Today’s Live Code: “SCARP::Head”

Definition of a Scarp: A line of cliffs produced erosion or by the action of faults.

One of the things I’ve been learning to do during the pandemic of 2020 (and now of 2021) is learn live music coding in ChucK. The ChucK language allows me to use my knowledge and passion of electronic music / synthesis theory and apply it directly in the context of computer science. Besides getting me a lot closer to using the computer as a fully realized musical instrument, I absolutely love the alien and esoteric visuals the code provides. In a way, I can directly “talk” to my tools to make the music I want to hear. 

A closer connection between mind, eyes, and ears. Faults and glitches in all.

SCARP::Head is an experiment in computation, technology, music, and language. I hope you enjoy.

SCARP::HEAD

Originally made for the soundtrack of the animated film "a la recherche du feu sacre" by Sofia Greff, 2021.

Cover design by Thomas Breuer, 2021

Mneme

A sonification of COVID-19 transmission across nineteen countries.  More details at:  www.robertjarvis.co.uk/sonoraV19

SonoraV19 (30Apr21)

I’m walking down the street
I walk a pretty good walk

Run into a talker
Talking pretty good talk

Talking blah blah blah blah blah
Talking blah blah blah blah blah

They talk about this and they talk about that
Talk about the dog and talk about the cat 

Talk about losing a car on the chain
Talk about a lady can’t remember her name

Talking blah blah blah blah blah
Talking blah blah blah blah blah

I try to keep walking but I get caught up
It’s like I’m at a movie got no ticket stub

Their talk is getting deep their talk is getting stupid
Their talk is going on and I just can’t step off it

Talking blah blah blah blah blah
Talking blah blah blah blah blah

I don’t wanna talk anymore
I don’t wanna talk anymore
I  Don’t wanna talk about the day
Don’t wanna talk about tomorrow
I don’t wanna talk of yesterday
Nothing is going my way
Nothing is going away
Won’t talk
Won’t talk
Won’t talk

"don't wanna talk" Song for The Long Conversation - May 2nd 2021

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#Atmospheric #Cinematic #Soundscapes
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// Ambient, atmospheric music is a genre of music that puts an emphasis on tone and atmosphere over traditional musical structure or rhythm. A form of slow instrumental music, it uses repetitive, but gentle, soothing sound patterns that can be described as “sonic wallpaper” to complement or alter one’s space and to generate a sense of calmness. Intended to relax, the genre is said to evoke an “atmospheric”, “visual”, or “unobtrusive” quality. Ambient music focuses on creating a mood or atmosphere through synthesisers and timbral qualities, often lacking the presence of any net composition, beats or structured melody.
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// A soundscape is a sound or combination of sounds that forms or arises from an immersive environment. The idea of soundscape refers to both the natural, acoustic environment consisting of natural sounds, including animal vocalisations, the sounds of weather and other natural elements; and environmental sounds created by humans, such as musical composition, sounds of mechanical origins resulting from use of industrial technology. Crucially, the term soundscape also includes the listener’s perception of sounds heard as an environment: “how that environment is understood by those living within it” and their relationships.
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// Sound design is the art and practice of creating sound tracks for a variety of needs. It involves specifying, acquiring or creating auditory elements using audio production techniques and tools. It is employed in a variety of disciplines including filmmaking, television production, video game development, theatre, sound recording and reproduction, live performance, sound art, post-production, radio and musical instrument development. Sound design commonly involves performing and editing of previously composed or recorded audio, such as sound effects and dialogue for the purposes of the medium.
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Parabol Continuum

final rendering for schizophonia project.

made with field recordings, experiments with instruments and digital signal processing.

As The Sky Opens Up

Excerpt:

DONDON:
Sometimes when I move my head a certain way, like very slowly to the side and slightly up but with the suggestion that I’m not moving at all. Not moving my head at all, or if I let my hands fall casually by my side or really, like a pretend casual, a studied casualness--hyper-aware internally but externally seemingly casual dropping of the hands--a signaling of comfort and ease or if I shift my weight from one leg to another changing the balance and the polarity of my energy waves and their relation to the earth and the sky, or if I move my eyes in a numerical rotating pattern—left up, left up, left up, left up, right left, right left right left right left, up, right, up right, up right, up right—if I do this pattern or some other similar patterns then sometimes then I think I can catch a glimpse.

ESMERELDA:
I think that I understand. how about arms above the head? Gentle shaking? 

DONDON:
Yes. Well, sometimes.  sometimes if I stretch up so that I can imagine clinging to one of the clouds going by so that I can feel that weight--the weight that my body would make and the way it’s weighted by the cloud---this balance. 

ESMERELDA:
well my friend that is just amazing. I do not think I have ever experienced this feeling. 

DONDON:
it’s different from a feeling Esmeralda.

Esmeralda: 
what is it closer to? 

DONDON:
it is closer to sport. it is closer to the intellectual meditative sport of focus and internalized sport. And it is religious. 

