Habitats - V - Bromeliads (live recording Of Generative Installation)

Title:
Mutacions del silenci.
Author:
Miquel Parera & Gonzorobot.
Id:
gz-2024-8-27_23-8-15
Date:
2024-08-27

Info:
Repetition and changes.

Instrument: uPIGr-ATS
Audio: MusyngKite Soundfont (Xylophone)
Graphics: scriabin();

Duration: 

Specific links:
Download: 
https://archive.org/download/gonzorobot_catalogue/gz-2024-8-27_23-8-15.zip

General links:
https://gonzorobot.com/
https://youtube.com/@gonzorobot467
https://archive.org/details/gonzorobot_catalogue

Amazon music:
https://amazon.com/music/player/artists/B09YVV6DBF/gonzorobot

iTunes:
https://music.apple.com/us/artist/gonzorobot/1621140304

Spotify:
https://open.spotify.com/intl-es/artist/0r2bBu4Tx4laDLJFHUw6cb


License: 
CC-BY-SA

Tags:
#music #computermusic #algorithmicmusic #gonzorobot #miquelparera #relaxingmusic #improvisation #livecoding  #composition #minimalism
#xylophone

gz-2024-8-27_23-8-15

Mutacions del silenci.

Composición algorítmica y síntesis: Alejandro Franco Briones, Diego Villaseñor de Cortina, Iván López Pineda.

Mezcla y masterización: Iván López Pineda.

Arte: Jorge Solar (www.instagram.com/sembradorsolar/)

Algorithmic Acid Music Vol. 1: 🤩

Algorithmic Acid Music Vol. 1: 🧄

¿Qué viento negro podría romperme el paso
o intentar siquiera cancelar mi canto? [...]
Llevo en mí el eco de 1 impulso insospechable
---
What black wind could break my stride
or even attempt to cancel my chant? [...]
I carry within me the echo of 1 unsuspectable impulse

- Mario Santiago Papasquiaro


Algorithmic Acid Music Vol. 2: 1 impulso insospechable (AAM 2) is Pirarán’s second release. Departing from the cosmic introspective landscape of the previous volume, the music’s rhythmic tide takes us into an electrifying dancescape of tectonic bursts that gradually flows out like a delta into the material and concrete. An unsuspected impulse propels this journey through constellations of xenharmonic arrangements evolving into a granulated reverberation of voices shattering the continuity of ordinary experience.

The outcome is a dialectical synthesis of cosmic and terrestrial forces, a conjunction through which the individual and collective aspects of the psyche can find their way towards the imagination of new and potential futures: an opening of the heart, a redistribution of the means of perception, and an invitation to listen to and participate in the struggles of others.

1 impulso insospechable, the single track constituting AAM 2, was recorded live and realized as a networked performance at the Ekko (Utrecht, Netherlands) as part of the International Conference on Live Coding 2023. One third of the music was performed at the venue, another third in Mexico City and the last portion performed and recorded in Morelia.

Album art: Jorge Solar (@sembradorsolar)
Synthesizers: Iván López Pineda
Live Coding: Alejandro Franco Briones, Diego Villaseñor
Mix and Mastering: Iván López Pineda

Algorithmic Acid Music

MAA vol. 2

Algorithmic Acid Music Vol. 2: 1 impulso insospechable

"A revolution without dancing is not a revolution worth having"
- Emma Goldman, attributed quote

"If I can't dance I don't want to be part of your (r)evolution"
- Emma Goldman, alternate attribution, parenthesis is ours

"though it might seem that her insistence in freedom to change would invalidate the idea of promise or vow, in fact the freedom made the promise meaningful. A promise is a direction taken, a self-limitation of choice… if no direction is taken, if one goes nowhere, no change will occur. One's freedom to choose and to change will be unused, exactly as if one were in jail, a jail of one's own building, a maze in which no one way is better than any other. So Odo came to see the promise, the pledge, the idea of fidelity, as essential in the complexity of freedom."
- Ursula K. Le Guin, The Dispossessed

The music here is based on a sample from Beverly Craven's "Promise Me". Here's a voice suspended in time, never fully formed, neither fully present nor completely gone, a ghost of a future to come, wavering, still, but, still awaiting, yes. With it we want to evoke a different kind promise, the "promise and provocation" of an emancipated future (cf. Acid Communism, Fisher), that of a world which contains many other worlds in healthy and mutually beneficial co-existence (cf. Zapatista Philosophy). Despite the usual (western) “common sense” understanding of human societies, these kinds of worlds are and have been a real effective possibility throughout the history of our species (cf. The Dawn of Everything, Graber & Wengrow).

