Message-ID: <alpine.NEB.2.20.1609121056340.25740@panix3.panix.com>
From: Alan Sondheim <sondheim@panix.com>
To: Cyb <cybermind@listserv.wvu.edu>, Wryting-L <WRYTING-L@listserv.wvu.edu>
Subject: Sanshin, Geometry, and Symphony #1
Date: Mon, 12 Sep 2016 10:58:45 -0400 (EDT)
Sanshin, Geometry, and Symphony #1 http://www.alansondheim.org/simplex.png http://www.alansondheim.org/movement4.mp3 http://www.alansondheim.org/movement5.mp3 http://www.alansondheim.org/measurepolytope.png http://www.alansondheim.org/composed6.mp3 the transformations when i fall asleep i worry through measure polytopes (line / square / cube / hypercube / etc.), projecting them onto the plane; each _slides_ into the next higher. think of these as uncomfortable _smears._ when i fall asleep i worry through simplices (line / triangle / tetrahedron / 4-simplex / etc.), projecting them onto the plane; each is _pulled_ into the next higher. i think of sliding - taking everything with one - and pulling - dragging something out of one - are basic operations (affine, catastrophic?) that keep me together, much as they extend and pull apart. the three pieces of music employ reverse reverberation through supercollider for the symphony; composed6 also employs inverse dynamics. the sanshin is the okinawan version of the shamisen, played with a different form of bachi; i use my fingernails in place of the plectrum. the instrument can be heard directly through the maelstrom in movement4 and 5; it disappears in composed6. i work with pulses and rhythmic murmurs in all three sections; they're clearest in composed6. all of them are heading towards and permeating, the potential of the ineffable; all of them extend what the symphonic means for me, grounded in new temporalities and dynamics.