Name: indeterminant (disquiet0651) by wasabicube
Duration: 1 min 9 s
Description: Experimentation with Bitwig's FX Grid, processing a Harmony Bloom generated sequence with various randomisers, such as dice, sample and hold, and logical arithmetic based on several channels of source. The result was then further modified with Infiltrator 2, and Sampleson's Haptic Perc, and Xils-Lab La Palme.

Ya me di al poder que a mi destino rige.
No me agarro ya de nada, para asi no tener nada que defender.
No tengo pensiamentos, para asi poder ver.
No temo ya a nada, para asi poder acordarme de mi.
Sereno y desprendido,
Me dejara el Aguila pasar à la libertad.
CAstaneda Le don de l'aigle
La passion selon st Jean.. Gardiner

LOs NUOvos VIdentes

Recorded live on April, 25th, 2024 
CRR de Paris

Ruben Mattia Santorsa, electric guitar

Ensemble 2e2m
Léo Margue, dir.

Natura Electrica

The Disquiet Junto prompt this week was an invitation to transform a siren as it passes from left to right.

My contribution features the transformation of an air raid siren by way of two layers of heavily effected slide steel guitar and an ambivalent synth pad. The vocal samples were generated with text-to-speech.

"Airships Over Chicago" is a stereophonic experience, so choose your listening environment with care. Recorded at NO SIGNAL Multimedia Lab, The Shambles, Chicago, USA.

More about Disquiet Junto 0650: https://disquiet.com/0650

Disquiet Junto

Airships Over Chicago (disquiet0650)

Recorded for the Naviar Haiku challenge #545.

I wanted to illustrate the deceptive calmness under the stormy surface; our elusive memories, the petals as both wild sea foam and gently floating flower petals.

Both piano and Buchla are heavily affected by the Space Echo. Most of what you hear is the wet signal from the tape echo. In fact, when playing the piano I had no direct signal at all, resulting in me hearing what I had played half a second ago, not what I was playing at the time...

Main players:
Vintage Vibe
Buchla Music Easel
Roland Space Echo

Recorded in Logic Pro X with a Soundcraft MTK22.

floating [naviarhaiku545]

This was my contribution for Disquiet Junto Project 0651: Why Compute?, which is based on a prompt by musician and Columbia University professor George E. Lewis. Lewis asks, “Why do we want our computers to improvise?”.

Here’s a copy of my post on the Disquiet Junto 0651 discussion thread on Lines:
My response to George E. Lewis's question "Why do we want our computers to improvise?" is - they can help create, influence, untangle and/or open up fresh neural pathways within our brains in discovering new approaches for our music compositions.

More than half the music I create usually involves some form of non-human generative or semi-generative improvisation to collaborate with. In the past, the collaborators have been various computer programs or hardware systems like the Monome Norns. Lately, it's been the modular synthesizer, though I did use my MacBook Pro here.

Three tracks were produced in Ableton Live with the help of a generative sequencer called TATAT by K-Devices. I improvised accompanying tracks using a K-Board MIDI keyboard. The synth plugins used were Slate + Ash Choreographs and Cycles, Fors Tela, and Sonic Beds 1.0 by Jogging House. Reverb effects were by Phonolyth Cascade.

More on the 651st weekly Disquiet Junto project, Why Compute? — The Assignment: Respond to a prompt from George E. Lewis — at Disquiet Junto Project 0651: Why Compute? – Disquiet
The cover image for this project uses a photo by Ioan Sameli, thanks to a CC BY-SA 2.0 license; it’s been cropped and text has been added to it.
https://commons.wikimedia.org/wiki/File:Intel_8742_153056995.jpg 1
https://creativecommons.org/licenses/by-sa/2.0/

Conical and Concentric References [disquiet0651]

Inspired by this week's Disquiet Junto project, I have composed a new Musical Bots track - these are the compositions I create using the generative MIDI sequencer Transition (free VST plugin available at http://www.codefn42.com/transition/index.html). The answer to the question "why do we want our computers to improvise?" seems pretty obvious to me - because tracks like this are created that would never be created otherwise. So I let the musical bots answer that question, and the answer - this track - is also the proof of its correctness...

All instruments were played by groups of bots, with a high degree of randomness in pitch and probability. Additional randomness was introduced to determine whether a particular instrument was playing or paused.

In the background is a field recording I made at Coombe Haven (near Fowey in Cornwall).

The track art is a photograph kindly provided by @the_robocat, also taken on the beach at Coombe Haven.

More on the 651st weekly Disquiet Junto project, Why Compute? — The Assignment: Respond to a prompt from George E. Lewis — at https://disquiet.com/0651/

Musical Bots dream of Cornish Beaches  (Disquiet0651)

Disquiet Junto Project 0651: Why Compute?
The Assignment: Respond to a prompt from George E. Lewis.

Lewis asks, “Why do we want our computers to improvise?”
I, for myself, to be surprised by the improvisations.
But not too much.
That's why half of this track is made up of repeating patterns and the other half of patterns that change through computing slightly (!) with every interation.

More on the 651st weekly Disquiet Junto project, Why Compute? — The Assignment: Respond to a prompt from George E. Lewis — at https://disquiet.com/0651/

Discussions https://llllllll.co/t/disquiet-junto-project-0651-why-compute/

Subsidiary Surprise [disquiet0651]

Experimentation with Bitwig's FX Grid, processing a Harmony Bloom generated sequence with various randomisers, such as dice, sample and hold, and logical arithmetic based on several channels of source. The result was then further modified with Infiltrator 2, and Sampleson's Haptic Perc, and Xils-Lab La Palme.

indeterminant (disquiet0651)

stref scre

https://www.beatport.com/artist/xfa/589219

indeterminant (disquiet0651)

wasabicube

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