Jacques Derrida - Foi et Savoir (1996)
Tuesday, December 20, 2016
Monday, December 19, 2016
Tuesday, December 13, 2016
Saturday, December 3, 2016
The 45SIS, No.3, 2016: Michael Pisaro
Anish Kapoor
Dear Readers,
[#a general remark#] I am very proud to present the third installment of the 45SIS (45 sentences, infinite sounds) featuring this time the american composer, guitarist and professor for Composition and Experimental Sound Practices at Calarts (California Institute of the Arts) Michael Pisaro. The 45 SIS is a questionnaire consisting of 45 sentences to be completed. This feature tries to close or at least bridge the gap between contemporary philosophical theories and contemporary sound-production by asking their most important contributors. The public reception and perception of sounds/music seems to be stuck in a weird consumer-convenience and commodity-oriented approach since ages. But music and sound are and should be more than this: an excess of the minimal and the maximal: the invisible and the secret, maybe. Over the months and years a serious encyclopedia of debatable positions in the aforementioned field will be build up by giving leading artists and theorists a space to present themselves without further commentary by the editor.
[#the portrait#] The initial impetus behind the idea to start The 45SIS project was to unfold or map the event cluster Cage-Young-Oliveros-Scelsi-Feldman-Xenakis-Stockhausen ("naming" all abstract machines in a "devenir involutif"- this "event" remains of course legible differenly using several different registers or lenses of formalization from Badiou, Benjamin, Deleuze/Guattari, Derrida, Jean-Luc Marion to Heidegger) giving the repercussive fringes or the nearly imperceptible swarm of micro-events following hard on the heels of this massive, non-unifiable and interruptive event-cluster a space to be addressed in and to be accessible and comparable open access - après coup (so to speak). Consequently I am really happy that Michael Pisaro one of my most admired composers today who is opening the CAGE for sounds world-wide in a highly refreshing and original manner was so kind to share his thoughts with my blog. In his very impressive, versatile and multifarious catalogue of works one can find a huge variety of multi-dimensional time-sound-silence-spaces composed in a highly inventive, subtle and often very cautious and tender manner. Always having an ear for open, non-manipulated co-operative processualities entering the porous distinction or foggy superimposition of pure chance and necessity (legible maybe with Jean-Luc Marion's formalizations of this as a "saturated phenomenon"), for the inaudible and the inaudible naming here the non- or sub-musical aspects of sounds, and for the subtle inter-actions and/or inter-faces that can take place all of a sudden planned or unplanned in between ear-brain-body-world-sound-communities rhizomatically in the form of objects (= momentary stasis), performers and audience (= as insubstantial ever changing, non-hierarchically organized relays) and events (= fluid transitions without possible subjectivity cores and/or expectation horizons) following maybe this line of thought presented by Gilles Deleuze in Le Pli : "L'événement est une vibration, avec une infinité d'harmoniques ou de sous multiples, telle une onde sonore, une onde lumineuse, ou même une partie d'espace de plus en plus petite pendant une durée de plus en plus petite. Car l'espace et le temps sont, non pas des limites, mais les coordonées abstraites de toutes les séries, elles-même en extension: la minute, la seconce, le dixième de seconde ..." In addition to or as an unfolding of his activities as a teacher, performer and composer he is part of the Wandelweiser Collective. In a recent interview Michael Pisaro has described the importance of this collective for his development as a composer:"Most decisive was meeting Kunsu Shim and then shortly thereafter Antoine Beuger and Jürg Frey in around 92/93, the beginnings of the Wandelweiser group. This literally saved years of my compositional life. I was moving tentatively in a direction which these gentlemen were already exploring in a much more radical way."(15 Questions). You can find a link to the Wandelweiser Collective in the section below this one. Please take also into consideration Michael Pisaro's collaboration with the german poet Oswald Egger. In a certain sense Pisaro seems to have staged the audible as the fringes of the inaudible pointing towards one of my favorite Hakuin poems giving a subtle hint towards the interpenetration of listening, sound and silence - in a 4'33''-Zen (if you like) -:"If only I could share it: the soft sound of snow. Falling late at night. From the trees. At this old temple". Sounds are in an almost paradoxical manner not necessarily audible or to put it differently they are in a very radical sense in-audibly non human. Sounds and non-sounds (maybe this is still an all too human distinction) are always already there pre-musically. In this sense listening has to grow necessarily Young-er (aiming at La Monte he(a)re of course) and younger always and forever re-versing or twisting all the possible timelines anti-dialectically "disposant d'un nombre incalculable d'âges, d'heures et d'années, d'histoires intempestives, à la fois plus grandes et plus petites les unes et les aures, s'attendant encore l'une et l'autre, nous serions sans cesse plus jeunes et plus vieux, en un dernier mot infiniment fini"(Derrida).
[#discography/links/contacts#] I highly recommend to take a deeper look into Michael Pisaro's catalogue of works. An large collection of examples you can find when you take a also look at yesterday's Sounds of the Day (here). Please risk an ear or two. It is highly rewarding. Michael Pisaro's label Gravity Wave Site you can find here and here (facebook). For example you could order here the impressive 3 cd set called Continuum Unbound (2014). For a more comprehensive look on Michael Pisaro's impressive list of releases you can click here for discogs. For more information about the Wandelweiser Collective you can click here containing a personal page here giving further explainations and a selection of texts written by Michael Pisaro. His Calart profile you can find here. This is a link to the collective Flussaufwärtstreiben-Project click here. And I also highly recommend to read Pisaro's 2015 text about Toshiya Tsunoda called: Membrane – Window – Mirror. (The folded worlds of Toshiya Tsunoda) here.
[#the presentation#] The white font shows the grid of my 45SIS-questionnaire, that will remain unchanged for each featured artist. This makes each contribution at once singular and comparable. The answers by each featured artist in this case Michael Pisaro will always be presented in green font.
