Sleep-Aid Test 9

My contribution to Disquiet Junto Project 0567: Three Meters.

The Assignment: Make music in 5/8, 6/8, and 7/8 time signatures.

Three random samplers controlling the notes, timbres and volumes of three synths, put through some effects to mush up the sound a bit.

More on this 567th weekly Disquiet Junto project – Three Meters (The Assignment: Make music in 5/8, 6/8, and 7/8 time signatures) – at: https://disquiet.com/0567/

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0567-three-meters/

disquiet0567 Weaving

"Power Chords for 4 Channels," completed in July of 2023, is an exploration of sound design and sonic aesthetics anchored in the arena of rock and metal guitar. Inspired by the concept of a "ghost in the overtones," this work seeks to pull back the curtain on the guitar signal's spectral complexities, highlighting elusive musical expressions hidden within. At its core, it takes three rudimentary power chords: A5, G5, and E5, recorded with heavy distortion and saturation to emphasize the timbral richness.

This composition is not merely about power chords, but rather about the myriad possibilities concealed within their overtones. It operates within a paradox, both a study in restrictive musical content and a testament to the boundless potentialities of sound manipulation. The first 20 seconds of material act as the kernel of the piece, spawning dozens of variants through the use of filters, time-stretching techniques, and algorithmic playback triggers. It is a calculated venture into the drama of the minimal, extracting nuance and depth from the most fundamental elements of rock and metal. "Power Chords for 4 Channels" ultimately delivers a curious, layered fixed media playback experience, born from a pursuit of spectral phantoms within the simplest of musical building blocks.

Power Chords (stereo version)

before starting this composition I did a series of etudes on rhythm
, with the skills I learnt from those and considering the idea of duality I tried to touch the border of unpredictability and recognizable grooves also trying to answer this question "what if I only focus in time-intervals between events?"

Composition 5

generated from recurrent neural network trained on 70 rock songs. Two separate samples, fused together because they kinda go together.  I futzed with garageband to put the bit of drum loop in.

Room - At - The - End - Of - The - Hall - Rnn

Live, Shanghai 17.10.17. Spheroid.

Use of a subwoofer is strongly suggested. Otherwise you'll be missing a lot of it.

2018 - 07 - 03

Uneasy Listening

КТО КОГО?

The Machine Insists

The second episode of Catalyzing Computing features an interview of CCC Council Member Suresh Venkatasubramanian. Suresh is a professor at the University of Utah with a background in algorithms and computational geometry, as well as data mining and machine learning. Suresh talks about joining the CCC, the work of the CCC’s Fairness and Accountability task force, and the impact of the internet and algorithms on the modern world.

Catalyzing Computing 2019

Interview with Suresh Venkatasubramanian Pt. 2

I play blues guitar, dobro and bass guitar, but not here. This site is for my experiments in computer generated music - that is, music entirely created by a computer program without manual intervention. You can read more about how my algorithmic music is created on my website at https://sites.google.com/site/dickpountainspages/home/music/automusic.

Andrew A. Watts is a composer of chamber, symphonic, multimedia, and electro-acoustic works performed worldwide. His compositions have premiered at venues like Burning Man, Ravinia, Jordan Hall, and Holywell Music Room, featuring collaborations with top new music groups such as Dal Niente, Ekmeles, Proton Bern, Distractfold, and Line Upon Line. His recent work, Silicon Valley Requiem, premiered in May 2022.

Watts earned his doctorate from Stanford, master's from Oxford, and bachelor's from the New England Conservatory. His music explores technology, post-human themes, and language desemanticization, often using invented instruments. His treatment of microtonality focuses on evolving material under tight constraints, creating precise surface gestures as impetus for his compositions.

Currently a Lecturer at UC Santa Barbara's College of Creative Studies, Watts also teaches a summer workshop on Algorithmic Composition at Stanford's CCRMA.

Sohrab Motabar (1984) is a composer from Tehran. With regards to states of suspension and dazzled motion his music resonates like a maze for the listener. He composes with algorithms, chaotic functions and non-standard synthesized sounds as a way to give rise to obscured dimensions and experimental modes of perceiving and listening. In 2018, Motabar graduated from the Institute of Sonology. In addition to this study he also actively collaborates in select projects with other artists and musicians.

electro-acoustic, algorithmic, and minimalistic

Experimental folk, inflected with jazz, drone and spoken word.

Live Computer Music
Electroacoustic Composition
Sound Installations
Improvisation

Morphogenèse [empreintes DIGITALes]. http://www.electrocd.com/en/cat/imed_14129/

The mission of Computing Research Association’s Computing Community Consortium (CCC) is to catalyze the computing research community and enable the pursuit of innovative, high-impact research.

The CCC's official podcast, "Catalyzing Computing," features interviews with researchers and policy makers about their background and experiences in the computing community. The podcast also offers recaps of visioning workshops and other events hosted by the CCC. If you want to learn about some of the computing community's most influential members or keep tabs on the latest areas of interest then this is the podcast for you. 

Learn more about the CCC on our website https://cra.org/ccc/

Popular tracks tagged #algorithmic