THINK!

13Feb24

An extended warping of Marc's track, 7am
https://soundcloud.com/marc-dauncey/7am

:D

Marc Dauncey - 7am [SM re-imagining]

Play At Your Own Risk
I used Rx Pro and insight to get ther eadings, I made this downlaodable so you can test the track and see what lufs you can get..soundcloud will turn this down.
Here is a vid of the lufs of the track https://youtu.be/GRFl8mt5BlY

Distorted Rift(+32Lufs) DANGER MIGHT BRAKE YOUR SPEAKERS,EXPERIMENT ,Test with download

sound art for disquiet0634

The base layer is O Pastor Animarum by Hildegard von Bingen.

I recorded it with contact mics on a precariously balanced sound sculpture.
I liked the effect so much that I added a few more layers, but with short blasts of me skipping through tracks by different composers. Tracks included Mozart’s Requiem, Arvo Part’s Tabula Rasa and the Phillip Glass track The Grid from Koyaanisqatsi; which, along with the grid like elements of the sound sculpture, inspired part of the track title. Hildegard’s religious visions are also an inspiration.

Grid hallucinations are simple geometric shapes that are identified as occuring at the inital stages of trance or other altered states.

The image I used for the track is a watercolour I made while listening back to it and thinking about the sound travelling through the sculpture.

No effects just some EQing.

More on the 634th weekly Disquiet Junto project, Bust a Move — The Assignment: Record a piece of music on top of a muffled recording of a piece of classical music — at https://disquiet.com/0634/

grid hallucination (disquiet 0634)

Composition inspired by haiku by Takahama Kyoshi

A distant mountain
Seen in the sunlight:
A desolate field

In The Sunlight

In The Sunlight - (naviarhaiku529)

Shame

Heaven Sent

#3802 (734 left): May. 12, 2024: And all in tune what a liquid ditty floats  (from Edgar Allan Poe Poems from Mar. 5, 2024) 
Today's pure primal piano music here. Happy if this music makes you feel peaceful.. : )
Looking for absolute natural beauty every day for Piano Ten Thousand Leaves. Target number is 4536 and 3802(83.82%) (Only 734 pieces remain) achieved today. Find my project.. : )
This piece may might have good 1/f fluctuation characteristic although I stopped investigating it each piece.

My new message: "Does it make sense to preserve it for 1000 years?

Today's cover ART is created by #Midjourney (Art Generating #AI), according to my wish. Happy if you like it.

spotify playlist 18 hours 449 songs, makes you fully relaxed.
 https://open.spotify.com/playlist/0RCxA8SaySzoFzpQmTCLfo?si=92c44191513340ff


Weekly Piano Ten Thousand Leaves Magazine ; super beautiful video .. 
https://youtu.be/jo5_klWyFc4?si=1wN2Sf63b35Abgv5

I'm now making Archive site of Piano Ten Thousand Leaves project by utilizing #wordpress. Basically nice direction I've already gotten.. : )
Currently 1100 pieces already achieved. 
But this week I need to do something else, so I'm going to stop this task for a bit.


######## NEW 25th SELECTION ALBUM JUST RELEASED ########
"Blue Reflection" - the 25th selection album of piano ten thousand leaves

youtube: FULL VIDEO with 20 full songs in very high quality sounds
https://youtu.be/pjLlUyyLn4k?si=S4I-kavN3h-ISxty

spotify:
https://open.spotify.com/intl-ja/album/7CQvJQSJZdCVD66x8V6O2Y

appleMusic:
https://music.apple.com/jp/album/blue-reflection/1730008075

amazonMusic:
https://www.amazon.co.jp/music/player/albums/B0CVBCB84V?&_encoding=UTF8&tag=tcjaz-22&linkCode=ur2&camp=247&creative=1211

all music streaming services:
https://linkco.re/eU6sYdyZ?lang=en

And All In Tune What A Liquid Ditty Floats - #3802 (734 Left) By Chair House 240512

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)

SugarFüt - Mirrors

... coins 
... foil 
... metal pan 
... cellophane 
... bubblewrap 
... noise

A collection of found sound objects originally explored in an hands-on creative workshop exploring sound, object and mark making. This workshop was a collaboration between sound artist Emma Margetson, The Barber Collective and The Barber Institute of Fine Arts Learning and Engagement Team. The recorded found sound objects from this workshop were repurposed for this eight-channel composition, Abstracted Objects.

Abstracted Objects [Binaural Version] [Excerpt]

a psychedelic music project by ruairí richman

THINK!

lemonade shoelace