[SKG]
This is The 45SIS, No.3
brilliantly completed
by Michael Pisaro
[1] “Music” and “Musician” are not just concepts but subjects of the real world. Music exists before the musician.
[2] The term “Sound-Art” is meaningless.
[3] A Sound Artistbecomes pretends they are not making music.
[4] Inventing/finding sounds is not an alternative tool at all. It is simply daily work for musicians.
[5] Nothing forced me to make sounds.
[6] There are no obvious tensions between classical systems of musical notation and composition, sound-sourced field-recordings, free-improvised-real-time-composition, and technology based sound processing – this realm is completely fluid.
[2] The term “Sound-Art” is meaningless.
[3] A Sound Artist
[4] Inventing/finding sounds is not an alternative tool at all. It is simply daily work for musicians.
[5] Nothing forced me to make sounds.
[6] There are no obvious tensions between classical systems of musical notation and composition, sound-sourced field-recordings, free-improvised-real-time-composition, and technology based sound processing – this realm is completely fluid.
[7] Composition is not writing alone, it is an assembly that includes playing and listening – the sea composes.
[8] The main theoretical aporia, existential tension or trigger that keeps me producing
[9] The immense scope and variety of musical inventions forced into/onto canonized music history and its basic distinction of music and non-music in the XX.Century (say) since “Arnold Schoenberg” and the counter-explosions of new underground music paradigms, non-europeans traditions and playing techniques since the 1940’s inspire me.
[10] Time and Space both have Volume.
[11] A musical instrument is just another object technology.
[11] A musical instrument is just another object technology.
[12] The musical encounter of my dreams would be to sing in Ockeghem’s choir.
[13] The point zero doesn’t exist, except as an abstraction, a vanishing point.
[14] Sounds become invisible sculptures (that’s obvious), maybe less obvious are things that are not sound and that shape the „sculpture“ as much as the things that do sound.
[15] Sounds(capes) should be preserved at all cost.
[16] Sounds and destruction are unrelated - sounds cannot be „destroyed.“
[17] The human voice will hopefully never disappear.
[18] Listening is good.
[19] The commodity factor of dogs: don’t buy a dog from a puppy mill, get one from a shelter.
[20] Programs and algorithms are antiquated metaphors for composition.
[21] Names, words and titles of compositions: a big apple that fills the room, as Magritte knew.
[22]Duplication, sampling, sound-sourcing and manipulation : thanks, Dr. Dre, The Bomb Squad, J Dilla and so many others.
[23] Replay-Machines playing cassettes of old Yes albums, negating architecture except Venturi, the listening ear floods McLuhan and Louis Kahn.
[24] Knowledge is nothing, it sometimes interferes with exploration.
[25] The materiality of sounds should learn to read Jane Bennett.
[26] To connect sound and psychology, yes, indeed, as Freud taught us, is to turn the ear inward.
[27] The eye, the ear and the brain made a good lunch for Georges Bataille.
[28] Sonic processes interrupt mimesis.
[29] Life and Death are simultaneous with silence.
[30] My deepest doo-doo, as George HW Bush would say, is almost audible.
[31] The distinction sound/music/noise is a movable feast.
[32] The Meditation in preparation for lifelong riverboating leads to a constant underestimation of the stream itself.
[33] Live performances with more than one person enter into the face to face of the interfaces.
[34] Sounds and objects travel from hand to hand, ear to ear, through space and time in a mystical realm on the back of a mosquito hovering over terra firma.
[35] I bought the score 4’33” after having seen it in a dim shop window in New York.
[36] Privacy, Secrecy & Sounds should learn to use a VPN.
[37] Singularity, originality are abstractions independent of musical genres.
[38] „The total liberation of sounds“ begs the question of what „liberation“ could possibly mean to a sound.
[39] Free form music or sound turn into the stripes of Daniel Buren.
[40] Cryptic minimalisms of the techno-ant.
[41] Outsiders make sounds that insiders sell in a gallery.
[42] Electronics, electro-acoustics, Modular Synths and so on, conjure interstellar space for the layperson.
[43] Sounds predict time-space manipulations by our ear-attachment devices.
[44] I would be interested to know the severest misconceptions about me and my sounds, my music, and my theories.
[45] The sentence(s) I wanted to see published for an eternity is/are in the hands of Ozymandias.
Sunday, November 13, 2016
Thoughts of the Day #11/2016: Martin Heidegger (23)
Martin Heidegger
"Das Zeitalter der gänzlichen Fraglosigkeit aller Dinge und Machenschaften hat begonnen. Die Flut des 'Erlebens' steigt.
Die Philosophie - das fragende Herausrufen des Fragwürdigsten (des Seyns) wird das Befremdliche.
Und deshalb ist sie das Notwendigste, wenn der andere Anfang kommen soll.
Die mächtigste Gestalt des Notwendigen ist das Einfache.
Wagen wir die Vorbereitung der einfachsten Frage nach dem Einzigsten - nach dem Seyn.
Geschichtlich gesehen beginnt so die Überwindung der 'Metaphysik' zugunsten der Wahrheit des Seyns."
Martin Heidegger
Sunday, October 23, 2016
The 45SIS, No.2, 2016: David Burraston
Antony Gormley, Quantum Cloud III (1999)
Dear Readers,
[#a general remark#] I am proud to present the second 45SIS (45 sentences, infinite sounds) featuring this time the artist/scientist David Burraston. The 45 SIS is a questionnaire consisting of 45 sentences to be completed. This feature tries to close or at least bridge the gap between contemporary philosophical theories and contemporary sound-production by asking their most important contributors. The public reception and perception of sounds/music seems to be stuck in a weird consumer-convenience and commodity-oriented approach since ages. But music and sound are and should be more than this: an excess of the minimal and the maximal: the invisible and the secret, maybe. Over the months and years a serious encyclopedia of debatable positions in the aforementioned field will be build up by giving leading artists and theorists a space to present themselves without further commentary by the editor.
