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* You want to split a bottle of insipid miseries.
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* Tanks have no reverse, golf carts have no fast forward
Category Music / Macro / Micro
Species Dolphin
Size 120 x 120px
File Size 4.64 MB
Sorry about that!
Re: composing.
The rumble in the background is down-sampled Perlin noise, for which I wrote a short Perl program that spit out a wave, and then opened and re-saved from sound recorder. I figured that if Perlin noise could be used for graphical depictions of clouds, then it could be used also for the aural analog. Epic fail on that one.
The feedback is from empty porcelain vessels mic'd with Neumann condensers cranked to the cusp of feedback in the fore room of my aunt's house, arranged in a 12.1 spatial installation. Obviously, I couldn't reproduce faithfully in stereo. Moderate fail on that one
The piano part is an amplified Steinway played with yarn mallets (also my aunt's--the mallets, that is), and processed through micro-granular reconstruction.
There's more, but I think that covers the basics.
Thanks for the listen!
Re: composing.
The rumble in the background is down-sampled Perlin noise, for which I wrote a short Perl program that spit out a wave, and then opened and re-saved from sound recorder. I figured that if Perlin noise could be used for graphical depictions of clouds, then it could be used also for the aural analog. Epic fail on that one.
The feedback is from empty porcelain vessels mic'd with Neumann condensers cranked to the cusp of feedback in the fore room of my aunt's house, arranged in a 12.1 spatial installation. Obviously, I couldn't reproduce faithfully in stereo. Moderate fail on that one
The piano part is an amplified Steinway played with yarn mallets (also my aunt's--the mallets, that is), and processed through micro-granular reconstruction.
There's more, but I think that covers the basics.
Thanks for the listen!
Allow me to share a few concerns.
It is very clear that this piece draws inspiration from the reoccurring clouds found in the paintings of Signac, but you need to realize that you cannot simply fabricate intuitive formal replications when moving between visual phenomena and aural phenomena.
The main error of this piece is the apparent constant reliance on an acoustic sham equilibrium. Why would you choose to synthesize your piano tones on the microsound scale, using imperceptibly blended grain clouds to obscure the intrinsic oppositions of each tone? And if you truly wanted to use feedback as a natural coloration, why would you present the dispersion of sonic energy native to the overtones as an external feature?
This reminds me of the exchange between Stockhausen and Boulez on punctualism and pointillism, but that is a longer argument. The point is that your work denies the experience of the particularity of sound in favor of the construction of a hyperreal totality of complementary sound events.
In the future, try not to waste your aunt's time.
Rating: 2.2
It is very clear that this piece draws inspiration from the reoccurring clouds found in the paintings of Signac, but you need to realize that you cannot simply fabricate intuitive formal replications when moving between visual phenomena and aural phenomena.
The main error of this piece is the apparent constant reliance on an acoustic sham equilibrium. Why would you choose to synthesize your piano tones on the microsound scale, using imperceptibly blended grain clouds to obscure the intrinsic oppositions of each tone? And if you truly wanted to use feedback as a natural coloration, why would you present the dispersion of sonic energy native to the overtones as an external feature?
This reminds me of the exchange between Stockhausen and Boulez on punctualism and pointillism, but that is a longer argument. The point is that your work denies the experience of the particularity of sound in favor of the construction of a hyperreal totality of complementary sound events.
In the future, try not to waste your aunt's time.
Rating: 2.2
Sorry about that!
Re: composing.
The rumble in the background is down-sampled Perlin noise, for which I wrote a short Perl program that spit out a wave, and then opened and re-saved from sound recorder. I figured that if Perlin noise could be used for graphical depictions of clouds, then it could be used also for the aural analog. Epic fail on that one.
The feedback is from empty porcelain vessels mic'd with Neumann condensers cranked to the cusp of feedback in the fore room of my aunt's house, arranged in a 12.1 spatial installation. Obviously, I couldn't reproduce faithfully in stereo. Moderate fail on that one
The piano part is an amplified Steinway played with yarn mallets (also my aunt's--the mallets, that is), and processed through micro-granular reconstruction.
There's more, but I think that covers the basics.
Thanks for the listen!
Re: composing.
The rumble in the background is down-sampled Perlin noise, for which I wrote a short Perl program that spit out a wave, and then opened and re-saved from sound recorder. I figured that if Perlin noise could be used for graphical depictions of clouds, then it could be used also for the aural analog. Epic fail on that one.
The feedback is from empty porcelain vessels mic'd with Neumann condensers cranked to the cusp of feedback in the fore room of my aunt's house, arranged in a 12.1 spatial installation. Obviously, I couldn't reproduce faithfully in stereo. Moderate fail on that one
The piano part is an amplified Steinway played with yarn mallets (also my aunt's--the mallets, that is), and processed through micro-granular reconstruction.
There's more, but I think that covers the basics.
Thanks for the listen!
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