Second catastrophic caustics http://www.alansondheim.org/mu6.jpg http://www.alansondheim.org/mu7.jpg http://www.alansondheim.org/um.mp3 http://www.alansondheim.org/chirp.mp3 http://www.alansondheim.org/mumm.mp3 http://www.alansondheim.org/mu8.jpg http://www.alansondheim.org/mu9.jpg garkleinflote, flute, soprano recorder, bosun's whistle reverse dynamics, reverse reverberation, birds 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._ so the first part already come: 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. both parts best heard with headphones covering the ears. _______________________________________________ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