[#the portrait#] I have entered David Burraston's ultra-impressive and absolutely outstanding pluriverse of soundworlds and concepts last year with his very impressive release called "T.H. Cycle" on Cassauna. I would tend to embed him in the most important thread of experimental music that tries to cut off the bond with all kinds of silly inside-outside distinctions, that govern our ideas of aesthetics and art replacing these distinctions by a machinal or generative conception or idea of sound production cutting out the producer out of the product moving towards complex systems and cellular automata. David Burraston's impressive works are unfolding like a wonderfully versatile hybrid situated at the crossroads of Art and Science connecting or superimposing the most refined tendencies of experimental music of the XX century from computer music, stochastic or aleatoric music, conceptually strong electronic music combined with state-of-the-art scientific formalizations and inventions of new "instruments" (like the Rainwire Project) giving all the above named tendencies of sound-production new twists and perspectives. And it this connection of Art and Science that lifts him infinitely far above your average noise-nerd playing with some pedals and feedback loops. I also want to put some emphasis on the fact that Burraston does a lot of groundbreaking or seminal work in the field of Eco-Acoustics and Field Recordings "exploring the universe of natural + artificial worlds via experimental & interdisciplinary arts"(quote: The Wired Lab) backdropped by one of the most burning questions of our times - climate change. In a final step I would like to make all of this a little more concrete and try to "personalize" (obviously the following names are only nicknames (Derrida) or name abstract machines (Deleuze/Guattari)) this conceptual grid. In projecting this I would tend to see the tradition in which David Burraston should be embedded or rhizomized starting with John Cage and his first computer (the I Ching), the early pioneers of electronic and computer music from Edgard Varèse, Karlheinz Stockhausen, Gottfried Michael Koenig, Morton Subotnick, Pauline Oliveros, Eliane Radigue up to early James Tenney, LaMonte Young's deepest minimalisms, Conlon Nancarrow's post-human machines, Tom Johnson, Iannis Xenakis' idea of a stochastic music, the UPIC and Cellular Automata, to the pionieer of processual and conceptual music Alvin Lucier, to indispensable inventors like Don Buchla or Robert Moog, up to the more recent conceptual or processual technotronics say of Carsten Nicolai, Russell Haswell, Autechre, Aphex Twin, Toshimaru Nakamura, Frank Bretschneider, and Ryoji Ikeda. As a listener - most of the time I am all ear - I highly recommend to enter David Burraston's highly inventive and often witty futuretronic pluriverses of sounds with their immense range covering and re-inventing easily all the vocabularies and idioms of electronic music from hyper-abstract minimalisms to torn apart maximalisms touching sometimes most recent dronescapes, Japanoise (Hasegawa, Government Alpha, Merzbow), ANW- or crypto-minimalist territory. Please take the opportunity and take a step back to yesterdays postings (click here) or take a look at the links posted in the section below this one. Hear you can find a collection of sounds. David Burraston has included some links to his most important papers under sentence No. [20A] in his version of THE 45SIS below.
[#the portrait#] I have entered David Burraston's ultra-impressive and absolutely outstanding pluriverse of soundworlds and concepts last year with his very impressive release called "T.H. Cycle" on Cassauna. I would tend to embed him in the most important thread of experimental music that tries to cut off the bond with all kinds of silly inside-outside distinctions, that govern our ideas of aesthetics and art replacing these distinctions by a machinal or generative conception or idea of sound production cutting out the producer out of the product moving towards complex systems and cellular automata. David Burraston's impressive works are unfolding like a wonderfully versatile hybrid situated at the crossroads of Art and Science connecting or superimposing the most refined tendencies of experimental music of the XX century from computer music, stochastic or aleatoric music, conceptually strong electronic music combined with state-of-the-art scientific formalizations and inventions of new "instruments" (like the Rainwire Project) giving all the above named tendencies of sound-production new twists and perspectives. And it this connection of Art and Science that lifts him infinitely far above your average noise-nerd playing with some pedals and feedback loops. I also want to put some emphasis on the fact that Burraston does a lot of groundbreaking or seminal work in the field of Eco-Acoustics and Field Recordings "exploring the universe of natural + artificial worlds via experimental & interdisciplinary arts"(quote: The Wired Lab) backdropped by one of the most burning questions of our times - climate change. In a final step I would like to make all of this a little more concrete and try to "personalize" (obviously the following names are only nicknames (Derrida) or name abstract machines (Deleuze/Guattari)) this conceptual grid. In projecting this I would tend to see the tradition in which David Burraston should be embedded or rhizomized starting with John Cage and his first computer (the I Ching), the early pioneers of electronic and computer music from Edgard Varèse, Karlheinz Stockhausen, Gottfried Michael Koenig, Morton Subotnick, Pauline Oliveros, Eliane Radigue up to early James Tenney, LaMonte Young's deepest minimalisms, Conlon Nancarrow's post-human machines, Tom Johnson, Iannis Xenakis' idea of a stochastic music, the UPIC and Cellular Automata, to the pionieer of processual and conceptual music Alvin Lucier, to indispensable inventors like Don Buchla or Robert Moog, up to the more recent conceptual or processual technotronics say of Carsten Nicolai, Russell Haswell, Autechre, Aphex Twin, Toshimaru Nakamura, Frank Bretschneider, and Ryoji Ikeda. As a listener - most of the time I am all ear - I highly recommend to enter David Burraston's highly inventive and often witty futuretronic pluriverses of sounds with their immense range covering and re-inventing easily all the vocabularies and idioms of electronic music from hyper-abstract minimalisms to torn apart maximalisms touching sometimes most recent dronescapes, Japanoise (Hasegawa, Government Alpha, Merzbow), ANW- or crypto-minimalist territory. Please take the opportunity and take a step back to yesterdays postings (click here) or take a look at the links posted in the section below this one. Hear you can find a collection of sounds. David Burraston has included some links to his most important papers under sentence No. [20A] in his version of THE 45SIS below.
