More on the 673rd weekly Disquiet Junto project, Switch Back — The Assignment: Make the quiet part loud, and vice-versa — at https://disquiet.com/0673/
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Building upon my previous composition, 'omeostasi' I inverted the sonic landscape of the piece. Notes once robust were rendered delicate, and those once subtle were amplified. 
This sonic inversion was achieved by manipulating amplitude levels within the original score. 
While timbres and effects underwent transformations, the underlying structure remained intact. 
The piece was realized through the synergy of Csound, which handled sound generation, and Python, which orchestrated the note sequence.



omeostasi remix - disquiet0673

music for "Salitude Salitudine Saltitude Salidad"
video installation by Elisa Zurlo

"Arte video tv 2000"
International video art festival
Salara, via Don Minzoni, 18 Bologna
from June 16 to July 9, 2000

insalitudo

ascesa

sin2

vox-2-9

first performance: Festival Futura '99 - Crest (Drôme) France

Porte Sottili

More on the 675th weekly Disquiet Junto project, Arc of the Drone — The Assignment: Record a drone that goes from simple to complex to simple — at https://disquiet.com/0675/
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Two Csound instruments intertwine to shape this composition. The first instrument, a trio of oscillators, generates a sonic tapestry, enriched by a flanging effect achieved through a cross-modulated random vibrato. A second instrument acts as both a mixer and a spatializer, while a subtle ring modulation, created by a passing cross-feedback, underpins the piece. The composition revolves around a minimalist drone, centered on the notes C# and B.

For those interested in discovering the technical details of this composition, the Csound source code is available on GitHub 
https://github.com/tonpatt/compositions/blob/master/disquiet0675.csd

a cohered front - disquiet0675

stillness:
the sound of petals
sifting down together.

by: Miura Chora

Phase Out Tenfolds - Naviarhaiku571

Beyond Context

In the writing of these words context is created, which is the antithesis of their intention. How is one to proceed?

Admonition: Accept no accumulation of experience including the words on this page. Accept no authority… especially in these words. For in the instant we accept the thoughts of anyone, including our selves, we enter into structures and subsequent trappings of belief… thus laying the context upon which our illusory self-view is imagined.

Consider these words and then release them like exhaled air. Likewise, if there is a perceived value… a current stance, drop it like a bad habit and move on. Stances ultimately limit our consciousness in breadth and scope relegating us to mere shadows of our selves.

Accepting superficial contexts… cultural, spiritual, intellectual, psychological, and so on, magnetically binds us to who and what we “think” we are. Human being fights and is willing to die to protect and extend the contexts upon which these projected identities are predicated. Is this never-ending cycle of humanistic activity truly beneficial? Or is it utterly divisive, violent, and destructive?

Can one stand so completely free of context as to accept no such filtration of perception? Immense human energies are spent toward creating and concretizing contexts from which to act, perceive… to live. Layers upon layers of context are accumulated over time until all is obscured and precluded by their influences.

What is music devoid of title, lyric, and re-cognition?

Consider these words and then abandon them like the past experience they now are.

www.perceptionfactory.com

Beyond Context I

on New Year's Day
everywhere, a corrupt world's
blossoms.

by: Kobayashi Issa  /    Picture by Yosuke Ota
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link to source code: 
https://github.com/tonpatt/compositions/tree/master/naviarhaiku574

dewy yarn aeons - naviarhaiku574

Demo sounds for my experimental software synthesizer "Analog Bread and Butter" built with Csound. Get it here: https://github.com/DennisSchulmeister/SynthExperiments

String Pad

PWM Pad (Default Sound) II

https://github.com/tonpatt/compositions/tree/master/o4%20(a%201995%20study)

o4 (a 1995 study)

csound source: https://github.com/tonpatt/compositions/tree/master/discesa

Discesa (r2025)

This is a brief demonstration of Adaptive FM (source: tonewheel organ sound) as implemented in Csound.

adfm_test

Clemens von Reusner, "HO" (2008)
fixed medium

HO has been realized with the Csound synthesis-language. Percussive islands of sound. Spatial movements, modulated noise, lingering sound in a wide space. Moving area. Deconstruction of the sound islands, variation, densification and repetition. Single steps prove the composers temporary attendance in a quietful and specific location called HO in western Denmark.

2009 Musica Nova - International competition of electro-acoustic music Prague, Czech Republic, Awarded Honorable Mention "HO"

derivata-prima

derivata-seconda

csound source: https://github.com/tonpatt/compositions/tree/master/onde%2Bcric2

These are two studies realized in Csound in 1995 and revised in 2025. The first is a study on the timbral variations resulting from the interference of sounds with closely related frequencies; the second is a study on noise and the manipulation of sound through filters, delay, and feedback.

New tracks tagged #Csound