With this music we want to honor this promise of love for the continued existence of all human and non-human life, as a song-call to all that binds us together through, quite literally, these DNA which threads us with all life on earth. We sing and sound here in recognition of all those who are being oppressed and exploited because we know that a world without these is possible. 
credits

released January 29, 2024
Alejandro Franco Briones: Live coding
Diego Villaseñor: Keyboards and synthesizers
Iván López: Keyboards and synthesizers

Iván López: Mixing and mastering

With/Out Dancing

Music from another world

Algorithms coded by Santino Famulari (2010)
© 2010 Santino Famulari

4 Algorithmic compositions 2010

do
  -- setCycle (0)
  hush
  all $ id
  setbpm $ 160
  let trans = note (2)
  let note' n = note (scale "minor" n+4) |+ trans
  let kb = slow "1 1 1" $ mono $ quant 0 $ foot 0
  let bsp = slow 1 "<0!7 0>" |+ "0 0 0 <0 7> <0 -2>/4"
  d1 $ stack [ silence
      ,kb # "r70sddk" |+ nt 1 # hpf 400 |* g 0.8 # cut 1 # acc 0.2
      -- ,press "47sd:2*1" # sh 0.4 |* g 1 # rel 0.1 |- nt 2
      -- ,mask "ftt" $ foot "<0 9>/4" # "47cp:14" # hpf 400 # atk 0.4 # cut 3 |+ nt 2.5 # pan "[0.4 0.6]*3"
      -- ,"~1(5 5 0,8,<4 3>)" # "47tom:4" |- nt "~ ~ 2 7 7" # pan "0.6@6e 0.35" # sh 0.4 |+ nt 1
      -- ,beat "<2.25 2.5>" 4 "r70perc:12" # cut 2 # fshift 430 # lpfrel 0.4 # lpfcurve (-12) # g 0.86 # eq' 9100 10 0.5 # acc 0.2 # pan 0.7
      -- ,"traphh*16" # n 7 # rel 0.1 # pan 0.55 |* g 0.9
    ]
  -- d2 $ kb # note' "0" # "footbs:1" # cut 1 # sh 0.8 # rel 1 # atk 1
  d2 $ kb # note' bsp # "shabdppsy" # b 0.013 # cut 1 # sh 0.4 # amp 0.5 # rel 2 # eq' 50 4 2 # eq2 300 (-4) # lpf 9000 # atk 1
  d5 $ offcut 0.25 (\x -> panrand' 0.3 $ chop 2 x |* sp (-2) |<| "~1__" |* g 0.99 # bpf 1700 # wider 0.8 # side 0.7 # invst # ar 0.01 0.1 # crush 12 # coarse 2)
        $ chop 1 $ "ambientgtr" # be' 64 2.75 "<50 32 16 32>" # trem' 7.4 0.5 # cut 1 # l 1 |+ trans # room' 0.8 0.7 # hpf 100 # eq' 5000 2 2 -- # phaser' 0.8 0.2
            -- # rel 2 # sp 1
  getnow 8

-{ 
sample: https://freesound.org/people/Destructo20/sounds/752682/
-}

melankoli.juke_250121 [LIVECODING_IMPROV_2]

Most of the polyphonic algorithmic music I've made has been in 5-limit or 7-limit just intonation. Now I'm going to try to figure out 11-limit and higher. Here's a sketch of how I think I'm going to treat harmony in a study of Arabic scales, this one in maqam Rast with a Pythagorean spine and neutral intervals at 27/22 and 81/44. The piece is lacking in cadences and melodic motives and other song structure, but I'm still excited about where it's going.

