Textures Arc The Points is dedicated to my late teacher Mark Chambers, who was a great composer that often introspect about music. Thank you for introducing me to the world of “Spectra and Pixies” and the world of electronics

Textures Arc The Points was commissioned by the Debris Project; utilizing sound solely from their database.

Engulfed by the many points, as these materials conglomerate within the plane 
Matter as figurative and external

Conglomerates veil the arcs

Meandering through the flow, at times with extreme exaggeration Flow that is never the same
As flow is made up of impermanent elements

Cyclic material that occurs “once”; an ephemeral quality 
Often unfair

Endure with an inner rhythm of
Textures of a phantom-like movement
Veiled by the engulfment of the points

We endure through perception of, not form, but rather

Yielding the flow
And respond to the “through” material

Textures Arc The Points

Binaural mix of one of the sound installation's broadcasts [best listened to with headphones]:



MYCELIUM GARDEN project - winner of EUR ArTec's Symbiosis call for projects

We are building a device for developing sensitive interactions with the mycelium, an organism that facilitates symbiosis, by interpreting the specificity of its electrical expressions. This project aims to take into account the singularity of a mycelium network in a mode of interaction with humans based on listening and attention. This model will attempt to retain the dimension of otherness in sensory interaction.

We will combine our skills to develop an AI model that will enable us to map mycelium behavior and co-compose sounds thanks to the electrical variations recorded and classified. These data will be linked with graphical, textual and sound data to generate mycelium communication modes. This experimental process will enable us to enter into a relationship with a non-human organism, observe its behavior and adjust our behavior in interaction with it. In this way, we will question the notions of intelligence and adaptation in a three-agent composition process, human/AI/Mycelium. How intelligent is the mycelium compared with the human musician and artificial intelligence: what do we mean by this? This installation deals with the importance of recognizing the otherness of non-human and non-animal beings in the ecological project of caring for living things.

PROJECT LEADER(S)
Diane Schuh (CICM - Musidanse - EA1572/EDESTA/Paris8)

PROJECT TEAM
Anne Sèdes, Alain Bonardi and David Fierro (CICM - MUSIDANSE/Paris8) Guillaume Peureux and Julien Schuh (CSLF/Université Paris Nanterre)
Charlotte Janis and Roberto dell'Orco (SPORA)
Stephen Whitmarsh (ICM) Hugo Scurto (ArTec post-doc)
Salim Mohamed Aissi (LIP6 - Computer Science Laboratory - CNRS - Sorbonne University)

IN COLLABORATION WITH
MSH Paris Nord, EA 1572 Esthétique, musicologie, danse et création musicale (musidanse), Université Paris Nanterre

Mycelium Garden - One iteration of the sound installation - phase 1

44.5B-FPS (“forty-four and a half billion frames per second”) is the expressive juncture at which my photography, videography, documentarian practices meet my practice as a producer and deejay: sketching, recording, composing, mixing, and producing for spatial audio and for stereo. A portrait of late capitalist existence and a love song for my urban coming-of-age in Brooklyn, Berlin, and Chicago, this soundscape asserts that the mundane always gives way to the divine: that the certainty of beat, pattern, and routine in all things belie that same reverence, that soul-assuaging spirituality, one �finds in listening to the waves crash into the rocks at Promontory Point, so much as when hearing the overhead intercom announce “This is Cottage Grove, trains open on the right at Cottage Grove...” The juxtaposition of field recorded human-made and naturalistic elements aims to trouble the distinction between digital and analog sounds, disrupt the distance between these seemingly unrelated elements, and highlight harmonies of coexistence between the artificial and the natural.

44.5B FPS

performed and written for Mikołaj Rytowski for the ATTACCA Festival 2024; premiered on June 1 at Druckereihalle im Ackermannshof, Basel, Switzerland

recording: Robin Michel
mixed by Isaac Roth Blumfield

The electronics for this work were recorded in part at the SWR Experimentalstudio in Freiburg, Germany with assistance from sound engineers Thomas Hummel and Luis Miehlich

link to binaural version (for listening with headphones): https://soundcloud.com/isaacrothblumfield/strange-symmetry-for-percussion-and-ambisonic-live-electronics-2024-binaural-version-use-headphones

strange symmetry | for percussion and ambisonic live electronics (2024) – stereo version

David Quang-Minh Nguyen is an audio engineer, sound designer/re-recording mixer, and composer of concert music. His current interests lie in composing acousmatic works that explore multi-channel loudspeaker expansion, various types of sound spatialization, and immersive audio.

