“We live in an age of technology in which machines touch every part of our lives. It is not surprising that music has also been influenced by technology.”
Category: Culture
Luke Sanger exclusive live session for Electronic Sound Magazine has been released on their website. In this set he used a Make Noise Shared System and Ciat-Lonbarde Sidrax for a 20 minute improvisation. Subscribers have access to the full set.
Read more about it and access the full set here
Live performance for EMS Synthi 100, magnetic tape and computer setup (2021)
Radio Concert No.2 is a result of a continuous experimentation with combining the synthesizer EMS Synthi 100 and computer setup in a context of live performance that has been initially dedicated to a live radio broadcast. I have started developing this idea in a Radio Concert No.1 from 2018 and with this new piece, I have taken the idea much further. A complex synthesizer such as Synthi 100 is adapted to a virtuosic real-time sound manipulations that involve the use of computer as a complementary tool. Computer controllers that allow great deal of physical expressiveness in shaping the sound in real-time (such as Sensel Morph, foot pedal, TouchOSC app), interact with the synthesizer and allow rapid changes and complex organization of the material on the spot, that makes improvisation possible and fruitful. I like characterizing my approach lately as doing the inversion of the music-concrete – I don’t use any concrete sounds in my work, but with granular and micro-sampling techniques, I am recreating certain quality that we relate to concrete sounds. Radio Concert No.2 has couple of different recorded iterations as well as live video-version. This is an excerpt from 30min. video. This work the last piece that I made before leaving my job as head of Radio Belgade’s Electronic Studio.
Premiered at Espace Multimedia Gantner, Radio Belgrade, OUTRA festival, Heroines of Sound More info: https://www.svetlanamaras.com/radioco…
Join KQED’s Spark and take a listening lesson from sound artist Loren Chasse, as he mines the aural riches that surround us.
Dave Stitch takes his organically installed modular system for a hike and attempts to step out of the sequence of time:
“I’ve been thinking about doing this for a year now after discovering my new favourite hill in South Wales (GB) It’s littered with neolythic etchings on the rocks and seemed like an interesting space to cart our innalogs to for some wild synthing.”
“The main composition was created using the neo reimannian based sequencer grid in the Automannetz state of the O_c, which I studied for an afternoon in order to transcribe musical notes that I had extracted from a tarot reading of 5 cards using my esoteric spreadsheet (which maps the major and minor arcana of the tarot to John Coltrane’s 1969 circle of fifths sketch.)”
“I am besotted with the word ‘extratemporal’ in the context of live electronic recordings. I have always felt that a one take performance captures a moment and takes it outside linear time, to be tapped into again at a later date (if recorded!) I wonder if memories count as recordings?”
Recording situation: It is night, recently raining, and the air is filled with a cool, crisp atmosphere. Traffic passes to and fro on its way in and out of town. The sounds seep in through an open upstairs window.
Micro listening is the practice of deliberately focussing on elements of a sound environment that may pass unnoticed in everyday experience. Listening to sounds in this way can lead to a magnification of our experiences. The finer details of sound become magnified enabling us to notice the effects these may have on the psyche. Any sound can be the subject of a micro-listening, recorded sounds or real-life ambiences function equally as well. There is no preference for ‘natural’ or ‘artificial’ sounds as there is no ‘nature’ from which human beings are separate from, just one universe which acts upon and is acted upon by us. The point of a micro-listening is to remind the listener that they and the sound form part of the same acoustic environment.
“On Instagram, Facebook, or Twitter the standard setting for videos is “mute”. More than 120 years after its invention silent cinema has become the default mode.
Today’s practice is supposed to make video consumption smoother. But it could also make us think about the frightening power silence could only attain with the advent of cinematic sound. In muting we might hear something far more unsettling than what words and images can show.”
‘Exploding Upwards’ is taken from the the new Szun Waves album, Earth Patterns (coming 19th August 2022). As well as the unsurprisingly lovely track, the accompanying visuals by Dom Harwood are really something else!
We present the first in a series of recordings for micro-listening.
Micro listening is the practice of deliberately focussing on elements of a sound environment that may pass unnoticed in everyday experience. Listening to sounds in this way can lead to a magnification of our experiences. The finer details of sound become magnified enabling us to notice the effects these may have on the psyche. Any sound can be the subject of a micro-listening, recorded sounds or real-life ambiences function equally as well. There is no preference for ‘natural’ or ‘artificial’ sounds as there is no ‘nature’ from which human beings are separate from, just one universe which acts upon and is acted upon by us. The point of a micro-listening is to remind the listener that they and the sound form part of the same acoustic environment.
Recording situation: underneath the A47. A warm, still summer’s afternoon. Traffic can be heard passing over the road bridge above us and reverberating below. Birdsong can be heard from the wet grassland and riverbanks close by.