Three Voice Lute Meander In Rast

“The Theory of Change” is about experimentation, disruption, and growth. This album is partly me letting go of control and let the process lead, trusting the chaos, chasing curiosity, and partly leaning into the creative friction that comes with learning new systems while navigating the shifting landscape of my own psyche.

The Theory of Change isn’t just about changing sound. It’s about changing perspective, my own more than anything. A blend of AI processes, new software and exporing new avenues of production, this was an experiment in both recapturing the love of music I was had from the depths of despair and challenging myself to create new ideas using new methods, embracing change rather than shying away. 

Thanks for listening.

Phil
AKA - Turtlejuice

Light on the map

Dryft

Emplaign

Angwish

Influenca

Inscapable

GEIKHA is a multidisciplinary electronic [thing]. They're a key part of the Algorave community in Buenos Aires, livecoding Footwork hybrids for wider audiences while utilizing heavy sampling.

Musically, GEIKHA takes influence from genres such as Juke, UK Garage, RKT, Grime, Hip-Hop, Dream Pop and others.

They perform live visuals for bands and in the Techno-based rave "Ctrl+Z", using both analog and digital hardware to explore video feedback. Digitally, one of their main tools is the software Hydra Synth, of which they are also a contributor.

芸下☭

Microtonal composer working to formalize the art of contrapuntal writing with romantic harmony in five-limit just intonation. All of my songs have downloading enabled

Pirarán es un ensamble-red que alucina con ganglios de luz vueltos locos y silencios cojos. Su música ácida algorítmica se mueve equidistante entre la aridez y el vacío del post-fin de los tiempos. El ensamble-red está conformado por Iván López (Morelia, Mx), Diego Villaseñor (CDMX) y Alejandro Franco Briones (Hamilton, Ontario, Ca).
La banda está influenciada por foros de investigación de entonación justa y música poli-temporal, el modernismo popular latinoamericano (Pérez Prado, cumbia chichadélica, MicoRex), así como en géneros de música electrónica como el vaporwave, hippie synth music, techno, glitch, industrial, ambient y noise. Pirarán también se nutre extensamente (y expropia cuando lo considera pertinente) de ideas, palabras y visiones que dan sentido a la música, como las de Mark Fisher, David Graeber, Ursula K. Le Guin, Mario Santiago Papasquiaro, Nancy Fraser, Manuel Maples Arce, Gayatri Spivak y Heriberto Yépez.
Pirarán se ha presentado en diversos foros de México y Canadá, así como en la Conferencia Internacional de Live Coding 2023 (ICLC) en la ciudad de Utrecht, Países Bajos, y en otros encuentros virtuales de live coding y música algorítmica como el Solstice Stream de Eulerroom (ediciones 2022, 2023 y 2024).

We are Turtlejuice, a brother and sister duo making dark electronic music. We grew up surrounded by music in a home surrounded by travelling musicians, and creating together has always felt like a way to connect with our old selves and remember our roots.

Our tracks are reflections of who we are and where we’ve been. We’re drawn to contrasts, the push and pull between simplicity and complexity, light and shadow, structure and spontaneity. That balance is at the heart of everything we make.

Turtlejuice is about following curiosity, breaking away from the expected, and making space for the strange, the beautiful, and the honest. 

We hope our music offers that space to anyone who needs it.

Thanks for listening. We’re glad you’re here.

Pianist, composer, electronic musician, coder, producer and sound artist.
A good pair of monitors or headphones is recommended.
Keywords:

Piano playing
Improvisation
Sound design
Music production techniques
Electronic music
(ECM) jazz and future jazz
Drone
Ambient
DnB
Noise
Algorithmic composition
Computer programming
Computer music
Digital synthesis
Sampling
Polyrhythmic
Microtonal scales
New technologies
etc...

Almost all the samples and sounds have been created from scratch.
All compositions - © Santino Famulari

Computer music composer/researcher. 

Kingston, Canada/Umeå, Sweden.

New tracks tagged #Algorithmic music