The Alan Sondheim Mail Archive


First catastrophic caustics

http://www.alansondheim.org/mu1.jpg
http://www.alansondheim.org/mul.mp3
http://www.alansondheim.org/mull.mp3
http://www.alansondheim.org/mu2.jpg
http://www.alansondheim.org/mu3.jpg
http://www.alansondheim.org/mu4.jpg
http://www.alansondheim.org/mu5.jpg

garkleinflote, flute, soprano recorder, bosun's whistle
supercollider ultra-low revrev

so interference/beat frequencies/harmonics; the garkleinflote is
capable of producing some of the highest pitches of any
instrument. in these examples, the sound went directly through
an external mic into supercollider into audacity; editing was
done in audition; what you hear is what you would have heard
live; improvisation. so that these pitches interfere with
tinnitus, pushing the boundaries of what's possible with and
without bias frequencies, digital raster moires and so forth.
think of these pieces as _turbulent animals,_ fluctuating
patterns that appear momentary and global, disappearing among
other more instrumental sounds in the real world.

the second part coming soon:

in the second part, inverted dynamics supplies the drive; the
body appears, exasperated: how could it be otherwise. the breath
and sounds rumble the birds as if behind a picket fence. so
those beat frequencies/interferences again as before, without
the compensation of time reversal, but with the depth dynamics
of the world's production rising to the surface - science,
culture and acoustics sinking as if _likewise._

both parts best heard with headphones covering the ears.

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