[#discography/links/contacts#] I highly recommend to take a deep look into David Burraston's impressive discography on his blog noyzelab music , his papers at noyzelab research, for the most recent news take a look at noyzelab blog or join his noyzelab twitter, for the Wired Lab join The Wired Lab soundcloud, his two most recent NYZ DRN4 and NYZ ALG 118B releases and his release as David Burraston TH Cycle, plus his Bryen Telko retrospective 1984-2016 called "Find Any Tape Header" (2016) on his noyzelab soundcloud, his noyzelab bandcamp, cataclyst bandcamp. Please take a also look at yesterdays Sounds of the Day featuring a lot of soundexamples. Please risk an ear or two. It is highly rewarding.
[#the presentation#] The white font shows the grid of my 45SIS-questionnary, that will remain unchanged for each featured artist. This makes each contribution at once singular and comparable. The answers by each featured artist in this case David Burraston will always be presented in green font.
[#the presentation#] The white font shows the grid of my 45SIS-questionnary, that will remain unchanged for each featured artist. This makes each contribution at once singular and comparable. The answers by each featured artist in this case David Burraston will always be presented in green font.
[SKG]
This is The 45SIS, No.2
brilliantly completed
by David Burraston
[1] “Music” and “Musician” are concepts synthesizers
are sympathizers of the {TSV}.
[2] …….. the term “Sound-Art” …………… i just plugged this into one of my brainiac programs and it replied: "if '-' is taken as the arithmetic operator 'minus', then 'Sound-art' = 'Sound' with 'art' taken away." not sure how useful that is.
[3] A Sound Artist becomes very happy after hearing that hoovers are now being sold with {MIDI}+{CV&GATE} interfaces, the de-luxe version includes a 2 operator {FM} chip with 100 user programmable microtuning tables, stereo piezo transducer and built in VERYLOUDspeakers, and can also run off batteries or less. the super de-luxe has red&white go-faster lightning stripes, {XLR MIDI} connectors, larger wheels and a self-emptying dust bag that doesn't. all models include the option to upgrade to a self-replicating hoover which looks pretty wicked, although its only a mockup, never ends up in production and is the subject of a {past/present/future} law suit regarding a potential patent infringement.
[4] Inventing/finding sounds is an alternative tool for hoovering.
[5] Actually hoovering while awake dreaming of gravy forced me into sounds. see the 'hoover paradox' below in [6].
[6] The obvious tensions between classical systems of musical notation and composition, sound-sourced field-recordings, free-improvised-real-time-composition, and technology based sound processing sound very complicated but the relationship to open sauce gravy and hoovering is patently {and non-patently {in the patentable sense}} obvious. the 'hoover paradox'.. which also paradoxically doesn't have open sauce gravy in its title.
[7] Composition is generally not writing but pretty much everything else, especially open sauce gravy and hoovering. for some of my work, driving, walking, climbing etc is part of the compositional process, whether it is field recording, or driving a super-long way to pick up some piece of clobber. in my 'rainwire' project http://rainwire-project.blogspot.com as part of a rural arts practice i drive in a truck or walk with my field recording equipment from one end of the suspended wire to the other. 'rainwire' forms part of a larger project i call 'the agricultural vernacular' which has a focus on climate change related issues, approached through the lens of real world complex systems, sound and diy.
[8] The main theoretical aporia, existential tension or trigger that keeps me producing and/or made me produce (and/or: writing about) sounds is certainly a gravy and hoover related issue. the korg {MS20} in my bedroom as a 16 year old would probably deserve a mention as well. this item is a {pre T} encoded {PSS} device, so super handy if in {pre T} and with {TSV} happening.
[9] The immense scope and variety of musical inventions forced into canonized music history and its basic distinction of music and non-music in the XX.Century (say) since “Arnold Schoenberg” and the counter-explosions of new underground music paradigms, non-europeans traditions and playing techniques since the 1940’s sound very complicated but are mental constructs + for example the - has become very important since the advent of = as well as further expansion of the use of :: renders any distinctions or what have you fundamentally invalid, perhaps? to put it another way, i could express gravy and hoover related issues affecting the {TSV} using the syntax {G&H}::{TSV} but as that would be extremely tedious and unproductive given the brevity required here, i'll refrain from elaborating further on such a highly redundant format. except to say that the example just given, {G&H}::{TSV}, could have been written many other ways but it would be highly unproductive to continue in that manner or this manner either.
[10] Time, Space and Volume or TSV, TS&V, {tsav}, {T}, {S}, {V} {TSV} et al {curly brackets {} and nested curly brackets {{}} are optional above & below here}, often gets hoovered and re-hoovered. this kind of thing with {TSV} being hoovered can become annoying, sometimes quite annoying. however, through the use of 'certain' practices, such as {PSS} see below et al, it is possible to transcend these temporary aberrations in the {TSV}. a lack of {T} & {S} prevents me discussing in-depth, or elaborating further within this very brief text, some of the aspects of restoring previously hoovered {V} storage and associated problems.
[11] A musical instrument is possible with technology that is from out of space {out of S}. i think the definition of an instrument requires that it encompass more than the sum of all individuals that could use it. one person could not realise every possible piece of music on say, a piano, or a synthesizer, or a guitar, or the voice, or the drums.. etc. for example consider cellular automata {ordered/chaotic/complex} systems and their scope for unknowable determinism, and you might need nothing else for an instrument based on algorithms. or try any other algorithm life gives {ALG}, a life time of your own exploration in the {TSV} field with a {PSS}! i've played with loads of {ALG}'s, they are really useful tools for making instruments. and cellular automata are just one piece of {ALG} technology from {out of S}, one that i've worked with quite a lot, but i do like other ones too. i'm referring to technology in the sense of 'knowledge of technique or process' whether or not it is embedded into a machine or physical object. the following is some possible discrete dynamic network, cellular automata {ALG} information for {1d, v2k3, 118} relating to the cluster =>
{
118 [4] Inventing/finding sounds is an alternative tool for hoovering.
