[PDF READ ONLINE]  Psychology in Your Life kindle


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Iannis Xenakis and the Ethics of Absolute Originality

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Iannis Xenakis is one of the major composers of the 20th century. His influence is immense, because of his radicalism, his aesthetic, and the intransigence of his musical compositions. As an eternal immigrant, as he defined himself, he always refused to settle in any artistic, philosophical or human comfort. Throughout his life, leaving for new horizons, new landscapes, new discoveries has been a permanent ambition.G233rard Pape, who worked for many years with Xenakis as Director of the Ateliers UPIC, is not only a composer, but also a psychoanalyst. This diversity of knowledge and expertise allows him, throughout this book, to enlighten the reader on issues related to musical composition. What does it mean to be a composer? Is it possible to get out of the duality between too strong an influence of the past and blind avant-gardism? Should we conceive logical and aesthetic systems th

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Iannis Xenakis is one of the major composers of the 20th century. His influence is immense, because of his radicalism, his aesthetic, and the intransigence of his musical compositions. As an eternal immigrant, as he defined himself, he always refused to settle in any artistic, philosophical or human comfort. Throughout his life, leaving for new horizons, new landsc

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Fabrik Quartet
Violin I - Federico Ceppetelli
Violin II - Adam Woodward
Viola - Jacobo Díaz Robledillo
Violoncello - Elena Cappelletti

Tetras (1983) - Iannis Xenakis

2nd section of Les Percussions de Strasbourg's 1987 recording of Pléïades by Iannis Xenakis, played to the batrachoros program (animal voices only).

Métaux (with batrachoros)

Symphony No. 1, I. Piratestep [original instrumental]

Initially, I considered titling this “Tools,” since the concept was to create both the music and the album cover purely using pre-existing tools in Logic Pro and Canva—an expression of creativity in the modern age (I also thought about taking a “Lateralus”-like approach—because, well… Tools).

But as the process unfolded, the album cover itself seemed to call for Xenakis. So, I sampled “Syrmos (1959),” layering it as an effect over the beat.

This led to an architectural yet chaotic permutation—where structured repetition justifies the blending of sounds that aren’t traditionally “functional.” Inspired by Xenakis, I played with the idea of “flux per area,” which can be reversed, like a “measure per flux.” (Also paying tribute to the Fluxus art movement).

Then came the blues guitar riff over the circle of fifths—a shift inspired by Bach’s Cantatas (e.g., Nos. 140 & 147) where the introduction of a second melody radically transforms the mood.

Also I write this in retrospect. I wasn’t thinking too much in the process—just following the flow.

当初、この作品のタイトルは 「Tools」にしようと考えていた。Logic Pro と Canva の、既存のツールのみを使って楽曲とアルバムカバーを制作するというコンセプトであり、現代の創造性を象徴する試みでもあった（また、Lateralus のようなアプローチを取ることも考えた——なぜなら…Tools だから）。

しかし、制作が進むにつれ、アルバムカバーそのものが「クセナキスの音を加えろ」と語りかけてくるように感じた。そこで、「Syrmos (1959)」 をサンプリングし、ビートにエフェクトとして重ねた。

その結果、生まれたのは建築的でありながら混沌とした変奏。反復が、「機能性」を持たない音の融合を正当化する。クセナキスの音楽に活用されている「フラックス・パー・エリア」という概念を探求し、それを逆転させた「メジャー・パー・フラックス」という発想にも行き着いた。（また、フルクサス運動へのオマージュも込めている。）

さらに、ブルースギターのリフを五度圏のサイクルの上に乗せた。これは、バッハのカンタータ（例：No.140 & No.147）に着想を得たもので、新たな旋律の導入によって楽曲のムードが劇的に変化するという手法を取り入れている。

と、振り返りながら書いています。制作過程の瞬間瞬間は流れに身を任せていただけだった。


Per Flux

a tribute to h.r. giger

ho trovato questo mix nel mio hard disk che risale al 2018 <3

Xenakisbluesinstockhouse

FIREFLY/STARLING Project Proposal: One of the species of music I do is algorithmic composition.

The intention is to side-step traditional metric notation altogether, and generate electronic sounds directly from their mathematical description.

