Name: Shadows In Moonlight (naviarhaiku526) by ray_cobley
Duration: 3 min 39 s
Description: A sequence of modulated sounds from a recorded improvisation.

Hadar

Here a new Pythyrsus track with Mesmo :
https://soundcloud.com/mesmo1

Vutan - Pythyrsus

A sequence of modulated sounds from a recorded improvisation.

Shadows In Moonlight (naviarhaiku526)

https://open.spotify.com/artist/7vheLqFfKV7SLtHGtIX7C5?si=ZZC9HBe7Q32VJEC7c9Rw_Q

https://open.spotify.com/playlist/7qnNM6bRW0Quy1FbvHSkS0?si=OSpsrMeSTPqiccVJaB1BEw&pi=7zy_3z7CTqKsk

Your Bullshit

This piece is built on Ableton Live out of the recordings I recrently made of @kate-gallaher and @stellato-strings playing flute, recorder and violin, sometimes using melodies from John Walsh's The Bird Fancyer's Delight, then also with me on the piano.

The image is from me asking Adobe AI for a picture of 'baroque dreamcatchers on a Sunday afternoon in South London'.

The piece is a response to this week's @naviar-records challenge based on a haiku poem by Jerome Berglund and here's the information about that:

'ore train
bright colors
passing quickly'
Submission deadline: 14th February 2024

 

 
TO PARTICIPATE
 
- Make a song in response to the weekly assigned poem (a new poem is published every Wednesday)
- When choosing a title for your piece also include the assignment number, for example “Title of your track (naviarhaiku527)”
To submit your track:
- If you’re a Soundcloud user, upload it on Soundcloud and send me the URL via private message, or tag me in the track.
- If you upload your music on Youtube, Bandcamp or anywhere else, upload your submission and then send me the link by email at marco@naviarrecords.com or contact me on Twitter, Facebook or Instagram.
- If you don’t use any music platform, upload it to this Dropbox folder and I’ll include it in the weekly playlist. If you choose this option, make sure you include your name in the track’s title.

Your track may be included in Naviar's weekly podcasts and free (pay-what-you-want) compilations. If you can, please set the track as downloadable on Soundcloud and allow others to remix/reuse it by using a Creative Commons License.
 
For more information visit http://www.naviarrecords.com/about/naviar-haiku
Jerome Berglund has worked as everything from dishwasher to paralegal, night watchman to assembler of heart valves.

Many haiku, haiga and haibun he’s written have been exhibited or are forthcoming online and in print, most recently in bottle rockets, Frogpond, and Modern Haiku. His first full-length collections of poetry Bathtub Poems and Funny Pages were just released by Setu and Meat For Tea press, and a mixed media chapbook showcasing his fine art photography is available now from Yavanika.

passing (naviarhaiku527)

Coherent Exposure

Slightly longer version of this synth piece

Searching For The Exploit (long version)

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/

The Dance Of Agency (disquiet0651)

Taken from Afasi.

Written , performed and produced by Tomat
Mixed by Maurizio Borgna
Mastered by Gup Alcaro
Cover image by Gabriele Ottino
Cover design by Francesco Serasso
Concept supervisor Camilla Soave

Heraldry

She wasn’t just another stray practitioner skulking through the ruins. She was the quiet tyrant of Redwake Station, the one who bound its old experiments to her will instead of fleeing from them. The corridors still pulsed with that same sullen red light, the residue of whatever the researchers tore open decades ago, but now it beat in time with her.

Crimson power curled from her hands, not wild, not frantic, just obedient. Every trapped whisper in the station’s walls bent toward her. Every locked chamber stayed shut because she permitted it. Even the thing below, the one the station never truly understood, slept or stirred according to the tilt of her thoughts.

Stone groaned. Reality thinned. Whatever slept below stirred because she wanted it to.

She lifted her hands.

No alarms, no screams, no ghosts left wandering without her approval.

Redwake Station had become a single organism, and she was its pulse, its mind, its keeper.

The Void Remembers. 

All content is original. Thanks for your support.

Please see YouTube for the full story. 

Redwake's Warden Part 3 - Eerie Sorceresses Chant Ambient [Sleep/Study/Relaxation]

Abstract Sound Structures, Musique Concrète & Live Electronics.
Experimental abstract animation videos.
It is my aim to create and/or edit my tracks & videos using free or open-source software only.
Influences include: J.S. Bach, John Cage, Iannis Xenakis, Giacinto Scelsi, Mauricio Kagel, Conlon Nancarrow, Christian Wolff, Harry Partch, Luc Ferrari, Morton Feldman, Cornelius Cardew, Bernard Parmegiani, Ana-Maria Avram, David Tudor, Alvin Lucier, Pauline Oliveros, Renaissance Polyphony.
All my work is published under a Creative Commons licence & can be freely downloaded (as wav) or remixed.

Shadows In Moonlight (naviarhaiku526)

ray_cobley

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