Recognized nationally and internationally, David has had his works presented at the June in Buffalo New Music Festival, where he received individual master classes with Harvey Sollberger, Martin Bresnick, Roger Reynolds, and Brian Ferneyhough. He was an active participant in the Festival DME under the direction of Åke Parmerud, Musique & Recherches Académie d'été de composition électroacoustique under the direction of Annette Vande Gorne and João Pedro Oliveira, and the Sounds Around Me Festival under Thomas Gorbach. He was also selected by Master Artist Robert Normandeau for a residency at the Atlantic Center for the Arts.

His works have been presented at more than fifty national and international events, and he is a laureate or finalist in numerous competitions.  He has been published on ABLAZE Records' Electronic Masters Vol. 7 and received an honorable mention at the XII° Destellos Electroacoustic Competition 2019 for his work Misprints.  He also placed 2nd in the XIII° Destellos competition for Adumbrations, was a finalist for the PRIX CIME 2019, and won 2nd place for the ASCAP/SEAMUS Award for his work Weight Stranding. In 2021, his SEAMUS-commissioned piece Whale Song Stranding was selected for presentation on the SEAMUS 31 CD and received the Ars Electronica Forum Wallis selection.  David was awarded the Prix CIME 2023 Residency Award for Whale Song Stranding.  His work Texture Arc the Points won 1st place in the ULJUS Međunarodno Pijanističko Takmičenje Smederevo Competition and 2nd place in the prestigious Concours Biennal de Composition Acousmatique Métamorphoses.

David Q. Nguyen holds a BM from Old Dominion University, where he studied with Andrey R. Kasparov and Mark Chambers.  He also graduated at the top of his class from The Omega Studios School of Applied Recording Arts & Sciences with a focus on Audio Engineering in the Music Industry and Film/Television.  He has received his Master and a Doctor of Musical Arts degree at the University of Illinois Urbana-Champaign, where his primary teachers are Reynold Tharp, Erik Lund, Eli Fieldsteel, Sever Tipei, and Scott A. Wyatt.

contact: isaac.blumfield@gmail.com

Isaac Roth Blumfield is a composer from Saint Paul, Minnesota, currently based in Cambridge, Massachusetts. He writes experimental music for acoustic and electronic instruments which explores resonance, materiality, and memory through expanded sonic approaches towards instruments and objects. His music looks for the strange spaces between subjective and unconscious experience, exploring uncanny places between beauty, pain, and strangeness.
His music has been influenced through  through work with performers such as ensemble sonic space basel alumni, Schallfeld Ensemble, violinists Austin Wulliman and Chris Otto, line upon line percussion trio, Ensemble Modern, Barcelona Modern Ensemble, guitarist Francesco Palmieri and Jamie Monck, and Quartetto Maurice at programs such as the Bludenzer Tage zeitgemäßer Musik, the Banff Centre for Creativity, Yellow Barn Young Artists Program, New Music on the Point, Valencia International Performance Academy, Ticino Musica Festival and Freie Universität Berlin im Sommer.  
His music has been broadcast on Swiss Public Radio and supported by the Ernst von Siemens Music Foundation, Fondation Nicati - De Luze, and the Hirschmann Stiftung. He graduated with his Bachelor's degree in composition at New England Conservatory in Boston and a Master's degree in composition at the Hochschule für Musik FHNW in Basel, Switzerland and is currently pursuing post graduate studies at the Universität für Musik und Darstellende Kunst in Vienna. His primary teachers have included Stratis Minakakis, Timothy McCormack, Caspar Johannes Walter, Svetlana Maras, and Clara Iannotta. He is currently a PhD candidate at Harvard University, studying with Chaya Czernowin and Hans Tutschku.

fearlessly and spitefully made
inquiries: contactpanty@proton.me

UPCOMING
Dec 06 @ Bando Blowout
Dec 13 @ Elastic Arts
Dec 19 @ Smartbar
Jan 18, 2025 @ TBA

PAST
April 24 @ Cafe Mustache
April 28 @ PHL
May 3 UPSETTING RELEASE PARTY @ CHI
May 18 @ CHI
May 24 @ Stankbugzzz
June 7 @ Groove Salon
July 7 @ TBA, CHI
July 13 @ Pritzker Pavilion
Aug 15 @ Pritzker Pavilion
Aug 17 @ McKinley Park
Aug 25 @ Blacktivities (soundbath)
Aug 30 @ Out in the Night

diane schuh /// composer, researcher & landscape architect

New tracks tagged #spatialization