Tenney suggested that For Ann (rising) be "regenerated" using the golden ratio (phi - 1.618...) for the minor sixth between partials, this is a version I recently did in PD using that ratio. For the 1992 CD, we used a ratio of 1.6.

http://en.wikipedia.org/wiki/For_Ann_(rising)

James Tenney - For Ann (rising) - golden ratio version

"Selenetrope" is a short study on bow nuance and timbral shading. Composed over three days during the 2025 Darmstadt Summer Courses in close collaboration with violinist Karl Jõrgi, the miniature explores fragile, unstable materials at the threshold of sounding. I want to express my gratitude to Karl for his fantastic collaboration and sensitive playing, and to mentors Rebecca Saunders and Sarah Saviet for both creating the environment for this collaboration as well as providing guidance on detail and notation.
A “selenetrope” is a mythical plant which blooms in the presence of moonlight.
-- HAB

*Headphones recommended; any background noise is part of the Darmstadt Experience.

31 July 2025
Darmstadt, Hesse, Germany
Karl Jõgi, violin

Selenetrope (2025, world premiere)

Clicker & I'm Gibber

Bikini Atoll Wave Multiplier

Monochrome (2025) for violin, vibraphone, trombone, bass clarinet & live electronics

Executive producer: Stephen McAdams
Performers:
                Olena Kaspersky, violin
                Ostap Kuchmiy, bass clarinet
                Erynne McPhee, trombone
                Joseph Chang, percussion
                Lorenzo Paniconi, live electronics
Conductor: Jeremy Ho
Technical support:
                Andrés Gutiérrez Martínez
                Louis-Michel Tougas
CIRMMT technical assistance:
                Julien Boissinot
                Yves Méthot
                Sylvain Pohu
Audio recording and mixing:
                Martha de Francisco
                Rebecca Lee
                Antonio Gaitán Madrinan

Monochrome (2025)

2 Schlappi Nibblers, 1 Joranalogue Collide4, 1 Delay1 

center of the hotdog

Today's little Easel exploration delving into the custom program card patch and panning experiments. Video of this here: https://youtu.be/eikH6PEiP-I

easel improv 92625

Slow slider moves on the Buchla Music Easel with looper.

SlowScape

The Gardens Between The Pillars

The Gardens Between the Pillars is one of five movements of The Elemental Cycles, where each cycle uses a primary element as the principal character.  In fact, all five cycles are considered works for “cinema for the ear.”  For this cycle, the sole element used is wood, including sound images pertaining to wood.  There are books and creaky doors, wood surfaces where steady and irregular footsteps walk, the flow of trees pertaining to The Pillars, as well as divine and earthly creatures, and pure and warpy, rough music to accompany this cinema for the ear.

The Gardens, first and foremost, are made up of interior and exterior scenes, motions and projections, and the emergence of figurative and explicit sounds from the decentralization of The Pillars.

In search of a narrative, doors open and close, pages turn,
The duality of images that represents:

Theory and Knowledge
Beauty and Violence
Life and Death
Temptation and Enlightenment

The duality of these sound-images contains the same motion ‘not two’: Advaya
The Pillars points at transcending this duality through 
The reallocated sound images, sound function, and motions
As ways to navigate The Gardens Between

The Pillars¬ are the paths, which reveal the interconnection of the natural, the inter-complexity of the nurtured, and the intervening of scenes through insertion
Which often feel that what is represented is horrific and cruel

We recognize from the far plane The Gardens as a gestalt labyrinth
Up close we perceive the many, many paths and narratives
Between The Pillars, we are presented implications of sounds that have neither beginning nor end

A wanderer severed from illusion in the infinite forest
An area of the Everblossom trees, a life of fleeting beauty 
It is the worldly sculpture of the Bas and High-Relief 

Realms of the Divine and Mortal

An immersion of boundless rhizome—a chiasmus of sonic ascription
An immersion of all materials of wood perceived 
A duality must be understood to walk the way broadly 
And you will hear it in everything 


The Gardens Between The Pillars

My research catalogue exposition, “Selective Retention: Interfacing the Past through Queries and Graphs”, is now published in the 36th edition of The Journal for Artistic Research (JAR).

Fracas is an accompanying Bandcamp release of four 'network pieces' exploring graphs, emergence, and relationships between sound material as it evolves through computational systems.

The title track was first released as a one-track album on Superpang and later as part of their No Catalogue compilation. This new edition places Fracas alongside three related works that have grown from the same research environment.

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JAR, Issue 36:
www.jar-online.net/en/issues/36

JAR article available here:
www.researchcatalogue.net/view/2938321/3620117

Fracas:
bjarni.bandcamp.com/album/fracas

- - -

Averse

SuperCollider Bagatelle I, While Checking Discord

for sketches and sundries that don't warrant commercial releases

SuperCollider Bagatelle I, While Checking Discord

EVEN MORE MAOIST THAN CORNELIUS CARDEW