Stochastic synthesis is a microsound synthesis technique invented by Iannis Xenakis that uses stochastic processes to create and vary waveforms. I composed all the sounds in this piece using my own extensions to Xenakis's stochastic synthesis algorithms that I have been developing for the last 20 years in the programming languages SuperCollider and C. No samples were used.

It Is Happening Again for computer-generated sound

Yggdrasil
String Quartet No. 2 (2014-16)
Mivos Quartet

Yggdrasil

Klavierstück V, "Nachklang" (2018)
Yumi Suehiro, piano

Klavierstueck V

For Bass Clarinet and Electronics
Bass Clarinet: Emily Cook | Electronics: Luis Delgado
Artist in Residence Program
Department of Physics and Astronomy
University of Pittsburgh

Bitácora de un viaje al vacío; Travels to the void, a logbook (2023)

for flute, clarinet, accordion, violin, viola, cello, double bass and live electronics
2023

performed by Schallfeld ensemble
Dmitri Kourliandski, electronics

23.07.2023, Impuls festival, MUMUTH Graz, Austria

Banlieue

For the last four years I have been grappling with a concept I encountered in the writing of Donna Haraway, the Speaker for the Dead. This sci-fi notion imagines possibilities of holding memories and “collecting up the stories for those left behind.” For me, engagement with Haraway led to a practice of using obsolete sound technologies and exploring how performers and listeners act as Speakers for the Dead. In this piece written for Hypercube, the phrase takes on a secondary meaning. A low-fidelity Casio SK-1 sampler featured in the work acts itself as Speaker for the Dead, collecting individual sounds of the ensemble until it is left behind.

Written for and performed by Hypercube- Erin Rogers, Jay Sorce, Andrea Lodge, and Chris Graham.

Speaker for the Dead [2023]

Underscoring this year’s curatorial focus, Curating in the Digital Age, we are thrilled to welcome longstanding exhibitor, Steven Sacks, owner and director of the New York-based gallery, bitforms, in conversation with exhibiting artist, Manfred Mohr. Mohr utilizes algorithms to engage rational aesthetics, inviting logic to produce visual outcomes. Not only exhibiting within the booth, the artist and bitforms will present the Special Project of his Early Plotter Drawings, highlighting a selection of Mohr’s earliest computer-generated plotter drawings.

Episode 77: Curating in the Digital Age - Steven Sacks in conversation with Manfred Mohr

was bleibt

Aufnahme im November 2014 in Zürich

Trompete: Silvan Schmid
Klavier und Synthesizer: Tobias Fandel
Aufnahme und Klangregie: Leandro Gianini


was bleibt bzw. what remains war das Thema und gleichzeitig der Titel unseres Common Stage Projektes in Hong Kong, einer Plattform der ZHdK für verschiedenste Kunstdisziplinen und kulturelle Wechselwirkungen mit dem Ziel, Projekte ergebnisoffen zu gestalten. Dabei haben wir sowohl nach einer künstlerischen Umsetzung des Titelstichwortes vor Ort gesucht, als auch das Thema als eine neue Frage oder Aufgabe an uns gerichtet: "was bleibt bei uns von Common Stage und Hong Kong übrig?". 
Der Trompeter Silvan Schmid und ich haben diese Chance als Startpunkt einer weiteren Zusammenarbeit gesehen, bei der Aufnahme von was bleibt den Toningenieur Leandro Gianini hinzugezogen und knüpfen nun mit weiteren gemeinsamen Projekten daran an.

was bleibt

Støj

Obra estrenada en el Festival Visiones Sonoras XIV, en Morelia, México.

Ramificacion I

Obra hecha en una residencia artística por parte del CMMAS

was bleibt

Tobias Fandel

Related tracks