A Dialogue, In Linear A (2021) 
by Andrew A. Watts

 Linear A is a writing system that was used by the Minoans (Cretans) from 1800 to 1450 BCE to write the hypothesized Minoan language. Linear A was the primary script used in palace and religious writings of the Minoan civilization. It was succeeded by Linear B, which was used by the Mycenaeans to write an early form of Greek. No texts in Linear A have been deciphered, and thus, it is unknown what this dead language should sound like. 

A Dialogue, In Linear A utilizes text from libation artifacts and (presumably) religious objects, imagining what these fragments might have sounded like when spoken by various text-to-speech dialects. A heightened ritual is created, trading any semblance of semantic content for timbral transformation of the voice. A Dialogue, In Linear A seeks to blend features of musique concrète, aural theatre, vocal synthesis, field recordings, and an unknowable ceremonial rite among the sands of time. 

www.andrewawatts.com

A Dialogue, In Linear A (2021)

Carina Lueschen is a generative artist who works with sound in her artistic practice and focuses on the auditory quality of collective memory as an aesthetic socio-technological reflection.

Quest

ON AIR SEPTEMBER 5, 2022 00:00-23:59 CET

RADIOPHONIC MONDAYS FEATURING JÖRG KÖPPL (CH)

zellen - silben (a dreaming machine) 
an algorithmic composition for radio, which has been broadcast in several versions in various countries and languages. The piece has both a sound and a language layer, each controlled by a non-hierarchical algorithm built on nine interacting cells. The way these new cells interact is not so much copied from our brain as from our society, in that the cells oscillate between "stubbornness" and adaptation to the collective.

Context: Orpheé
A young man is sitting in a car listening to the radio. The car is not driving; it is parked in a garage. The young man listens feverishly to the sometimes absurd and sometimes poetic sentences and writes them down. It is Orpheus, the poet. The radio voice comes from another world. Unaffected, it oracles to itself. My memory of the 1949 film Orpheé by Jean Cocteau is vague, but this radio appealed to me and has become a silent placeholder for what I imagine radio art to be. Here, the radio is not a transmitting medium, but becomes an acting subject itself. There is no face behind it, no person - the voice falls together with the device. 

Like surreal dreams, the randomly generated sentences can serve as inspiration, as oracles that open new perspectives of thought. Dice machines for the names of God in Kabbalah and the random compositions of Cage (who worked with the I Ching) share the desire to escape one's own preconceptions.

Nine interacting cells
The controlling algorithm of the algorithmic composition is not organised hierarchically. It is made of nine interacting cells and its dramaturgy is unpredictable and yet musical. The way these nine cells interact is not so much copied from our brain as from our society. On the one hand, the cells have the tendency to move randomly up and down a frequency scale. On the other hand, they look to other cells for harmonic ratios (1:2, 1:3, 3:2, 3:4, 4:5, etc.) and sometimes adapt to them. Thus, the cells control sinusoidal generators as well as the playback speeds of nine samplers. Depending on their matches with other cells, the dynamics of each cell swells and shrinks. We can observe something similar with groups of people, who sometimes become very loud when they have synchronised. Through this principle, the samples are musically related to each other and a lively dynamic results.

Samples
As a control for sine generators, sample players and as a pulse generator for the word sequences, this principle produces an amazingly organic soundscape. The tuned and clocked samples are adapted, revised and supplemented from version to version.

Syllables
The nine cells trigger impulses in certain time intervals, which control an archive of recorded (mostly) monosyllabic words. The computer continuously creates possible sentences from the words, which offer - sometimes more and sometimes less - meaning to the listeners. The archive is organised by vowels, and the sentences by strict verse forms (e.g. A - O - EI - AU). The monosyllabicity and the selection of the words, which include slang and explicit words, create a raw and immediate character. Through interactions between the different voices (languages), through changing verse forms and emotional charging, an atmospheric meta-narrative evolves.

In contrast to the efforts of "artificial intelligence", which tries to create meaningful statements with machines, zellen-silben (a dreaming machine) strives for the opposite: to productively disrupt our mental imprints.