[5] Actually hoovering while awake dreaming of gravy forced me into sounds. see the 'hoover paradox' below in [6].
[6] The obvious tensions between classical systems of musical notation and composition, sound-sourced field-recordings, free-improvised-real-time-composition, and technology based sound processing sound very complicated but the relationship to open sauce gravy and hoovering is patently {and non-patently {in the patentable sense}} obvious. the 'hoover paradox'.. which also paradoxically doesn't have open sauce gravy in its title.
[7] Composition is generally not writing but pretty much everything else, especially open sauce gravy and hoovering. for some of my work, driving, walking, climbing etc is part of the compositional process, whether it is field recording, or driving a super-long way to pick up some piece of clobber. in my 'rainwire' project http://rainwire-project.blogspot.com as part of a rural arts practice i drive in a truck or walk with my field recording equipment from one end of the suspended wire to the other. 'rainwire' forms part of a larger project i call 'the agricultural vernacular' which has a focus on climate change related issues, approached through the lens of real world complex systems, sound and diy.
[8] The main theoretical aporia, existential tension or trigger that keeps me producing and/or made me produce (and/or: writing about) sounds is certainly a gravy and hoover related issue. the korg {MS20} in my bedroom as a 16 year old would probably deserve a mention as well. this item is a {pre T} encoded {PSS} device, so super handy if in {pre T} and with {TSV} happening.
[9] The immense scope and variety of musical inventions forced into canonized music history and its basic distinction of music and non-music in the XX.Century (say) since “Arnold Schoenberg” and the counter-explosions of new underground music paradigms, non-europeans traditions and playing techniques since the 1940’s sound very complicated but are mental constructs + for example the - has become very important since the advent of = as well as further expansion of the use of :: renders any distinctions or what have you fundamentally invalid, perhaps? to put it another way, i could express gravy and hoover related issues affecting the {TSV} using the syntax {G&H}::{TSV} but as that would be extremely tedious and unproductive given the brevity required here, i'll refrain from elaborating further on such a highly redundant format. except to say that the example just given, {G&H}::{TSV}, could have been written many other ways but it would be highly unproductive to continue in that manner or this manner either.
[10] Time, Space and Volume or TSV, TS&V, {tsav}, {T}, {S}, {V} {TSV} et al {curly brackets {} and nested curly brackets {{}} are optional above & below here}, often gets hoovered and re-hoovered. this kind of thing with {TSV} being hoovered can become annoying, sometimes quite annoying. however, through the use of 'certain' practices, such as {PSS} see below et al, it is possible to transcend these temporary aberrations in the {TSV}. a lack of {T} & {S} prevents me discussing in-depth, or elaborating further within this very brief text, some of the aspects of restoring previously hoovered {V} storage and associated problems.
[11] A musical instrument is possible with technology that is from out of space {out of S}. i think the definition of an instrument requires that it encompass more than the sum of all individuals that could use it. one person could not realise every possible piece of music on say, a piano, or a synthesizer, or a guitar, or the voice, or the drums.. etc. for example consider cellular automata {ordered/chaotic/complex} systems and their scope for unknowable determinism, and you might need nothing else for an instrument based on algorithms. or try any other algorithm life gives {ALG}, a life time of your own exploration in the {TSV} field with a {PSS}! i've played with loads of {ALG}'s, they are really useful tools for making instruments. and cellular automata are just one piece of {ALG} technology from {out of S}, one that i've worked with quite a lot, but i do like other ones too. i'm referring to technology in the sense of 'knowledge of technique or process' whether or not it is embedded into a machine or physical object. the following is some possible discrete dynamic network, cellular automata {ALG} information for {1d, v2k3, 118} relating to the cluster =>
{
145
62
131
137
110
193
124
62
SA
0.75
0.625
0.75
False
}
all relate to following headings =>
{
R
Rn
Rr
Rnr
Rc
Rcn
Rcr
Rcnr
Cluster
Sym Cat
ZL
ZR
Z
ZL = ZR?
}
for the complete list see : Elementary Cellular Automaton Rules : A table of all v2k3 1 dimensional elementary rules in order from 0 to 255, their transformations, clusters, symmetry categories and Z values {Burraston 2006}, but maybe i digress a little?
[12] The musical encounter of my dreams would be from {out of S}, or at the very least include {T|V} bonuses et al.
[12] The musical encounter of my dreams would be from {out of S}, or at the very least include {T|V} bonuses et al.
[13] The point zero is very good + the {T} before patenting.
[14] Sounds ………….. invisible sculptures entering the {TSV} field.
[15] Sounds(capes) should be served with curly backets {}, open sauce gravy, eaten and not patented.
[16] Sounds and destruction are all part of the {TSV} field.
[17] The human voice will disappear after being hoovered!? although if we re-work the ancient decibel {dB}.. i would much prefer something like a deciStyrene or {dS} as unit of measurement based on X-Ray Spex singer Poly Styrene's voice as the reference loudness. e.g. that group of toddlers peaked at an ear shattering 128.64dS, with an average of 104.4dS, and the entire thing was powered using only mini-sausages, cheese cubes on sticks, and lemonade. our equipment broke down after about 3 hours due to the intense sound pressure levels. this only goes to prove how much more accurate and intuitive the {dS} is compared to the out-dated {dB}.
[18] Listening is something you can do whether you're hoovering or not. great fun to do with a {dS} meter as well.
[19] The commodity factor of … sucking up household dirt by hoovering has outweighed all other commodities to the point of excess distortions in the {TSV} field. all this patenting.. ! references to household products for cleaning by suction? when will this musical instrument cover up be exposed!?? the theremin was really just a smoke screen for the hoover cover up. once people see the futility of using the hoover to suck up dirt, the industry would crash, is what 'they' {the company} think. why kill the goose that laid the golden egg? naturally though, i use patented things in my everyday life, it so difficult not to.. practically impossible really.. more paradoxes.. through all aspects of the chain in the {TSV}.
