0 27 to @ 40 \i n [ 
	3 1.1 i ^ * = lf lf lfnoise3 (.08 .16 xrand urand sinosc 0 4 bilin) * i (.08 .16 xrand urand sinosc .3 2 bilin) * n + + nnhz urand sinosc 7 ^ 0 |
	lf lfnoise3 .75 * .25 + 0 | * 0 (.05 .2 xrand urand lfsaw) rot2 .95 i ^ * = a
	i 1.2 * 2X mum a 4 fadein $$
] ! +/ aa 4c 3 apverb6 3c 1 apverb6 (.0374 urand sinosc .9 *) fade2 .1 * 170 10 fadeout conormalize .85 * 0 >sfo

Sapf - 2019 - 0309 - 225408 - 0003

Resonare 22
Experimental & Improv Music

HZNB II 
Hardcore synth & drums

Mike Goyvaerts - Drums/percussion
Willy Van Buggenhout - EMS Synthi  

@

Saturday October 27 2018
Salon Mommen
Liefdadigheidsstraat 37 rue de la Charité
1210 Brussels (St-Josse/St Joost) 
Doors: 7pm - concert 8:30 pm
(Free contribution)


La seconda edizione del meeting CLOCKSTOP si terrà a Noci - Ba/IT
dal 13 al 15 maggio prossimo. Restate in contatto per tutti gli aggiornamenti.

The second edition of the CLOCKSTOP meeting will be held in Noci - Ba / IT
from 13 to 15 May. Stay tuned for updates.



Vitrine #58  -   Willy Van Buggenhout
winter trees / alberi invernali / winterbomen
24.09–14.10.2015
LUCA - Bibliotheek Sint-Lukas – Paleizenstraat 70 – 1030 Brussel 
Maandag tot donderdag  9.00-19.00 uur – vrijdag 9.00-17.00 uur


Moniek Darge: Already 46 minutes of Sacred Balinese Soundies ready. 
A new soundscape CD on the NY Kye label and London Penultimate Press is slowly growing... 
Soundscape concert on August 26th with Willy Van Buggenhout and some of my newest music at the Ghent Logos Foundation. Welcome!




Soundart, 
Digital and analog projects & improv
 EMS Synthi aks 1970 synthesizer
 
Studied electronic music with André Stordeur en Peter Beyls. 
Works with LOGOS STUDIO -Stichting (Filharmonie Van Gent  - Godfried-Willem Raes) in Brussels with INAUDIBLE (Dada Camerata Viva)  VILLA POETICA (Guy Strale, Jean Vander Schueren, Gyde Knebusch). Disorder Orderly (Mike Goyvaerts, Jan Huib Nas, Adelheid Sieuw, Johan Vandermaelen,) E.A.S.L. [Electro Acoustics Sounds Lab] White Smoke Jeffrey Morgan & Mike Goyvaerts -concerts at the 24 u Kommuzikatie (Palais de Beaux Arts Brussel) FREE MUSIC XXX(Festival Antwerpen) Kölner Musik Nacht Köln Deutschland, Kulturbunker Kassel, Clockstop Fest Noci etc.
 
Proud to have worked with:
- Christoph Albertijn, Sam Bennett, Chris Cannon, Alvin Curran, Peter Cusack, Gunther Christmann,  Monik Darge, Hugh Davies, Jim Denley, Manuela Bucher, John Edwards, Jaques Foschia, Taya Fisher, André Goudbeek, Dary Doris Hays,  Christoph Irmer, Gyde Knebusch,  Philippe Lenglet, John Mizelle , Maarten Altena, Ned Rothenberg, Carl Stone, Guy Strale, Richard Teitelbaum, Paul Lytton, LaDonna Smith, Thomas Olbrechts, Joan Joseph Ordinas, Jan Pillaert, Anne Tardos, Michael Jullich , Richard Lerman, Michael Jullich, Bart Maris, Jackson Mac Low , Jeffrey Morgan,  Harry Miller, Thorsten Miller, Trans Museq, Jan-Huib Nas, Maggie Nicolls, Tony Oxley, Eric Ross, Peter Soderberg,,  Adelheid Sieuw, Fred VanHove, Johan Vandermaelen, Jean Vanderschueren, Jean-Michel Van Schouwburg, Michel Waisvicz , Davey Williams, Walter Zimmermann, Claude Zulian, Maresuke Okamoto, Naoto Yamagishi, Nicola  Guazzaloca, Fabi Pan Sofia & many many other fine musicians...
 
Recordings: 
 
-„Inaudible” (recorded concerts Palais des Beaux Arts Brussel)  -Venyl  -Production et réalisation Inaudible asbl -avec l’appui de la Commission Française de la Culture Bruxelles- STEMRA
 
-„you can't be serious ?”     Hotzeniebotsze – Tryki zero rec
 
-„Hotzeniebotsze X” Tryki zero rec
 
-„White Smoke” with Jeffrey Morgan - CS 218 cd Creative Sources recordings Lisboa
 
- "Junius Holz-suite” with Peter Beyls, computerwork 1990 (audio visual installation) 

-"Harlow" Chamber opera for Sprechstimme Soprano and Electronics .

msuic throey

🐸 https://soundcloud.com/sexytoadsandfrogsfriendcircle

TRAMPELFÂD
Laboratory for Contemporary Electronic Experimental Music
 ( LCEEM ® )  founded    by Max Elzholz

 
https://trampelfad.bandcamp.com

and

https://maxelzholz.bandcamp.com

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


About Pondskater
Since 2019, the Düsseldorf musician Pondskater aka Axel Ganz has been working with live coding, a technique that focuses on writing source code and interactive programming in improvised form. An elementary part of his performance is to make the writing process of the source code visible to the audience through a spatial projection of his monitor. In addition, there will be further visual layers designed by the Düsseldorf artist Katja Stuke.

The recent Pondskater programme documents a wide variety of electronic music. Complex yet grooving rhythms are the foundation of Pondskater's sometimes dark downbeat. On the other hand, melodic elements refer to African and Asian influences. Without touching the dance floor, overlapping patterns of acoustic percussion and synthesizers get caught in the branches of erratic voices. The transmitters remain unrecognized.

Biographical
The musician Axel Ganz was born in Gelsenkirchen, Germany in 1965. Since the 1980s he has been involved in various musical projects and bands. He produced film music for short and experimental films and worked for the theatre (Düsseldorfer Schauspielhaus, Theater Oberhausen, HAU Berlin, Theaterhaus Gessnerallee Zürich).
Since 2009 he has been experimenting with algorithmic music production techniques and publishing experimental electronic music under the pseudonym Pondskater. In 2018, together with Markus van Well, he founded "Toplap Düsseldorf", initially a local network for generative art, algorithmic music and sound art in digital space, which networks artists and organizes concerts and workshops. Axel Ganz lives in Düsseldorf and Telavi in Georgia.