'manu militari'
Corvée de Chiotte.
Track created in 2020 (Live recording).

Tools :
Logic > uMidi > Marbles clock.
Rings, Basimilus, Telharmonic.
Tides, Quad VCA, Black stereo mixer, Listen IO.
Volca Sample.
Volca Drum.
DrumBrute Impact.
Mixed in Logic Pro 9.

Associated image : Petrus Major.

Marée Haute à Ploubelzec [corvée de chiotte]

FILM: http://www.youtube.com/watch?v=ASn2Zse6g8k

Many Moons

Ensemble Modern; Sarah Maria Sun (voice), Clemens Heil (cond.)
http://www.coderapuzo.com/indivisible/

ENG
Aproximación a lo indivisible (approximation to the indivisible) is based on the consideration about multiplicity and unity. Several texts in different languages, each associated with a different voice treatment, present different views on this idea. The first and main text, in Latin, is an excerpt from a 1663 letter from Baruch Spinoza to Lodewijk Meyer titled "about the nature of infinity." Spinoza explains how thought accesses the true nature of infinity by conceiving it as indivisible and unique while imagination grasps it under the aspect of the multiple and discontinuous. The second text is based on the poem Cycle de l'air (et du sang), of the poet Irène Gayraud. The text deals symbolic and metaphorically with the idea of multiplicity. The third one is a serie of prime numbers of Mersenne and perfect numbers, codified in a invented language based on a tetradecimal numeral system. 
ESP
Aproximación a lo indivisible está basada en la relación entre la multiplicidad y la unidad. Varios textos en idiomas diferentes, asociados a un tratamiento de la voz distinto plantean diversas visiones sobre esa idea. El primer texto, en latín, es un fragmento de una carta de 1663 de Baruch de Spinoza a Lodewijk Meyer que versa “sobre la naturaleza del infinito”. Spinoza explica cómo el pensamiento accede a la verdadera naturaleza del infinito concibiéndolo como indivisible y único, mientras que la imaginación lo capta bajo el aspecto de lo múltiple y lo discontinuo. El segundo texto está basado en el poema Cycle de l’air (et du sang), de la poeta contemporánea Irène Gayraud que aborda la multiplicidad desde el simbolismo. El tercero, consta de una serie regresiva de números primos, codificados en un lenguaje numérico inventado de base tetradecimal.
FRA
Aproximación a lo indivisible, est fondée sur la relation entre la multiplicité et l'unité. Plusieurs textes en différentes langues, associés à un traitement de la voix distinct, présentent diverses visions de cette diée. Le premier texte, en latin, est un fragment d'une lettre datée de 1663, adressée par Spinoza à Lodewijk Meyer, et porte "sur la nature de l'infini". Spinoza explique que la pensée accède à la véritable nature de l'infini en le concevant comme indivisible et unique, tandis que l'imagination le perçoit de manière multiple et discontinue. Le second texte se fonde sur le poème Cycle de l'air (et du sang) de la poète contemporaine Irène Gayraud, qui aborde la multiplicité comme un apprentissage symbolique. Le troisième est construit sur une série régressive de nombres premiers, codifiés en un langage numérique inventé sur une base tétradécimale.
DEU
Aproximación a lo indivisible (Annäherung an das Unteilbare) basiert auf Überlegungen zu Multiplizität und Einheit. Mehrere in verschiedenen Sprachen verfasste Texte, in denen die Stimmen jeweils unterschiedlich behandelt werden, eröffnen verschiedene Perspektiven auf dieses Thema. Der erste, lateinische Text ist der Haupttext; es ist ein Auszug aus einem Über die Natur der Unendlichkeit betitelten Brief, den Benedictus de Spinoza 1663 an Lodewijk Meyer schrieb. Darin legt Spinoza dar, wie das Denken sich der wahren Natur der Unendlichkeit annähert, indem es sie als unteilbar und einzigartig versteht, während die Vorstellungskraft sie unter dem Aspekt des Multiplen, Diskontinuierlichen begreift. Der zweite Text basiert auf dem Gedicht Cycle de l‘air (et du sang) der Dichterin Irène Gayraud. Dieser Text setzt sich symbolisch und metaphorisch mit der Vorstellung der Multiplizität auseinander. Der dritte Text besteht aus einer Reihe von Mersenne-Primzahlen und perfekten Zahlen, verschlüsselt in einer erfundenen, auf einem Tetradezimalsystem aufbauenden Sprache.

aproximación a lo indivisible · ensemble modern · sun · heil

Sounds only produced with my breath and a piece of bamboo. 
Several superimposed such improvisations, no additives.
 
Boorloo (Perth, Western Australia), 26 July 2023.

www.pedroalvarez.info

Piled-up improvisation on Quenas

dead-frequency sky (2023)

It's an electroacoustic piece. Please, listen with headphones or through external loudspeakers. 
Premiered with a spatial diffusion through Hydra system at Harvard University on the 15th of Dec, 2016.

Cryptic Thingness (2016)

The Book Of Traps And Lessons

Firesmoke

short excerpt from a generative patch built around the uncertainty of various cross modulation and sequencing processes..

treading water

're'
Track created for the Disquiet Junto Project. http://www.disquiet.com
0431 = Solitary Ensembles x 3. Complete a trio by adding a track to an existing duet by two other musicians.

First step : Winter Never Came by Onkeltuka.
https://soundcloud.com/user-439418171/winter-never-came-disquiet0429

Second step : Niemalswinter by Krakenkraft.
https://soundcloud.com/winterer/niemalswinter

Third step, here.
Tools :
Marbles with some Jitter > Rings > Quad VCA > Monsoon.
OCHD > Rings brightness, frequency, damping.
Batumi sine > Quad VCA level.
Mixed in Logic Pro 9.

****

More on this 431st Disquiet Junto project ("Solitary Ensembles x 3. Complete a trio by adding a track to an existing duet by two other musicians") at:
http://disquiet.com/0431

More on the Disquiet Junto at:
http://disquiet.com/junto/

Project discussion takes place on http://llllllll.co/

Associated image : Petrus Major.

Never Say Winter Again [disquiet0431]

This is one of 3 tracks that were made solely by using the analogue synthesizer EMS Synthi 100. For each track, there was a single patch and the material was recorded live in one go. Rhythmical synchronization of the material was done by using the Synthi's sequencer. Simple live manipulations included putting a pin or two in and out and switching on and off the mixer channels. Additional panning of each individual channel was done on a computer. These tracks demonstrate the effect of extremely simplified musical material produced by using the not-so-simple sound tool (for the reference, try figuring out and programming a Synthi 100 sequencer:)). Tracks are named by the number of sequencer steps used in that piece. Recorded live at Electronic Studio - Radio Belgrade.

2019

From the album STEPS: https://svetlanamaras.bandcamp.com/album/steps

Svetlana Maraš©All rights reserved
©SOKOJ

composer
modular synths and electric guitar performer
cultural manager

aproximación a lo indivisible · ensemble modern · sun · heil

luis codera puzo