;; this sound was generated with the following code. see profile.

\[
	\[
		.15 coin \[0] \[
			\[(1 100 xrand 0 urand lfpulse) (1 40 xrand 0 urand lfpulse 0 8k rand * 20 2k xrand +) *] 3X +/ = freq
			freq 0 .5 lfpulse 4m 8c xrand * .5 hpf2 0 3 rand lfnoise0 .8 * 4m lag pan2  .1 .35 rand aa 3 combl
		] if
	] 6 1 4 2 oltx
] = data-space
data-space 56 4 fadeout conormalize "data space" >sfo

Data Space 2

Jng3

After a long break....
Remix of aqwan & wildsilences - wildsilences' nova + the skeletons remixed - i wish
https://aqwan.bandcamp.com/album/wildsilences-nova-the-skeletons-remixed
https://wildsilences.bandcamp.com
https://soundcloud.com/aqwan
https://soundcloud.com/wildsilencez
https://aqwan.bandcamp.com/music

Aqwan & Wildsilences Vs FAKTOR4 - I Wish (F4Coldmix)

Johnny Diamonds

It is a huge honour to publish Peter Brotzmann’s final concerts on OTOROKU. When we invited Peter to do a residency at Cafe OTO back in February 2023 we had no idea these would be his last ever shows and he played with such power it would have been hard for anyone present to believe he would never play publicly again.

Recorded over two nights this grouping of Jason Adasiewicz on vibraphone, John Edwards on bass and Steve Noble on drums feels especially resonant and personal to Cafe OTO. The first time Peter performed at the venue back in 2010 it was in a trio with John and Steve, (released as The Worse The Better kick starting our in-house record label) so it feels fitting that the last shows he ever played here should also have that trio at its core.

The quartet last played together at OTO back in 2013, (released as Mental Shake on OTOROKU), and Brotzmann humbly opened the return of the group saying, "it's a pleasure to be back” before launching straight into a long blast on the alto sax, swiftly met by the relentless energy and engagement of Adasiewicz, Edwards and Noble.

There are moments of tenderness to Brotzmann’s playing that feels specific to this small group - one that cuts across three generations - and in a space that’s come to feel like home. Of course, there is dizzying, forceful, singleminded playing, but even amongst a relentless chorus of cymbal splashes and busy vibraphone clusters the lyrical, spacious moments are savoured and held onto. As he remarked after at the end of the group's first visit to OTO, “the Quartet is, for us, a great adventure.”

Peter clearly wanted to play to the end. Did he know these might be his last shows? We will never know. What is clear is he wanted to go out in style and on his terms. For anyone in the room at the time or listening to these recordings it’s clear he achieved that.

It was Peter’s wish that these recordings should be made public and he was due to finalise the cover design on the week he passed away. We would like to thank Peter’s family for working with us to fulfil Peter’s wishes to release this material but more than anything we would like to thank Peter for all the extraordinary memories, his generosity and all he has given the music. On a personal level for us, like so many, he meant a huge amount and we miss him deeply.

---

Peter Brotzmann / reeds 
John Edwards / double bass 
Steve Noble / drums 
Jason Adasiewicz / vibraphone 

---

ROKU033 - Peter Brotzmann / Jason Adasiewicz / Steve Noble / John Edwards - The Quartet [sample]

OJ KUMUŠKI, HALUBUŠKI

Music by https://soundcloud.com/marcolucchi 
Sonopoem and mixing by Ilaria Boffa
This piece is included in the work 'Intrusion' by the EAPS Collective.

+1
'I might embody the igneous bodies, carbon and non-carbon-based, forced through existing formations.
Settle like the dregs of the liquid left in thousands of bottles plasticizing the oceans.
I might recycle into non-recyclable thermal paper and coat with dyes and sensitizers and stabilizers and vaporise with heat. I’d roll.
Rolling and rolling, squeezing, a can, at each kick a bounce forward, future-ing. 
I can sense myself hovering, the +1 part per millions of CO2 trying not to take it personally and resent when you decarbonize and diminish me.
I can feel myself being tape, sticking things together, taping wires and mouths, un-taping, warping and buckling up.
I might emerge from a liquid solution, a precipitate, an insoluble solid suspension ejected and fallen at the bottom of a vial.
I might flat on the soil and bituminize to carry all steps on me and all of a sudden, tragically crack and let us plummet, crash.

