a multichannel composition based on sonification study of gravitational interactions

Produced during residency funded by Austrian Science Fund at Institut für Elektronische Musik und Akustik (IEM) in Graz.
Performed @MUMUTH over an array of 105 speakers. 
Sonification model based on Fredric Oloffson's RedUniverse

Three Manifestations Of Gravity (stereo rendering of a 105 speaker version)

geometry of interaction (synthetic voice+pulsar synthesis)_excerpt

commissioned by Deutschlandradio Kultur and CTM Festival. Broadcasted on 2.09.2016: http://www.deutschlandradiokultur.de/ursendung-the-dia-grammatology-of-space.1022.de.html?dram%3Aarticle_id=364100

(dia)grammatology of space (full radio version)

15. PSRson(forJBB)

14. SieveSequence(003)wav

13. SieveSequence (002)

12. SieveSequence(001)

11. SieveSequence(ggg)

10. Tnpgr (shifting(glissement) (x -  X[ - Fff][+fff]fx))

09. Nupggendy3modulatorLinatt (diagrammatic Cuts)

08. Nupggendy3modulatorDistHyperbcos (interlacings)

07. Phase Inverted Wg'lett

06. Nupggendy3modulatorDistCauchy (srewdrivers)

05. Tnpgr (shifting(glissement) (f -   F ))

04. Tnpgr (shifting(glissement) Modulator)

01. Modulator (mOPulWM)

A digital release on Superpang Label: https://superpang.bandcamp.com/album/groups-articulations-of-the-real

The work derives from a study of the group theory and sonification model of physical objects interacting with each other according to various forces such as attraction, repulsion and gravity. In the context of music composition, the group theory was developed by Iannis Xenakis as a method organizing musical objects into so-called “sound complexes” (Xenakis prominently used the method in Nomos Alpha (1965) for solo cello). “Sound complexes” are highly structured musical objects which - alike Gestalten in perception theory - can be easily recognized from a perceptual point of view.

Fundamental for the emergence of ‘Groups: Articulations of the Real’ was a computer simulation of physical force fields. A force field is a mathematical expression describing the dependence of the energy of a system on the coordinates of its particles. It consists of an analytical form of the interatomic potential energy and a set of parameters entering into this form. The parameters are obtained by fitting to experimental data.

The iterative form of the composition moves from a global perspective of objects gradually attracting each other, oscillating, merging and colliding with its elastic boundaries, towards a close-up view of a rupture. In a way, the work attempts to articulate the real physical processes through computer-generated sound.

SP34|Marcin Pietruszewski - Groups: Articulations of the Real

www.marcinpietruszewski.com

marcin pietruszewski (born 1984) a composer and researcher.
 
 
He is engaged in sound synthesis and composition with computers, exploring specific formal developments in the tradition of electroacoustic music and contemporary sound art, as well as extra-musical domains of auditory design, computational linguistics and psychoacoustics. He works across performance, multimedia installation and radio productions probing the dynamics between formalism of synthetic sound and its material realisation.                             
 
 
He has collaborated extensively with musicians and composers - e.g., Marcus Schmickler (performed and recorded Schmickler's Demos for choir, chamber quintet and electronics), Tristan Clutterbuck (fancyyyyy), Jules Rawlinson and Lauren Sarah Hayes. Recent projects include a collaboration with Florian Hecker and a graphic design company NORM from Zurich, a philosopher Chris Schambaugh (The New School, New York), choreographer and dancer Agnes Cebere (Martha Graham School of Contemporary Dance, New York), the Laboria Cubonics Collective (the authors of Xenofeminist Manifesto).
 
contact: studio@marcinpietruszewski.com

marcin pietruszewski

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