[20] Programs and algorithms {PA} are technology from {out of S} and related local/global {TSV} interactions. i found it incredibly weird and challenging that corporations were patenting {A} that i use as part of my creative practice, not only that but also referencing my published papers as well. e.g. Stephen Wolfram's cellular automata {CA} music patent. => http://www.google.com/patents/US8704071 or also this one here by Gary Bourgeois => http://www.google.ch /patents/US7498504
(1) I found a great article about such difficulties written by Laurie Spiegel, {July, 1998} 'Thoughts on Microsoft's Algorithmic Composition Patent' => http://reti ary.org / ls/writings/alg_comp_patents.html Laurie writes in Perspective 8: " Indeed, patents can be viewed as mere temporary glitches in the otherwise uninterruptable universal availability of all techniques to all creators." so for {PA} i'd propose Spiegel Units {SU} for measurements, where 1 patent is equivalent to -1SU e.g. wow! that 3 dimensional chaotic system you're using for {insert sound mapping process here} sounds awesome, but its running with a negative {SU} coefficient, its like -200 and something by now or whatever. this one is just as good, but its running on an open sauce gravy inverter, which pulls it over into a positive coefficient range and it uses at least a 10th of the components, as well as functioning as a gps clock radio with rain gauge and self-sharpening hunting knife.
(2) This super old school {CA} telco method has expired => https://www.google.com.gh /patents/US6363350
(2) This super old school {CA} telco method has expired => https://www.google.com.gh /patents/US6363350
(3) funnily enough, come to think of it, i did publish a {CA} thingy at Wolfram Research, Jan 31, 2012 : David Burraston, "Music Box Toy with Elementary Cellular Automata", Wolfram Demonstrations Project => Music Box Toy With Elementary Cellular Auto
(4) anyway... there's a whole bunch of {CA} stuff listed up on my research page => http://noyzelab.com /research/research.html this is good starting paper => (A) Burraston, D. {2005} Variety, Pattern and Isomorphism. Proceedings of the Third Iteration Conference. Monash University. PDF -> here then if you fancy a long read, there's => (B) Burraston, D. {2006} Generative Music and Cellular Automata. PhD Thesis, Univ. Technology Sydney, Australia. Thesis PDF's zipped (36MB) -> thesis. the short version on how i have been working on {CA} rule space structure is here {long version in phd} => (C) Burraston, D. {2005} Structuring Cellular Automata Rule Space with Attractor Basins. Proceedings of Generative Arts Practice Symposium 2005.PDF -> here (D) there's a pictorial overview as well=> http://noyzelab.com/research/r90-elementary.htm & a general all round mini 2 pager was published on it in Leonoardo: (E) Burraston, D. (2007) Fundamental Insights on Complex Systems arising from Generative Arts Practice. Leonardo Vol 40 (4), MIT Press. PDF preprint -> here + (F) this biblio might come in handy, but i need to get it updated at some point.. => Burraston, D. {2011} Generative Music and Cellular Automata Bibliography, Leonardo Art, Science and Technology Bibliographies, MIT Press
(5) My ongoing {CA} development system is {MANIAC} => http://noyzelab.blogspot.com /2012/01/maniac-arthur.html which is of course undergoing constant change and what have you. at present i have not published any open sauce code on the MANIAC system, but this is something i'm considering as well. almost imminently, imminent. however, the open sauce situation itself contains paradoxes! consider the Arduino / Atmel paradox.. Arduino being the open sauce gravy setup, and Atmel the $US1.43B revenue mega-corp: https://en.wikipedia.org/wiki/Atmel "Atmel serves applications including consumer, communications, computer networking, industrial, medical, automotive, aerospace and military." not to mention the newer Arduino/Intel relationship, but, of course, a piece of wood can be made into a spear so.. really its down to whether or not u r ok with the companies involved.
[21] Names, words and titles of compositions like hoovers, are non-patentable.
[21] Names, words and titles of compositions like hoovers, are non-patentable.
[22]Duplication, sampling, sound-sourcing and manipulation like hoovering are non-patentable processes.
[23] Replay-Machines, architecture … the listening .. again, much like hoovers, are non-patentable objects and processes. Bryen Telko suggest's we 'Find any tape header' ==> http://noyzelab.blogspot.com/2016/09/bryen-telko-find-any-tape-header.html
[24] Knowledge interferes with patenting and is good at keeping up {PSS} flux density and {TSV} field strength and related parameters. lets not forget what paradoxically happened to the hoover!
[25] The materiality of sounds such as hoovering, are *mind-numbingly* non-patentable.
[26] To connect sound and psychology through open sauce gravy, hoovering or any other means requires the patent system to not exist as a starting point.
[27] The eye, the ear and the brain the knee, the back, the strain, the hoovering. i think much of this can be alleviated through extensive amounts of gravy, and using the hoover for its original purpose. lam kam chuen has shown that hoovering can be done without straining though, and the last few years have certainly been different for me since trying it..
[28]Sonic processes …… mimesis…through hoovering and open sauce gravy.
[29] Life and Death … silence …. are nice moments in {L&D}, and the hoover is very useful in drawing distinctions.
[30] My deepest sympathies go out to the audible hoovers, and the non-audible hoovers. the death of patentable gravy, also.
