Ilya Ziblat: A fundamental mode of being in the world

My Communion patio set on Pride Sunday! Warbling bass, shuffling breakbeats, shimmering hats, and blissed out vocals. Enjoy!

Setlist 

Destiny (Rhythm Masters Remix) - Dem 2
I Know U Want Me - Introspekt
Phantasy Trip - KMA Productions
Highrise - Feedback
Work Me Gahdammit (The Theme Song) - Introspekt
Hackney Parrot - Tessela
All Alone - Bakey
Persistence - Anna Wall & Corbi
1 of a kind - Soul Mass Transit System
Make Me Feel - PROZAK
Do You Want Me (Dem 2's Step to Heaven Mix) - Cloud 9
Want Ur Luv - PROZAK
Cum in 2 my lyfe - Escaflowne
Destiny - Holloway
Earth Mover - Sister Zo
Stepper - Anz
Get Loose - Bored Lord
Hardly Keep It Inside - Y U QT
That Got Dark (Interplanetary Criminal Remix) - Bluetoof
Heavy Lovers - Y U QT
BeyBah (Huey Mnemonic's Midnight Marauder Mix) - Escaflowne
In My Arms - Interplanetary Criminal

Communion S16 E04 - DAZZLE

«Canticum» (2022) for carillon and electronics [live performance]

Connotation is composed from the recorded material (e.g. trumpet) that has been electronically manipulated and Frequency Modulation implemented in MAX. I tried to eliminate the source of the sound as much as possible. Instead of following a story that I try to tell, this time, I wanted the audience imagine based on their previous experiences about sound. Additionally, I tried to impose traditional musical form to create a sense of structure and association.

Connotation

 "Eminönü and Üsküdar" (part of research project) "East [hyphen] West, Sound Impressions of Istanbul")- is a short composition from field recordings captured in Eminönü, a ferry port in the western (European) side of Istanbul and Üsküdar, a port on the eastern (Asian) side of the city.  The composition captures the vibrant and complex sounds in both places including the vocals of street sellers, megaphone announcements and the call for prayer.  This is juxtaposed with water sounds of the Bosphorus and the engines of the busy waterway traffic. 

Eminönü and Üsküdar

In this first episode of the podcast, I talk about the mission of this project- to encourage listeners to engage with art in a conscious and ethical manner. I provide just a few of many examples of this, such as examining instances of cultural appropriation, like in the history of Detroit techno, the longstanding dilemma of separating the art from the artist, and lastly, I propose we acknowledge the labor and contributions of marginalized groups, like women, in the development of technology and electronic music. This ties into the broader idea that technology is not solely a tool of liberation, but one that can also enable oppression.

In the following segment, I provide context for the podcast, explaining that it is a final project for a Diversity of Music Technology course at the University of Michigan. I also share a bit of my personal story and motivation for undertaking this project.

Lastly, the episode features a musical piece, "Mariposas acuáticas," by Venezuelan electroacoustic composer Oksana Linde.

Special thanks to:
Earl Bae, Ronald Luke Jamieson, Lukas Armand Nepomuceno, Emelia Isabel Piane, Palmer N Stratton, Ayden Jacey Williams, Naomi Elisabeth Wolfe and Dr. Zeynep Özcan. 

Many of the ideas I've shared in this space were shaped by conversations I've had with them.

FNTR Episode 1 - Intro

This is part 1 of interview with Dr. Zeynep Özcan. http://zeynepozcan.net/

Dr. Zeynep Özcan is an experimental and electronic music composer, sound artist and performer. She holds a Ph.D. in Music, an M.A. in History of Architecture, and a B.A. in Philosophy. She explores biologically inspired musical creativity, interactive and immersive environments, and generative systems. Her works have been performed and presented throughout the world in concerts, exhibitions, and conferences, such as AES, ICMC, ISEA, NYCEMF, and ZKM. She is an Assistant Professor and a faculty director of Girls in Music and Technology (GiMaT), Summer Institute at the Department of Performing Arts Technology at the University of Michigan, School of Music, Theatre & Dance. She specializes in the implementation of software systems for music-making, audio programming, sonification, sensors and microcontrollers, novel interfaces for musical expression, and large-scale interactive installations. Her research interests are exploring bio-inspired creativity, playfulness and failure in performance, community-engaged research, autoethnographic methodology, feminist epistemology, and sonic cyberfeminisms. She is passionate about community building and creating multicultural and collaborative learning experiences for students through technology-driven creativity.

FNTR Episode 2 - Interview with Zeynep Özcan (Part 1)

Mother Tongue combines printmaking methods (screenprint on paper) with digital audio.
The series explores Magda’s son’s speech development from his first cry, recorded as she gave birth
to his words and sentences up until he was three years old.
These sounds are captured in three-minute sonic segments trigged by the playful action of tugging the cord of a domestic CD player. However, The viewer is first invited to engage with these sounds visually and decipher the phonetic bilingual text and soundwaves found on the drawings.

In these three prints, temporary sounds are preserved as visual
artefacts allowing Stawarska-Beavan to represent the passing of time and preserve the ephemeral moments in the development of a child’s relationship with language. In one of the prints the diction by the parents and repetition by their son of words in Polish and English illustrate the passing of identity and language from a parent to their child.

Connotation

Zeynep Özcan

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