This is an excerpt of zellen - silben (a dreaming machine). SONIC MATTER does not currently hold the rights to play the entire radio art piece within the SONIC MATTER_radio REPLAY option. If you're seeking further information or access to this work, you can refer to the following links:
https://audiokunst.ch/w02-zellen-silben.html

Photo: Drawing/Maxpatch, courtesy by the artist

RADIOPHONIC MONDAY 2022-09-05 w/ Jörg Köppl (CH)

Lyrics by @nicholaijones
Music by suno.ai
https://app.suno.ai/song/cf75680a-bb73-4506-a653-2ad224b14d0a

Lyrics:
[Verse]
Enter your mind and find the kindness deep inside
As the sky opens wide to reveal the truth behind

[Chorus]
It was you and me 
and everything outside and in between
How could we have ever been so mean
Such a foolish joke it seems

[Verse]
Let go of times you try to climb but keep on sliding 
And the times you fly too high and tumble from the sky

[Chorus]
Cus it's just you and me 
and everything outside and in between
How could we have ever been so mean
Such a foolish joke it seems

[Bridge]
I know you've grown weary of the boulder on your shoulders
And the smoldering wax dripping down your back
Now the sun keeps hiding its shine behind the peak
But through the shivering night 
there's a sliver of light 
Just bright enough to keep on this endless plight 
of seeking some meaninful feeling

[Chorus]
It was you and me 
and everything outside and in between
How could we have ever been so mean
Such a foolish joke it seems


[Outro]
It seems so foolish, it seems obscene
It seems so foolish to be so mean
It's just you and me together
Toiling forever
Outside and in between

outside & in between

this thing they call me

o slithering temptation

srry

evernever

slo-motion implosion

stubtoe

sunheart

On April 2, 1982, the Argentine army landed on the Falkland Islands in an effort to reclaim the territory, which had been disputed with the British Crown for over a century and was under British sovereignty at the time.

My father, 21 years old, was finishing his training at the military academy when he was sent to the islands as part of the Argentine army. During the 80 days he spent in the conflict, he wrote 22 letters to my mother.

She wrote to him as well, but her letters were lost to the sea, the wind, and the rain. The few that did reach their destination fell into British hands when they took my father prisoner.

Only one of those letters survived—the last one. It never made it across the Atlantic and was returned to its sender, my mother.

This is a generative piece based on a syntactic and semantic analysis of that letter, transforming the data extracted from this research into sound. My mother acquires a new voice—a voice hidden in numbers beneath her words.

En el mar, el viento y la lluvia (In the sea, the wind and the rain)

Metal improvised with computer code. Performed at AV Club San Francisco, California.

Hipérbole (demo)

coming soon: : : : 
SONIC MATTER_radio is a space where freshly composed music, abstract and concrete sounds, vocality, utterance and stillness coexist, insist and invites the listeners to experience new sonic territories. 
The radio is an essential partner of the December festival SONIC MATTER that acts also throughout the year, not only broadcasting but also "listening“: It listens carefully to artists ideas and concerns and shapes its programming in response, it listens to audiences’ reactions in an effort to provide opportunities for imagination and discovery. Thus, the SONIC MATTER_radio should always remain within earshot of its audience to build a lasting presence locally, nationally and internationally. 

Above all, SONIC MATTER_radio plays a lot of music. It sees itself as an information carrier for the festival as well as an art radio, so it broadcasts information about festival happenings, interviews with SONIC MATTER actors, livestreams, educational activities, contributions from our guest festivals and SONIC MATTER_openlab. SONIC MATTER_radio also presents artistic works developed specifically for the medium of radio.

SONIC MATTER_radio is generously supported by srks/fsrc - Swiss Foundation for Radio and Culture and SWISSPERFORM.

Storytelling from archived collective memories, generative compositions modified in real-time.

Álvaro Cáceres (cute::wire) is an LA-based composer and coder from Madrid. He improvises music with computer code. Blending djent grooves, abrasive noise electronic textures and minimalist form, cute::wire shares his process to the audience live by projecting the code he types, combined with generative visuals.

cute::wire’s shows in 6 countries include Aquarium of the Pacific, SoundPedro, Coaxial LA, Andy Vargas, 011668, Neyva, Hypereikon and LOOK MUM NO COMPUTER.

hear b toons

free2download.destroy 

childlion0@gmail.com

hmu

New tracks tagged #generative art