“Poemas visuales de John M. Bennett con movimientos con ruidos con combinaciones. De la serie
‘colaboraciones’. Proyecto internet de osvaldo cibils con javascript y grabaciones sonoras con códigos Flocking y Gibber. Poemas visuales de tres líneas seleccionados del libro “CaraaraC & EL TITULO INVISIBLE” de John M. Bennett, Luna Bisonte Prods, 2012 ( Lulu ).”

“Falsches Radio (translation: wrong radio) was inspired a) by a man in the foyer of my local post office who – after closing time – stood by the window accompanied only by a large plastic bag and a radio, and b) by my son, who at the age of five ran around, holding a pink radio to his ear, listening to white noise.

The work merges field recordings from my Berlin flat in 2010 with sounds of a t_ng noise generator.”

[until the light takes us]

On track. Notifications (3). Dashboard. Prochaine destination – 43°18’15.79’’ N 5°23’07.04’’ E. Température ressentie : 23°. Prévision probabiliste sur très faible incertitude. Modifier votre profil. Voir votre profil public. Modifier vos préférences. @si proche. Courbure d’espace-temps ressentie : totale. Data recovery. Version d’essai gratuite.

Larry Rosetta (Kewa)– The Festive Dance
Isaiah Chinana (Jemez) – Lavender Willow Trees
Anthony Glascock (Zuni) – Heart Strings
Addie Othole (Santa Clara) – Repercussions
Dominick (San Felipe) – Deep Thought

Performed by Huntress Quartet
Jessica Billey – violin
Rosie Hutchinson – violin
Heather Trost – viola
Ariel Muniz – cello

Presented October 6, 2016, Santa Fe, NM, by SITE Santa Fe as part of the exhibition music wider than a line.
Thank you to Santa Fe Indian School teacher Arlene Huber and Joanne Lefrak, Winoka Begay, and Irene Hofmann of SITE Santa Fe. Native American Composer Apprenticeship Project is an education program of the Grand Canyon Music Festival.”

“all forms of diagonal sound-charming welcome,
spaces never cleared just crowded on all planes.

quit asking: where are the voids?

maximalism, jimmied to fit
ritual free fall, a second
mouth inside yr mouth –

ya, you knew that

X

UVOVU+YEDA
BASEMENT HUFFERS
2011 – 2017″

“Ch’iyáán ájiił’įįhígíí doo hodits’a’
(The way one prepares food with sound)

Field recording(s) of a performance in collaboration with my kindergarten students at David Skeets Elementary. The class is an indigenous culinary education, reintroducing traditional foods to our youth, and engaging the community in Indigenous Food Sovereignty. The food production and preparation is a way of passing cultural knowledge and an active resistance to colonizing forces. Empowering our traditional knowledge systems and utilizing the adaption of tools to connect our relationship with land and environment is the intent of the class, Food is Medicine.

Diné Culinary Education – 2016
Instructed by Ryan Dennison
Assisted by Julia Nacki
Collaboration with kindergarten Navajo Class of David Skeets Elementary, Chichiltah, NM – Navajo Nation”

“a sketch of a sketch of a sketch of a body”

“in translation”

“Healing After Death is a 55 minute and 36 second divination and meditative tool, existing by form of manipulated, droning Pure Data synth and spaciously howling cello.This work was created to assist the living into a communicative space with the dead and lingering spirits of the dead; It is the spirits that linger–in need of healing after death. (Use in personal rituals is highly recommended.)

This piece was performed and recorded by Avery L Gilbert II, featuring cello player and teacher, Faisal Alisdairi.”

“M.”

“There are a number of field recordings I used to create this piece, and sort of took an open-window approach to how the floor of this fictional building might sound. So, you hear some internal sounds – cooking, using office devices and so on – and also many external such as traffic, birds, a fly, a cat, and also a coyote! So, just as one might interact with the environment indoors, while carrying out one’s daily life the myriad sounds from the neighborhood drift in as well from time to time.

I tried to draw some parallels between Seattle (my home) and San Francisco in the sounds as well. Many of the wooden structures of San Francisco buildings are made from beams of old growth Doug Fir trees from lowland forests near Seattle, as are many of the buildings here including my own home, where some of the field recordings were made. Also, just like Seattle and Portland, coyotes have colonized San Francisco in the wake of missing predators like wolves. Of course there are many other different sounds between the cities but I tried to create and choose field recordings based on similarities to help the listener consider the way people have been interacting with their environment and how that effects their sounds as well – a sonic story of the West Coast.”

“A soundscape-walkshop that offers the listener a historical perspective regarding the Indigenous people living in the San Francisco Bay area. The walkshop portion considers the relationship with the Muwekwa Ohlone tribe to the tribal lands (space) and the heavy fog that protected them for over 200 years (time) from colonialism and genocide brought by the Spanish colonizers and missionaries. The unvaders had arrived in other parts of the west coast as early as 1532, but did not invade the Bay area until 1775. Throughout the years and the ever-changing landscape of San Francisco, the Indigenous people persistt and have never left the lands they have called home since possibly as early as 4000 BCE.

The soundscape shifts in and out of a walking confessional booth, giving the listener an opportunity to confess future and past memories and to seek atonement for them in the now moment, and into the spiraling cycles of quantum eternity. These memories depend on a primal temporal circuit that can be emitted forward or backwards into the fog,triggering superimposed offer and echo waves in the linear present. The fog also acts as a motherboard, protecting and harnessing the energies of confessed memories, activating their atonement.”