ESMERELDA:
what religion? 

DONDON:
no, no particular religion

ESMERELDA:
so you mean spiritual?

DONDON:
No, not spiritual. it is religious. but formally. formally aligned with the concept of religion. Not with the concept of religion but the ways that religions work. the structure and form of religions. 

ESMERELDA:
the hierarchies? 

DONDON:
well yes the hierarchies are part of it but right next to the hierarchy is a self-organizing principle and I think that is rare. No one tells somebody that they have to go to mosque or church but they go. It’s not like a job... but it is. There is hierarchy and rules to be followed but there is a great deal of latitude in how much an individual person might want to partake. one can go incredibly far into the mania of any religion if they would like to. 

ESMERELDA:
yes I’ve all often thought that it would be very nice to be a full on religious fanatic. Such purpose and frenzy.

DONDON:
yes I imagine it is a very completing feeling. a complete feeling. or completed feeling? I imagine that that feeling is marked by a measure of completeness.

ESMERELDA:
and mania. 

DONDON:
probably in many cases yes. But who knows in some cases perhaps no, perhaps just actual direct and continued communication with God. 

ESMERELDA:
Yes, probably that sometimes. 

DONDON:
yes sometimes that. 

ESMERELDA:
I think that would be just incredible---I mean the experience of an eon but I think it would also be exhausting and I think, well, it seems an obvious thing to say, or worry about, but I bet that it would subsume every other interest you had going on in your life and that could be an unfortunate narrowing….though, I guess if you’re in that space then you would want or know the rightness of that sort of narrow focus. 


DONDON:
oh I wouldn’t want it at all. I would not want to be one of the chosen. I would not appreciate the pressure. 

ESMERELDA:
even if the pressure was accompanied by glory? Beatific—ational glory? You, shining forever in the light of the lord? Absolution?

The Long Conversation - "absolution" - May 2nd 2021

Sound Installation by Yara Mekawei - 2021.
‘Of Materials and things’, curated by Exit Frame. The exhibition is presented as part of the season "Un Quartier Généreux" by La Condition Publique, organized on the occasion of the Africa2020 Season. Roubaix, France.

120 Morning

De Halve Stad | The Other Half

Radio program originally broadcast on 04-05-2021 on Free radio Berlin Brandenburg

If These Walls Could Talk (I wouldn´t be talking to myself)

In collaboration with michelwijdemansstudio I made this soundtrack

sounddesign for 36 days of type Letter U

"Corazón de Borra" (2020-21) extracto de obra  comisionada por el Instituto Tlaxcalteca de Cultura, Centro de las Artes de Tlaxcala, Secretaría de Cultura.  
Autor: Manuel Ramos Negrete
colaboración y asistencia: 
Joel Tlatelpa (artista plástico), Fernando Larios (artista sonoro)
Técnica: soporte: Beaglebone / Bela io, puredata, bocinas, tela, hilos y madera.
   Corazón de Borra está instalada en la turbina de lo que fue la ex fábrica textil de San Luis Apizaquito, ahora Centro de las Artes de Tlaxcala. Composición algorítmica, síntesis por modelado acústico y modelado analógico.
    La pieza es parte del ciclo "Colección de Corazones"

INSTALACIÓN SONORA CENTRO DE  LAS ARTES DE TLAXCALA

Corazón de Borra

It has been said that cities are organisms whose hearts beat as distinctly as our own. The myriad metropolises I've visited in my time support that concept. Each one has a unique feel, an aesthetic and timbre that is distinct to that landscape.

If one stands on Main Street during the busiest time of day, or prowls downtown at precisely the deepest part of night, one can clearly hear the breathing of the concrete beast, the cracking of bricks and steel beams that is its spine, and the rumble of cars and citizens that is its sleep cycle.

Like & follow to be notified when new worlds are found!

LOG#034

Pieza para bocinas que se relaciona con diferentes materiales sonoros dentro de la música electroacústica, la improvisación libre y la música instrumental contemporánea. Para la pieza se generaron sonoridades basadas en distintas lógicas de sonido y discurso, que se interpolan durante la pieza de diferentes maneras, generando relaciones entre las fuentes, sin perder su origen tipológico, las manipulaciones son utilizadas como aglutinante para tejer un desarrollo intercalado de morfologías.   

En ese sentido es una pieza narrativa que presenta objetos sonoros disimiles que se encuentran en líneas paralelas/asincrónicas, las cuales paulatinamente van entrelazando elementos de densidad, temporalidad, timbre y frecuencia para los que se emplearon diferentes técnicas “clásicas” electroacústicas, y librerías de Python en TensorFlow, entre otras aplicaciones de Machine Learning basadas en SampleRNN.

El formato es ambisónico y se puede presentar en sistemas para audífonos o multicanal donde el aspecto espacial cobra una dimensión dentro del discurso, con al menos 6 canales.

RNN-I

Compartimos las lecturas que escucharemos a lo largo de los talleres del bloque 1. "Cocina y auralidad" del proyecto Cocina Aural.

