Friday, February 17, 2017

Sounds of the Day #44/2017: My Inhaled Books #18 //// Saafron (1) / Eric Frye (1-5) / Max Eilbacher (1) //

Inhaled books #18
Maurice Blanchot - L'écriture du désastre
Half-inhaled, half-exhaled since 2000.

Saafron Reishi (2016)

Eric Frye - On Small Differences in Sensation (2016)

Eric Frye - Observables (2016)

Eric Frye -Some Consequences of Four Incapacities (2015)

"Recent developments in mathematics, including Grothendieck’s work in algebraic geometry, showed once again that the representational leg of mathematics is more than just an auxiliary tool for its conceptual leg. The new concepts like that of Topos require new modes of representation, otherwise they remain to be properly treated (and in some cases even properly identified). The new modes of mathematical representation require us - but also allow us - to conceive, imagine and perceive things differently. The very fact that most of today’s mathematical concepts have no rigidly associated “bodies”, visible or otherwise perceivable, serves as a strong motivation for an artistic work aiming at the aesthetic - and hence also material and technological - construction and a further reworking of these abstract concepts. Eric Frye’s compositional output perfectly demonstrates how this works in practice. Through a series of methodically structured auditory events Frye investigates new modes of perception and spatial cognition. These events are composed specifically to stimulate and disrupt the cognitive perceptual process as the human mind attempts to correctly segregate and organize sound objects. As the piece unfolds it reveals topologically transformed sonic morphologies which trigger hallucinatory reactions through a succinct succession of auditory cues. Frye's sound pieces emerge as an artistic expression of novelty and freedom, which, by Georg Cantor’s popular quote, is indeed the essence of mathematics." - Andrei Rodin

Eric Frye Abyssal Folding  (2014)

Recorded 08.2013 - 05.2014 direct to stereo, no overdubs. Compositions created using computer and hybrid modular synthesizer. Cover artwork by Arnau Sala. Letterpress printed at L'Automàtica in Barcelona. ///////////////Abyssal Folding is comprised of twelve individual sonic forms which were created by a concentrated and methodical pulling apart and particulat-ing of common rhythmic patterns. This process of dissecting and examining the isolated sound particles allows for an often seemingly chaotic reassembling of forms to take shape. The result is a stretching and morphing of the common rhythmic meter to reveal frenetically propelled and disjunctively decimated compositions. Creating something that is simultaneously familiar as well as dissociative, innocuous as well as repellent. A single algorithmic graphing unit acted as the core functionary device throughout. ///////////////////////////////////////"The 'hidden beauty of things' appears to be the hidden beauty of mathematical structures, an intrinsic beauty that the mathematician discovers by means of the extrinsic invention of sufficiently expressive languages. And so, in Grothendiek's perspective, mathematical structures appear in the phenomenological spectrum of the world, and so they are discovered - but these are discoveries that can only be made by inventing, in an almost synchronic dialectic, adequate representations of the structures in question. The (musical, cohomological) metaphor of the motif itself shores up the idea that there exist hidden germs of structuration, which a good 'ear' should be able to detect. And so Grothendiek's motifs appear to be already present in the dynamic structure of forms, independent of their future discoverers, who's work would consist essentially in creating the adequate languages, the theoretico-practical frameworks, and the sound boxes required to register their vibrations." - Fernando Zalamea (Synthetic Philosophy of Contemporary Mathematics)

Eric Frye Systemic Crevice  (2013)

Recorded 12.2012 - 08.2013 in real-time stereo, no overdubs. Compositions created using computer, Eventide Eclipse digital processor and hybrid analogue / digital modular synthesizer. Images created using digital image processing and synthesis. Recorded at Ascension, 4029 and Studio di Particelle Sonore. An Alternate Version of Apnée Statique was commissioned for Ben Vida's "Metal Fatigue Music" and was presented at Audio Visual Arts in NYC on May 5, 2013.

Eric Frye Comb  (2013)
"Generic man as an onto-vectorialized subject is a superimposed flux of vectors or imaginary numbers." /////////////"As humans-in-the-world, we arrive too late to assist in the creation of light, we only assist in its birth, having already withdrawn itself, leaving us with the corpuscular confusion of the flash with a particle, the flash being the veritable immanental appearance where the onto-vectorial process contracts into macroscopic appearance. We live off lost memory. We perceive it as having seen it and lost it. We do this so well that it seems to shoot out of the void where the burst of light has already returned." //////////"The onto-vectorial matrix of photo-fiction contains (alongside the moment of the ascender or insurrection) a moment of the Trans-, of the transversing of reality or passage via a certain tunnel to the other side, a moment that must be isolated in order to understand the passage of the object (strictly speaking) to transcendence. The Trans- is a specific dimension of transcendence that prolongs the simple vector and makes the object appear. This moment is fundamental in order to give a status to the photographic becoming of ecstasy constitutive to the effective perception of an object. One must make a very particular fate of this ecstatic depth within the phenomenology of the photo, alongside forms and colors, and attribute it to a different destiny than that which it occupies within perception. The perceptual flickering [battement] of before/behind within ecstatic or objectivating experience disappears in the photo, but not completely. It remains virtual as an image of depth or an image of frozen ecstasy, ecstatically-fixed. This flickering of the perception of depth is reduced or condensed rather to the surface itself. The sensation of a relief that the photo still possesses comes from that which, in the completion of the vector, exceeds the vector within a fluttering that is virtualized or crashes into itself. The ecstatic depth or the Trans- becomes a fixed fluttering and is reanimated by the imagination (as soon as it is obviously given an object) and the corresponding photographic capture. Perceptual depth is deprived in-itself in regards to the photo of any depth whatsoever. It is a generic ecstasy of the surface, or an ecstasy-without-ecstasy." - François Laruelle (Photo-Fiction, a Non-Standard Aesthetics)

Max Eilbacher - Conjunctive Phase Standards (Synthesis) (2016)