BANDCAMP (and Flickr) (please share) LIMIT on BANDCAMP! Our new cd is available on Bandcamp, thanks to Bryan Day and Public Eyesore! https://publiceyesore.bandcamp.com/album/limit [publiceyesore.bandcamp.com] The album is a concept album in a sense; the tracks are available! - Liner notes below - Please support LIMIT! And just discovered I've been grandfathered into Flickr Pro; check these out - https://www.flickr.com/photos/asondheim/7174105890/in/album-72157629673210538/ - All sorts of imagework from (mostly) five years ago that's still relevant - Enjoy! ============================= LIMIT Liner notes: All pieces improvised live, no overlays or multi-tracking; the polyphony is a result of real-time processing. For a new music - Reverse reverberation in real time is an impossibility; the physics of space-time doesn't permit it. That said, Luke Damrosch has developed programs that approach the impossible; the result is a new form of music dynamics. The general idea is that you can reverse shorter and shorter segments 'almost' as if they were reversed in real time, but you're really dealing with fundamental limits of spacetime; only on a quantum level is reversibility possible (for example a positron as an electron moving temporally backwards in Feynmann diagrams - retrocausality in Wikipedia), and that's up for grabs. In any case, I've been interested in processes that operate at the edge of this sort of dynamics, where physics, acoustics, and philosophy meet. And here is a resulting cd, using acoustic instruments, where this is a guiding principle. A second example involves the use of dynamics processing (I'm using Adobe Audition), in which the louder something is, the quieter the output - reversing the usual dynamics. I've been doing this in post-processing, but with voltage-controlled amplifiers, it's easy to do as analog in real time. The result is fascinating - if I'm playing shakuhachi or guqin for example, the sounds of breathing, of the body, of string slip, etc., come to the foreground and the traditional musical 'content' recedes. The body becomes a fundamental source of sound, almost as if it were playing itself. Again there are a lot of contradictions here; since a slow sinewave, for example, varies in amplitude, it might disappear or become increasingly dominant itself, depending on the settings (frequency ranges employed) for the dynamics processing. I'm also working with pitch reversal, so that, for example, a frequency F is transformed into 1/F; the basis of F can be set so that the range as a whole is inverted. You can see how this is almost the same as dynamics processing; the two are deeply related. (This hasn't been implemented yet.) All of this connects to my interest in philosophy and the foundations of mathematics. Most acoustic transformations are 'surface' transformation, as if the physical acoustic environment were itself changing (larger or smaller room, etc.), or as if parameters were changing holistically (raising or lowering pitch, etc.). There are exceptions, but this is done, for the most part, in terms of musical or other aesthetics. I'm interested in something fundamental in a different way. Traditional foundations of mathematics begins with such things as logic, set theory, etc. - as you know, anomalies appear all over the place (Godel's theorem is the most obvious example). But the tendency now is to look at dynamics based on things like category theory - in which there are objects and arrows, or objects and morphisms and rules and structures emerging from these. Arrows are also objects, objects can be morphisms, etc. etc. I understand very little of this, but it's really relevant to the kinds of global transforms that revrev or inversions represent; I tend to think of dynamics applied through acoustic spaces for example - at least that's where I'd like to go... additional notes music swallowing itself == temporally / dynamically determined w/ unexpected buffering broad calculable frequency range -- live performance, playing into the past and future - Inverse dynamics: _fundamentally_ dependent on quality - human decision making - the waveform treated as a material substance, broken into independent parcels? (Think of this as a literal granularity of the real, via several levels of abstraction: the recording of the waveform in its initial configuration; its banding; the alterations of the bandings; the reassembling of the bands.) The fragility and dirtiness of the waveform (taken as an entirety): no 'clean and proper body,' but a body dissasembled, a surgical body, a body of potential incisions - The 'human project/ion' - simultaneous playing into past and future: with revrev always a capitulation (double meaning of word?) - temporal 'smearing' on the part of the player (as if playing a song for example, but in this case the song resonates, comes back as a haunting) -- " In this sense there exists only one signification, that of the thetic phrase which contains the object as well as the proposition and the complicity between then." In this case, the complicity is also a temporal unfolding/smearing, the memory of what has not yet occurred. There is also a memory of the program itself and its attributes, an underlying structure that is always already a process - here is another accountable inherence of the world. One plays within and without the program: one plays the world, within the fragile boundaries of a temporary domain that is always (vis-a-vis the program) bootstrapped. _______________________________________________ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