[31] The distinction sound/music/noise if it ever existed, was certainly shattered with the invention of the hoover in 1908. although still misconceived as a household cleaning appliance for the modern age {and still marketed as such because they get more money that way}, this new groundbreaking instrument put the power of pure infinite {well strictly speaking not infinite but pretty close} constant volume {V}, in many senses of the word, easily within the reach of anyone with access to an alternating current electricty power source or the means to generate one themselves. the effect on the {TSV} field is still being documented, the full effects will not be known for probably thousands or tens of thousands of years {or longer}, and many b&w/early colour television documentaries with over-heavy over-acted voice-overs couldn't possibly convey the immense significance of this landmark event. even after the {so-called} MEGA-hoover corps recent run in with ULTRA-dyson about the new highly controversial HYPER-patents, the {TSV} field and {PSS} flux density remains thankfully unaffected, although a number of lights have recently gone from green to yellow which is causing some concern. {the hole in the hoover bag is still not fixed either}.
[32] The allusion to a constant underestimation of the effect patenting has on the {TSV} field, need only be verified by setting up a {PSS} flux density system.
[33] Live performances with a {PSS} flux density setup interfaces very nicely with the {TSV} field.
[24] Knowledge interferes with patenting and is good at keeping up {PSS} flux density and {TSV} field strength and related parameters. lets not forget what paradoxically happened to the hoover!
[25] The materiality of sounds such as hoovering, are *mind-numbingly* non-patentable.
[26] To connect sound and psychology through open sauce gravy, hoovering or any other means requires the patent system to not exist as a starting point.
[27] The eye, the ear and the brain the knee, the back, the strain, the hoovering. i think much of this can be alleviated through extensive amounts of gravy, and using the hoover for its original purpose. lam kam chuen has shown that hoovering can be done without straining though, and the last few years have certainly been different for me since trying it..
[28]Sonic processes …… mimesis…through hoovering and open sauce gravy.
[29] Life and Death … silence …. are nice moments in {L&D}, and the hoover is very useful in drawing distinctions.
[30] My deepest sympathies go out to the audible hoovers, and the non-audible hoovers. the death of patentable gravy, also.
[31] The distinction sound/music/noise if it ever existed, was certainly shattered with the invention of the hoover in 1908. although still misconceived as a household cleaning appliance for the modern age {and still marketed as such because they get more money that way}, this new groundbreaking instrument put the power of pure infinite {well strictly speaking not infinite but pretty close} constant volume {V}, in many senses of the word, easily within the reach of anyone with access to an alternating current electricty power source or the means to generate one themselves. the effect on the {TSV} field is still being documented, the full effects will not be known for probably thousands or tens of thousands of years {or longer}, and many b&w/early colour television documentaries with over-heavy over-acted voice-overs couldn't possibly convey the immense significance of this landmark event. even after the {so-called} MEGA-hoover corps recent run in with ULTRA-dyson about the new highly controversial HYPER-patents, the {TSV} field and {PSS} flux density remains thankfully unaffected, although a number of lights have recently gone from green to yellow which is causing some concern. {the hole in the hoover bag is still not fixed either}.
[32] The allusion to a constant underestimation of the effect patenting has on the {TSV} field, need only be verified by setting up a {PSS} flux density system.
[33] Live performances with a {PSS} flux density setup interfaces very nicely with the {TSV} field.
[34] Sounds of {PSS} flux density systems travel from hand to hand, ear to ear, through space and time {S&T} usually ending up in the {TSV} field in some way.
[35] try 4’33” done on a {PSS} flux density system and u end up getting totally wrecked AND see a window . onto the TSV field strength, with some brief glimpses onto the fluctuation parameters as an added bonus. this all got outlined in cage's original notes, but they were accidently destroyed in a cagean inference actuality {CIA} setup by US Immigration {USI}. took ages for 'them' to clean up that one coz it got quite messy, i haven't seen a single reference to it since so 'they' must have got it all.
[36] Privacy, Secrecy & Sounds {PSS} are all well and good, and sound very complicated and mathematical and all that.., but are really just mental constructs. {PSS} and related gubbins are easily available on/from ebay, thrift stores, junk shops, charity shops, skips, dustbins, tips, etc. and operate pseudo-overtly in a variety of ways {{FM}, {PD}, {PCM}, {MIDI}, {CV/GATE},{etc.}} on the {TSV} field. lot of em will even run off small or homebrew batteries. operation without power can be achieved but extensive sleep is required afterwords. there's a top website called 'table hooters' which did descriptions of tons of super-cheap kiddy ones etc. =>http://weltenschule.de/TableHooters/instruments.html generally though, all other aspects of {PSS} have been non-lineraly distributed throughout the rest of this text.
[37] Singularity, originality …musical genres .. gravy hoover {with a small {g}&{h}} or {SOMGgh} = [38]
[38] The total liberation of sounds through open sauce gravy and hoovering.
[39] Free form music or sound into bacon & egg sandwich {BAES} is generally best under at least 128Hz, and 64Hz is probably a practical limit for hardware realtime synthesis of {BAES} frequencies. once this is completed, by using the 'Oliveros Principle' {OP} of ultra/hyper/hetero-dining systems, this can basically go up to anything u like! and the {OP} is also applicable universally, not just with {BAES} frequencies. so it works with both meat or vegatables or whatever! the other day i just got myself some cheese and tomato toasty triangles synthesized, all microtonally tuned up nicely .. when a bunch of friends arrived unexpected. i did a quick up-sample and then ran the 3 remaining triangles through the {OP} 19" rackunit at 111Hz {via a specially made rs232 toaster/grill interface}, and managed to get 33.3 miniature cheese+tom toasty triangles at 7 bit resolution cranked out in less than 5 minutes, with no aliasing! timeless technology, i can't see that ever being bettered {or buttered, but that is inherent in the process, all toast has to be 'pre-buttered' or it gets reflected back at the 'Oliveros Limit'}. a contact mic was connected to my real world random number accumulator {RWRNA} and recorded the absolute time code & 'inter-crumb arrival time' of every bit that landed on the floor. this particular {RWRNA} is in 2 parts for double quality {switchable to super-double quality but that halves the amount of numbers stored}. it has a read/write memory for obtaining 'readable' random numbers and a write only memory {that can't ever be read back from} for 'non-readable/non-recoverable' random numbers to get used up in. all this naturally leads on to the very real lack of non-linear domestic toasters with decent {RNG}. as a youngster i was led to believe this sort of thing would be possible by now. i should be able to get bread out of the packet and it already forms toasty triangles itself {cheesy ones in the future as well i think}, the toaster functions then merely as an aesthetic brain blanket to protect me from the mentally aberrating consequences of thinking too hard about the logistics of how it all comes together for me.