Potrei assumere sostanza di corpi ignei, a base di carbonio o meno, spinti a forza attraverso
formazioni esistenti.
Depositarmi come fondi di liquidi rimasti in migliaia di bottiglie che plastificano l’oceano.
Potrei riciclarmi in carta termica non riciclabile e cospargermi di tinture e sensibilizzatori e stabilizzatori e poi evaporare per calore. Rotolerei.
Rotolare e rotolare, schiacciarmi, una lattina, a ogni calcio un balzo in avanti, futurizzare. 
Posso percepirmi fluttuare, la parte per milione di CO2 aggiuntiva, cercare di non prenderla sul personale e risentirmi quando decarbonizzate e mi diminuite.
Posso sentirmi essere scotch, scotchare le cose insieme, adesivare cavi e bocche, staccarmi, deformarmi e accartocciarmi.
Potrei emergere da una soluzione liquida, un precipitato, un solido insolubile, sospensione espulsa e caduta sul fondo di una fiala.
Potrei appiattirmi al suolo e bitumare per caricarmi di ogni passo e d’improvviso, creparmi tragicamente e lasciarci precipitare, schiantare.'

+1  (Ilaria Boffa & Marco Lucchi)

https://mechanatura.bandcamp.com/album/portals-lost-tapes

ONLINE @ https://mechanatura.com

PORTALS (LOST TAPES)

Garry Linden (Schubert: Piano Trio in E-flat major, Op. 100 rework)

エレキVR 狸ラジオ ダッシュな街でスクワットカーネル 
謎の翁がグルーヴでダンス カラテキックでエスケープバンス 
地下鉄カウボーイのタンスムーブ 
煙トースト視界がワースト エグいゴースト歯科医でバースト
古代のママチャリ宇宙人とピース スナックのティース
ノイズで見え隠れ 朝の光静寂なビーコン 無限の宇宙
日常さなかの白昼夢 手元に聖なるフライヤーリーク
タケノコに静なるスナイパーフリーズ

羅ラララ羅ラララ羅ラララ羅ラララーーーーーーーーーーーーーーーーーーーー

夢の野良猫チャクラキャット 霊現象金縛りトラッド 
最高気温でラウドのナウス サイコ軌道でバグをR2
自転車ハンドルに謎のグローブ インベーダー 仮想水 羅生門 フローズン

Hope grows in tranquility and kindness lights up our hearts.
Door to the future will open and A new perspective will soon emerge.
Escape from the brokenness of society grow a beautiful inner garden.
If you really need it… If you really want it… 

幻の駄菓子屋　電子音ハウス　宇宙の牛丼屋　地下のマウス
ーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーー
ポエトリーリーディング部分はVOICEVOXというソフトを使用してます

Virtual Water

EPISODE IX ‘LUCID DREAMS’
A red door at the end of a long, dark corridor. I know you are there, waiting for me. This time,
I am going to reach you.
But putting one step in front of the other is a nauseous struggle, my feet stuck in mud, my
arms tied to my body. Using all my strength, I lean forward, but the door does not get any
closer.
I know I am dreaming. Of course. Because you are there. You are always there when I
dream, waiting for me behind the corner. And yet, I can never reach you.
The train, from whose window you stare at me, closes its doors and rushes too fast toward
the unknown, an unknown impenetrable to me.
The tower from which you let your hair fall is separated by a bottomless chasm from the
broken bridge where I stand.
The fun you are having in a crowded bar is too noisy, the people who keep stepping into my
path are too drunk and ugly, and you do not, cannot, hear my screaming voice until I lose
you between their laughter and the throbbing glasses in their hands.
Nightmarish clichés I have been living through, sleep after sleep, nap after nap: restless,
delirious, and now finally lucid.
This time, I want to make it. I want to change this reality, I want the corridor to become
shorter. And it does. I want my hand to move, to reach the handle. And it does. I force the
heavy door to open. I make it light. I have prepared so hard to make this happen.