TWO projects I’m working on involve the movement of sounds in objective or real space. Inspired by the Varèse, Xenakis, and Le Corbusier 1958 World's Fair Philips Pavilion—we did a reconstruction of this with the ASKO SCHOENBERG Ensemble years ago—I am hoping to implement a grid of a 40-voice sound source distributed over 400 light/speakers.

The simplest and most flexible way to do this would be an APP that audience members could download in situ that flashes colored lights on and off, while at the same time playing pitched percussive sound. This means that there are three versions of a piece: light only, lights + sound, and sound only. All versions could be performed in- or out-of-doors.

The first two pieces I’d like to realize both use simple swarm algorithms abstracted from Nature: (1) FIREFLY (2) STARLING.

FIREFLY: The primary parameter is how the 40 relatively autonomous voices—simple percussive, say, woodblock sounds—move in and out of synchronicity using complex, non-periodic rhythms. Secondary parameters are random spatial and random pitch distribution (a simple 4 octave C2 to C6 1/4-tone field). Other variables are total duration and max/min temporal density limits. 

STARLING: Here, there are two equal primary parameters, with an one octave ‘swarm’ of 1/4-tone pitches at high to low density over a six octave field—always maintaining coherence with the same simple percussive woodblock sound with clear spatial transients—that ‘flies’ around in pitch space. 

WORK PLAN: Start simple with laptop models: scale down to 4 voices in monophonic rendering; then, stepwise, scale up to 40 voices. Once optimal temporal and pitch densities are worked out, scale to spatial distribution adding a dynamic / amplitude 7-step scale ppp=far away // fff=very near, as well as stereo headphones output; from there, scale up to the next level with simple single-purpose smartphone wi-fi/cellular APP.

That’s it. Each piece would last about 10 minutes. They wouldn’t be written down, but generated anew each time.

If you’d like take part the FIREFLY/STARLING Project (pro bono) in any way—whether as coder, mathematician, AI specialist, or APP designer— or offer support in any way, you can email me at cliff@picture-poems.com

AVIAN soloist: An Oregon Rock Wren, recorded in MAY

IMAGE: Whitebark pine atop EASGLE CAP (Lost) GLACIER PEAK in background

FIREFLY / STARLING Project Proposal:—Algorithmic  ‘SWARM’ spatial composition played LIVE!

Fabrik Quartet is an ensemble specialized in Contemporary Music. The ensemble was formed during their time in IEMA 21/22.

Composer. Writer. Photographer. Former conductor & founder of the ASKO ensemble.

On a bike/ski/hike trek of the Pacific Northwest studying native plants & climate breakdown 🌲 from sagebrush sea to whitebark pine. Composing off-grid the whole way.

#Sun2Sound 🌕 on X

THINKING LIKE A STONEPINE, a soundpoem manifesto https://vimeo.com/844665859

“LOVE & WATER, three thought poems w/ coda, PHAROS for small orchestra, “Nightwind”” https://vimeo.com/847079690 

CURRENTLY on mt bike/ski/climbing trek through Pacific Northwest, working on a photobook about WHITEBARK PINE COLLAPSE and CLIMATE CRISIS. BASES in the WALLOWAS | AMSTERDAM | ALPS. 

WEEKLY photo/poetry updates at www.picture-poems.com & THE CIRCLE IN THE SQUARE new music, poetry & dance performance project at www.cs-music.com

ALWAYS ON THE LOOKOUT for progressive, tech-savy, instrumental virtuosi interested in dialogue & collaborative undertakings.

CONTACT cliff@picture-opoems.com
Or on SKYPE or FACETIME @cliffcrego

MUSIC? The one thing humans do,
that makes the rest of nature jealous.

bookings: andrea@wearemoan.com
----
Pierluigi Vitiello composed the original music with Fabio Cinti, and the sound effects for the short film "Un Giorno in Più" by Fabio Bagnasco, soon to be released (We Short Originals). A particular scene is dedicated to the memory of Franco Battiato.

Solo artist.  Song and dance man.  Folk.  Blues.  Contact:  desertersongs@yahoo.com Film critic at https://paulydeathwish.com/

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