmed from references invoked by the sound materials used — water flowing, ticking clocks, sliding rock formations, etc. The piece also deals with the shift of perspective on the passing of
time in this time of pandemic. Additional interesting fact to mention: Marcus Aurelius died as result of a plague (most commonly thought to be Small Pox). During that plague he wrote his famous Meditations, a collection of his thoughts commonly seen as one of the most important writings of Stoic philosophy. This piece was composed entirely with the aid of WFSCollider in my home studio. I’ve employed my ideas about spatial audio, mostly dealing with the composition of large, scattered “fields” of sound versus small “points”. The piece does not deal with movement as such but rather the scattering of textures in a large sound field.
The form of the piece evolved fluently from the use of the basic materials and processes used. It is the first piece in a very long time where I employ the use of field recordings. These are combined with edited recordings of two electronic improvisations with digital feedback FM synthesis and the Benjolin analogue synthesizer developed by Rob Hordijk. Processing was mostly done digitally in WFSCollider. The field recordings were made at Høvikodden, a small beach headland in the Oslofjord that houses the Henie Onstad Kunstsenter and sculpture park and the headquarters of classification company Det Norske Veritas (their building’s ventilation system is sound material in a part of the middle section of the piece). Binaural rendering was done in Reaper using Aalto university’s Sparta AmbiBin plugin.
Thanks first and foremost to Ji Youn Kang for letting me participate once more in this festival. I’m also very grateful to Wouter Snoei for his WFSCollider software and especially for the fact he implemented the Ambix export option at my request.

02. "...and this too will be swept away" by Ernst van der Loo

Lagoon is a piece composed for the WFS system in 2019 and now proposed in a version for headphones.
The piece has been conceived as an exploration of the behaviour of short sound samples when manipulated by fragmented streams of numbers. I associated the sounds to creatures living and changing together within their habitat, imagining some of the things that are happening under a still water surface.

01. Lagoon by Giulia Francavilla

Composer/SoundArtist from South Korea, active in The Hague, Netherlands
http://www.jiyounkang.com

TimeFolding V.7.0 Live Performance at Studio Loos

JiYounKang aka KANG