Karl F. Gerber Approaches Re-Assembled (2020 / 2021) 5:18 Das Stück beruht auf Klangmaterial aus Aufnahmen meiner Komposition Approaches für Flöte, Altflöte und dem von mir gebauten interaktiven Violinautomat. Dies stellt ein interaktives „Computermusik“- Stück mit ausschließlich akustischen Klangerzeugern dar: Flöten und mechatronisch angetriebene Violine. Vom Ansatz her ein Duett aus dem Moment heraus; im Hier und Jetzt. Nach meiner Anregung schuf Friedemann von Rechenberg nun eine elektronische Assemblage der Instrumentalklänge und der mechanischen Artefakte des elektro-mechanischen Automaten. Quellmaterial waren die Tonspuren aus einer Filmdoku des Werks von Hans R. Weiss, die selbstredend auch die Querflötenstimme enthielt (Karina Erhard). Zusätzlich trug ich noch Nahaufnahmen von den mechanischen Klangartefakten des Mechanismus bei, dafür wählte ich teilweise extreme mechanische Anregung. Das ursprüngliche interaktive Stück Approaches lebt aus dem Moment heraus, wenngleich die Algorithmen eine rigide Struktur vorgeben. Dort trug die Verantwortung für den musikalischen Zusammenhang im Detail die Flötistin Karina Erhard. Bei der Assemblage habe ich den Ablauf und die Einbettung der Strukturen an Friedemann von Rechenberg überantwortet. Die Maschine verkörpert beinahe unbeugsam Spektren, Strukturen, Resonanzen, Rhythmen – kein Vergleich mit elektronischer Klangsynthese. Wir akzeptieren dies, jetzt oder nie.       ENGLISH The piece is based on sound material from recordings of my composition Approaches for flute, alto flute and the interactive violin automaton that I built. This represents an interactive “computer music” piece with exclusively acoustic sound generators: Flutes and mechatronically driven violin. In terms of approach, a duet out of the moment; in the here and now. Following my suggestion, Friedemann von Rechenberg then created an electronic assemblage of the instrumental sounds and the mechanical artefacts of the electro-mechanical automaton. The source material comes from the soundtrack of a film documentary of the work by Hans R. Weiss, which of course also contained the flute part (Karina Erhard). In addition, I contributed close-ups of the mechanical sound artefacts of the mechanism, for which I partly chose extreme mechanical excitation. The original interactive piece Approaches lives out of the moment, although the algorithms provide a rigid structure. There, the flutist Karina Erhard was responsible for the musical context in detail. In the assemblage, I handed over the process and the embedding of the structures to Friedemann von Rechenberg. The machine almost unbendingly embodies spectra, structures, resonances, rhythms—no comparison with electronic sound synthesis. We accept this, now or never. 
Komposition: Karl F. Gerber
Bearbeitung: Friedemann von Rechenberg

Approaches Re Assembled Gerber

MAXMSP CHUCK Supercolider Puredata Ableton Live electronic software Fluxus Processing MAXMSP Chuck Impromptu Overtone Tidal Openframework Sonic Pi CSound Synthesis Toolkit
Afrigal
                                                              Udo Matthias drums electronic software
Intuitive electronic sound music
Suggestion: overall volume 50%
A few words: I don't really have a lot of knowledge about composition, harmony and theory of music.
I often feel things inside of me and / or see them in my dreams. I also perceive the environment around me very intensively. At some point I try to transform that into sounds. Often I feel surrounded by something spiritual in nature, which has an aesthetic of its own for me. Since it is never really quiet, things also bother me while recording meditatively. I don't allow myself to be bothered by it anymore and also build the disturbances into the flow of the music.
I love the beauty of simplicity combined with noise music. As I said, noise is also compulsory in nature, where there is only a really quiet flow for a short time in between.
If you listen carefully, you can sometimes hear chords in my pieces, but then very rarely.
But I almost always try to work without predetermined progressions. Sometimes with pads, organ point etc. Most of the time in my work I don't know who I am in the present or in the past. For some I achieve a "childlike" state at work. That is very, very nice.
In general, I prefer to be with my wife and family. Too many conspecifics are not really good for my soul.
Used Sounds, are all sounds from nature
Water sounds partly recorded with a self-made hydrophone. Then processed with Ableton Live and MAXMSP.
My wife took all field recordings at a source near the existential-psychological educational and meeting place Todtmoos-Rütte. "KARLFRIED GRAF DÜRCKHEIM" - WAS A MYSTIC OF THE 20TH CENTURY IN THE TENSION FIELD BETWEEN EAST AND WEST" Novalis 2017 he also dealt a lot with ZEN.

Urquell&Hydra

From Work with Sensors. Reassembled by Friedemann von Rechenberg

ForSensors

Szene im Schnee

Das Zittern

04 - Ich Maschine

01 - Wall 1

Tunnel 1

first part - Grodock
second part - White Noise Orchestra

Grodock + Antidot (White Noise Orchestra) @ KTS Freiburg

from @c-a-n-v-a-s - Cipher(Compilation LP)
Format: Digital, Vinyl 
Cat.No: CANVAS004
Release Date: 22 February 2019

**

C.A.N.V.A.S. announces ‘Cipher’ compilation featuring Michael Speers, Xao, object blue, Ashley Paul, Ben Vince, Ausschuss, Olan Monk, Flora Yin-Wong and Lugh.

Out 22nd February 2019

**

Label and artist platform C.A.N.V.A.S. are pleased to announce compilation album ‘Cipher’, out on the 22nd February 2019.

The fourth release since their cross over from subterranean performance series to label, this LP features Michael Speers, Xao, object blue, Ashley Paul, Ben Vince, Ausschuss, Olan Monk, Flora Yin-Wong and Lugh.

Each artist has responded to specific thematic instructions to create a contextually coherent, although artistically varied collective work.

In the context of increasing digitisation and codification as a means to recreate, record, communicate and propagate events from the real world, Cipher plays with different processes by which musical material is abstracted and codified.

This project reconsiders the graphic score and other means by which music has been codified. Cipher considers the hegemony of authorship in the context of codification of music, and speculates on possible means for musical propagation, whether they uphold human authorship or neglect it.

Responding to one of three sub-themes relating to the context, the 9 artists contribute works which will be released on vinyl and digitally in 22nd February 2019.

In line with their core idea of bringing together dispersed artists, C.A.N.V.A.S. are also holding two events, in London and Berlin to showcase the release.

credits
directed by Lugh O’Neill
graphic design by Louise Borinski 
mastering by Ali Najafi

CANVAS logo design by AALTAR

press contact, Isis O’Regan > isis@worldwidefriendlysociety.com

@lu_gh @floraytw @michaelspeers @ausschuss @xao-3 @ashleypaul @objectblue @vince21music @olanmonk

www.c-a-n-v-a-s.com

Flora Yin-Wong - Murmures

▶️Jay Pryor × Eric Spike - Make Luv × Freefall (Illumusic Edit)(GUEST MIX 017  Eric Spike):
https://youtu.be/A3p7MyaBoas

Jay Pryor × Eric Spike - Make Luv × Freefall (Illumusic Edit)(GUEST MIX 017  Eric Spike)

Es gibt noch eine Menge altes Zeugs von mir, bin aber zu faul es in mp3 zu wandeln. Auch diese Auswahl zeigt mich nicht immer von der besten Seite. Das ist mir aber egal.

Urquell&Hydra

Udo Matthias drums/perc/electronic

Related tracks