P ͞h r ́o n ͉̍i m͈ ̙a ̜
https://peninsolar.bandcamp.com/track/p-h-r-o-n-i-m-a

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P ͞h r ́o n ͉​̍​i m͈ ̙a ̜

tried this piano blues piece for you, as I did not post for years..hope you like. Love, Rina

Live Relexion#006

PROPER SPLIFF
lyrics and singing by: SENNID
riddim and production by: IRIEWEB SOUNDS

PROPER SPLIFF- SENNID & IRIEWEB SOUNDS - Light And Shadow Riddim

bLnQ

太陽と埃の中で chage&aska cover featuring Hana

One Way Or Another

Disquiet Junto Project 0651: Why Compute?
The Assignment: Respond to a prompt from George E. Lewis.
Lewis asks, “Why do we want our computers to improvise?”

Interesting question! Sparked several lines of thought.
I’d been thinking quite a bit about self directed (improvising) musical systems lately. Inspired both by my own incorporation of forms of ‘machine listening’ into my setup (using the FluCoMa toolbox) and also by the so called ‘cybernetic’ feedback systems discussed in this thread on Lines: https://llllllll.co/t/cybernetic-music-roland-kayn-feedback-systems/40635. 

So far, I’d been using the FluCoMa analysis tools mostly on incoming audio: detecting pitch, transients and several spectral properties of incoming signals to then do stuff ‘downstream’. It struck me that using these analysis tools on the outgoing sound and then controlling things ‘upstream’ it should be possible to set up self-stabilizing systems that the mid 20th century cyberneticians were so fond of.
So I’ve begun some tests to see what the tools I’d use for this might look like. Still a bit too early to actually make music with, though. 
So the piece I’m sharing here is does not use any algorithmic or stochastic mechanisms. But in other ways it does do things that are for me at the heart of why we might want our computers to improvise. That is: allowing our machines more agency in the practice of composing, improvising, playing, can make that practice more interesting and rewarding for us, the human composers, improvisers, players. On the one hand, having our machines surprise us somewhat as we interact with them, stimulates our curiosity and creativity: how do we respond in a meaningful, musical way to such surprises. And on the other hand, sharing agency takes some of the burden off our often somewhat fragile and self-critical ego’s in the creative process: the challenge becomes a bit less ‘to create an amazing masterpiece from nothing’ and a bit more ‘to respond to whatever is there’.
So even though in my piece the computer doesn’t really, really improvise, there is plenty of stuff in place that gives the machines some agency (special, complex mapping of effects parameters; looping of audio and effects parameter values; even a bit of feedback routing in a somewhat ‘cybernetic’ way). As a result, I’m never entirely sure what my playing (my musical gestures) will produce. The result feels like a mutual exploration of human and machine within the piece.

More on the 651st weekly Disquiet Junto project, Why Compute? — The Assignment: Respond to a prompt from George E. Lewis — at https://disquiet.com/2024/06/20/disquiet-junto-project-0651-why-compute/

One Way Or Another

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