[40]Cryptic minimalisms,techno {|INFINITY-GRAVOXITE|}
[41] Outsider sounds or {OS}, might be very complicated but are mental constructs, and often going to involve some sort of {PSS} related flux density process gubbins of one form or another or just as oftenly not perhaps though.. maybe more so?
[42]Electronics, electro-acoustic , Modular Synths, interstellar {EEAMSI} hoovering gubbins.
[43] Sounds … time-space manipulations … {STSM} letter based hoovering confusering..::..shruberryngshruberizer allowing introduction of extended ..::.. syntax.
[44] The severest misconceptions about me and my sounds, my music, and my theories sound very complicated but are mental constructs, mostly likely influenced by the 'hoover paradox'. certain freely (or close) available {PSS} gubbins that hooks up the {NYZ} open sauce 'gravy train' to the {TSV} will sort tht out pretty easy, providing that your gubbins isn't jiggered {or too jiggered that it is beyond hacking/repair}.
[35] try 4’33” done on a {PSS} flux density system and u end up getting totally wrecked AND see a window . onto the TSV field strength, with some brief glimpses onto the fluctuation parameters as an added bonus. this all got outlined in cage's original notes, but they were accidently destroyed in a cagean inference actuality {CIA} setup by US Immigration {USI}. took ages for 'them' to clean up that one coz it got quite messy, i haven't seen a single reference to it since so 'they' must have got it all.
[36] Privacy, Secrecy & Sounds {PSS} are all well and good, and sound very complicated and mathematical and all that.., but are really just mental constructs. {PSS} and related gubbins are easily available on/from ebay, thrift stores, junk shops, charity shops, skips, dustbins, tips, etc. and operate pseudo-overtly in a variety of ways {{FM}, {PD}, {PCM}, {MIDI}, {CV/GATE},{etc.}} on the {TSV} field. lot of em will even run off small or homebrew batteries. operation without power can be achieved but extensive sleep is required afterwords. there's a top website called 'table hooters' which did descriptions of tons of super-cheap kiddy ones etc. =>http://weltenschule.de/TableHooters/instruments.html generally though, all other aspects of {PSS} have been non-lineraly distributed throughout the rest of this text.
[37] Singularity, originality …musical genres .. gravy hoover {with a small {g}&{h}} or {SOMGgh} = [38]
[38] The total liberation of sounds through open sauce gravy and hoovering.
[39] Free form music or sound into bacon & egg sandwich {BAES} is generally best under at least 128Hz, and 64Hz is probably a practical limit for hardware realtime synthesis of {BAES} frequencies. once this is completed, by using the 'Oliveros Principle' {OP} of ultra/hyper/hetero-dining systems, this can basically go up to anything u like! and the {OP} is also applicable universally, not just with {BAES} frequencies. so it works with both meat or vegatables or whatever! the other day i just got myself some cheese and tomato toasty triangles synthesized, all microtonally tuned up nicely .. when a bunch of friends arrived unexpected. i did a quick up-sample and then ran the 3 remaining triangles through the {OP} 19" rackunit at 111Hz {via a specially made rs232 toaster/grill interface}, and managed to get 33.3 miniature cheese+tom toasty triangles at 7 bit resolution cranked out in less than 5 minutes, with no aliasing! timeless technology, i can't see that ever being bettered {or buttered, but that is inherent in the process, all toast has to be 'pre-buttered' or it gets reflected back at the 'Oliveros Limit'}. a contact mic was connected to my real world random number accumulator {RWRNA} and recorded the absolute time code & 'inter-crumb arrival time' of every bit that landed on the floor. this particular {RWRNA} is in 2 parts for double quality {switchable to super-double quality but that halves the amount of numbers stored}. it has a read/write memory for obtaining 'readable' random numbers and a write only memory {that can't ever be read back from} for 'non-readable/non-recoverable' random numbers to get used up in. all this naturally leads on to the very real lack of non-linear domestic toasters with decent {RNG}. as a youngster i was led to believe this sort of thing would be possible by now. i should be able to get bread out of the packet and it already forms toasty triangles itself {cheesy ones in the future as well i think}, the toaster functions then merely as an aesthetic brain blanket to protect me from the mentally aberrating consequences of thinking too hard about the logistics of how it all comes together for me.
[40]Cryptic minimalisms,techno {|INFINITY-GRAVOXITE|}
[41] Outsider sounds or {OS}, might be very complicated but are mental constructs, and often going to involve some sort of {PSS} related flux density process gubbins of one form or another or just as oftenly not perhaps though.. maybe more so?
[42]Electronics, electro-acoustic , Modular Synths, interstellar {EEAMSI} hoovering gubbins.
[43] Sounds … time-space manipulations … {STSM} letter based hoovering confusering..::..shruberryngshruberizer allowing introduction of extended ..::.. syntax.
[44] The severest misconceptions about me and my sounds, my music, and my theories sound very complicated but are mental constructs, mostly likely influenced by the 'hoover paradox'. certain freely (or close) available {PSS} gubbins that hooks up the {NYZ} open sauce 'gravy train' to the {TSV} will sort tht out pretty easy, providing that your gubbins isn't jiggered {or too jiggered that it is beyond hacking/repair}.
[45] The sentence(s) I wanted to see published for an eternity is Here is the gravy train hoover here {HITGTHH!} in capitals with an exclamation mark.
Antony Gormley, Quantum Cloud III (1999)
Cordial thanks
to David Burraston
Subscribe to:
Posts (Atom)