Sitting on the only chair at the center of a wide stage I enter from the wings, you are there
offering your face to the empty audience and your back to me.
I scream your name with a silent voice. You do not turn. I walk toward you, putting so much
effort and intention into it that the space bends. Extending my hand toward your shoulder, I
can fool myself into believing the softness of your sweater under my fingers is heartwarming.
Finally, a sense of sweet tenderness fills the void in my chest. My struggle has finally borne
fruit, I have you beside me, under my hand. I have reached you.
An infinite pause before
millimeter by millimeter
you turn toward me.
And in my heart, a crack as wide as a birthing cervix opens at the sight.
Empty.

SUBURBIA presents OBSESSIONS w. Sainte Marina [06.03.25]

This account contains examples from a programming language for audio.
This language is still very experimental and is not available. 

WHAT

This programming language is called:

"A tool for the expression of sound as pure form."

It is an interpreter for a language for creating and transforming sound. The
language is mostly functional, stack based and uses postfix notation similar to
FORTH. It represents audio and control events using lazy, possibly infinite
sequences. It intends to do for lazy sequences what APL does for arrays: provide
very high level functions with pervasive automatic mapping, scanning, and
reduction operators. This makes for a language where short programs can achieve
results out of proportion to their size. Because nearly all of the programmer
accessible data types are immutable, the language can easily run multiple
threads without deadlock or corruption.

WHY

Other languages that inspired this one:
    APL, Joy[1], Haskell, Piccola[2], Nyquist[3], SuperCollider[4].

APL and FORTH (from which Joy derives) are both widely derided for being
write-only languages. Nevertheless, there has yet to be a language of such
concise expressive power as APL or its descendants. APL is powerful not because
of its bizarre symbols or syntax, but due to the way it automatically maps
operations over arrays and allows iterations at depth within arrays. This means
one almost never needs to write a loop or think about operations one-at-a-time.
Instead one can think about operations on whole structures.

Here is a great quote from Alan Perlis[5] on APL, which that also reflects my
interest in this way of programming :
"What attracted me, then, to APL was a feeling that perhaps through APL one
might begin to acquire some of the dimensions in programming that we revere in
natural language — some of the pleasures of composition; of saying things
elegantly; of being brief, poetic, artistic, that makes our natural languages
so precious to us."

The Joy language introduced concatenative functional programming. This generally
means a stack based virtual machine, and a program consisting of words which are
functions taking an input stack and returning an output stack. The natural
syntax that results is postfix. Over a very long time I have come to feel that
syntax gets in between me and the power in a language. Postfix is the least
syntax possible.

There are several reasons I like the concatenative style of programming:
    Function composition is concatenation. 
    Pipelining values through functions to get new values is the most natural
        idiom.
    Functions are applied from left to right instead of inside out. 
    Support for multiple return values comes for free. 
    No need for operator precedence. 
    Fewer delimiters are required: 
        Parentheses are not needed to control operator precedence.
        Semicolons are not needed to separate statements.
        Commas are not needed to separate arguments.


When I am programming interactively, I most often find myself in the situation
where I have a value and I want to transform it to something else. The thing to
do is apply a function with some parameters. With concatenative programming this
is very natural. You string along several words and get a new value.


REFERENCES    

1. http://www.kevinalbrecht.com/code/joy-mirror/joy.html

2. http://scg.unibe.ch/research/piccola

3. http://www.cs.cmu.edu/~music/nyquist/

4. http://supercollider.sourceforge.net

5. http://www.jsoftware.com/papers/perlis78.htm


Data Space 2

sound as pure form

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