Texto: 
De los lazos entre el sonido y la noche. CUARTO TRATADO - Pascal Quignard

Audio: 
Magnetic City - Justin Bennet

Textos Sonoros Cocina Aural. Bloque 1_#05

Sound print of dance. Recorded in "Shift" studio on 08/31/2020. Anya Kravchenko - movement, dance, sound. Karina Siu - concept, recording, working with sound.
To make our lives safe, we must evaluate, analyze, take some steps to change the situation from birth.

We want to survive. What does it mean to survive ?? Our body is wired to receive and interpret signals. For this we have organs of perception. Two of them are sight and hearing.
And what are these signals? They are called messages. Vision is the mediator of objects, hearing (and this is very important) is the mediator of movement. But what is it really? Just a message? No, this is participation in events without unpleasant consequences. Vision is participation.
What is hearing? This is no longer just a message. This is evidence that something is happening, the body is moving, changing its position. Do you hear? Everything is quiet. Only minor noises and hum from electrical appliances. If everything is quiet, there is no movement. We don't hear anything. But as soon as something starts to move ...

Sound Print Of Dance

Moving in the room
Bien sûr, c'est juste à propos du son. Le son de la danse qui est séquentiellement enregistré, joué et enregistré à nouveau. C'est ce principe que nous voyons chez Alvin Lucier. Mais dans ce cas, dans une situation avec le mouvement des danseurs - le mouvement et le nouveau son du mouvement ne se termine pas sur la première partie. Le mouvement continue toujours.
  Nous arrivons donc à la sixième fois. Les danseurs s'entendent, le son de leur danse et ce qui leur est arrivé il y a quelque temps. En même temps, les danseurs "superposent" un nouveau mouvement. Le mouvement ne s'arrête jamais...
Qu'est-ce qui distingue les organismes vivants des plantes? La Biologie générale donne la définition de:: mouvement. Qu'est-ce qui distingue les humains des organismes vivants? La capacité de réaliser.
    Les danseurs entrent en dialogue avec le mouvement et le son de leur mouvement qui s'est produit il y a quelque temps. Cette expérience est possible avec des dispositifs d'enregistrement et de lecture, des haut-parleurs puissants, une réverbération de salle et un enregistrement qui capture et reproduit de manière cohérente une image entière à l'aide du son.

я двигаюсь в комнате

2021 - 0507

Experimental IDM/glitch producer. Post-EDM. Composer. Sound Designer. Audio Guy. AV tech. Dark Stuff. Weirdo.

Education: Chico State

Andrei Cucu is a multimedia/sound artist and sound designer from Berlin trying the boundaries between sound/image/text/space/nature. His work often approaches translations between these different languages, with a special focus on sound, trying the interstices, correlations, interactions. The endless possibilities of manipulating these languages are explored and expanded in sound pieces, audiovisual pieces and images. Andrei has studied literature, comparative studies and sound design, all of which are reflected in the multifaceted manifestations of his art. His works are deeply personal, reflecting small moments, deeply intimate experiences or transformations.

Despite growing up in a city in the middle of Transylvania, his direct contact with nature was very limited, which is why many of the pieces deal with natural surroundings, open spaces, natural/contemplative themes, as a means of rediscovery of the outside world through art. The extremely occidentally focused perspective of early 90s Romania has helped form a cosmopolitan worldview which became even more acute after Andrei´s move to Berlin in 2014. This new environment and the beginning of his sound design studies have left a massive imprint on his art, turning it onto an experimental, conceptual area, opening an immense space for exploration and unexpected sensations.

Experimental electronic music.
Generative music.
Sound laboratory.
Live performances.
Conceptual projects.


Studio audio-monitors recommended for listening.
Made with passion and modular synths.

jazz and pop artist, guitarist, sounddesigner

Karina Siou, musician, sound engineer from New Media Lab, St. Petersburg School of Improvisational Music. Currently working in the field of research into the possibilities of experimental electronic improvisational music, sound performance, spatial sound , sound of movement in space.

Japanese electronic musician.

https://electr-ohm.bandcamp.com

http://www.facebook.com/sunaoinami.official

"Cocina Aural" es un proyecto cultural que aúna gastronomía y creación sonora, e invita a las personas con discapacidad visual a explorar nuevas herramientas y vías de expresión en torno a la escucha y la cocina como base para la creación artística.

El proyecto, diseñado y coordinado por la asociación cultural Weekend Proms, cuenta con el apoyo de #ArtforChangelaCaixa de la Fundación "la Caixa" CaixaForum.

Cocina Aural cuenta con el patrocinio tecnológico de ZOOM y AudioTechnica, además de la colaboración en la difusión de ONCE y la participación de sus afiliados, el Instituto de Educación Secundaria IES Juan de Aréjula, el Ayuntamiento de Lucena, el sello discográfico local Food&Sound y la asociación cultural la mitocondria.

#soundart