“…epiphany on a rooftop…”

“This album is a tangential discourse to a larger, global conversation surrounding hyper- and augmented reality. Through sound and mediated interface, this album is my personal first attempt at egalitarian composing through using the concept of a sonic network. Some of the phases in this album are non negotiable, while others are open invitations for audience participation. (These moments will be clearly marked and announced). These experiments are to involve and engage the listener in a more pragmatic sense; I wish for you to become more than a listener, more than an audience. My highest hope for this project is to create a space for both of us to become interactors and our own personal composers, though we are separated by time and physical distance.”

“The work presented in this release is interactive and malleable; an attempt to discover and present repeated patterns of sinewaves and acoustic beats in space over time. Its intent, if any, is to highlight the external and internal listening and experiential space of each individual listener. There are no set guidelines to interacting with this work, yet I do want to pose a question: How do we compose our perception in space and time? “Inging” is an attempt to discover and question different modes of experiential music; a potential pathway for the individual and scores of listeners to connect with their momentary awareness and question how we exhibit, experience and share this space. Influenced by 19th Century phenomenology and the teaching of Zen, “Inging” is a constant unfolding of events through the action and composing of each individual participant. All sonic information is given from the very beginning: It is what we do with this information that creates each of our own ephemeral composition.

This piece can be played through headphones, though I would advise listening to Inging through a stereo speaker system for the full spatial effect.

Thank You For Your Understanding,
Ben Glas”

“the rules:
1. carry business cards around Portland with nothing but questions written on them
2. create business cards in microsoft word from a compiled list of questions that people extremely recently asked in San Francisco online
3. hand cards to friends and strangers in Portland to ask San Francisco’s most pressing questions in Portland
4. look at social medias
5. print
6. move one’s self and all of self’s belongings from Portland to San Francisco”

“There is a similarity between the black voids of the universe and silence; each appears deceptively empty while in reality being quite full: of dark matter, of constant, unheard vibrations. In exploring these “vacant” spaces, we reach beyond our own perceptual limitations, and it is this reaching that allows us to continually refigure our world—a new brand of evolution.”
-Artist Sarah Nance

Chrysalis finds resonant harmonics and natural drone in environmental field recording. Experimental mic techniques, tuned reverbs, long-field captures of wind, tide, waterfall and forest all blur into roaring and contemplative space. Created and composed for quadraphonic installation and performance, the digital release has been re-configured for stereo and mastered by Lawrence English at 158 in Brisbane, AU.”

“multi-sensory impact”

Jachin Pousson (b.1983, USA) on drums, electric guitar, electronics & visuals, Arvydas Kazlauskas (b. 1982, Lithuania) on saxophone, Kevin Ghosty (b.1983, Singapore) on baritone electric guitar.

“To tap into the synaesthetic vein which in the past was only accessible in live performance, years of personally collected video footage have been carefully assembled in this special digital package.”

“Our sound is achieved through an intuitive process of transfers between acoustic instrument, to recorder, to tape, often played back and then recorded in another space, at another time, and interspersed with other recordings from other spaces at other times. Our collaboration became very much like a glass bead game, taking turns with the others thumb drive, and the materials therein. These three tracks are the result of a year’s worth of experimentation with sounds captured through various means, portions of which and allusions to may soon be found on a tape we scored, produced, and dubbed ourselves,to be our first physical release.”

Nat Evans’ The Lowest Arc presents documentation of a site-specific sound installation which took place on December 21, 2014. Handmade music boxes were programmed with scores generated by mapping constellations and were presented to visitors who were instructed to play the boxes while traversing the outdoor installation site. The pieces were echoed on six loudspeakers which circled the location, providing a wintry, glittering soundtrack to the urban landscape on the shortest day of the year, the Winter solstice. This collection is presented in digital format one year later as a celebration of the natural forces that dictate our bodies and our landscapes.

Louise Harris’ Auroculis is a collection of video works that serve as translations of digital audio compositions. Harris’ visual-aural explorations into synaesthetic experience made possible through digital technologies hint at a mimicry of the generative process of looking. The result of her investigations are works that rely on projection, location and duration for full contextual consideration. Here she presents in digital download several fixed examples of this process, a mere glimpse at the potentiality of immersive visual music through expanded cinema installation.

“These three pieces are all generative audiovisual works that investigate relationships between sonic form, through time, and visual form, through space. In pletten and ilsonilus:1, these investigations also include the nature of the spaces in which they are presented, as they are intended for expanded audiovisual installation format – pletten on two opposite screens in a small space and ilsonilus:1 in either a cylindrical or fulldome projection format.”

Memory Metal is the amplified metal & tape loop project of duo Cody Brant & Shane McDonell (Portland, Oregon USA). Using DIY contact mics attached to scrap metal, household kitchenware and a variety of metallic odds-and-ends, the pair create percussive, noise-laden improvisations tempered by repetitive loop and drone from pre-recorded tapes. Capitalizing on the inflexibility of non-traditional objects-turned-instruments as well as
the static nature of pre-recorded sound, the duo create tension-laced audio performances that are heightened by their own obstinacy. Their recordings serve as documentation of such ephemeral, instantaneous compositions.

Brandon Carson’s selection of audio and video pieces, Something About Tape, presents a number of works created utilizing manipulated reel-to-reel playback of pre-recorded sound on tape, alongside live electro-acoustic instrumentation. His work exploits the gap between analog and digital sound, using the materiality of magnetic tape along with the capabilities of digital technology to create instant compositions rich with physical texture and human presence.

“Computer processed/recorded foley, mono-synth, and modular synthesizer. Recorded and assembled in 2013 through 2015.”

soundart11june2013 are eight soundart belonging to the series of 50 digital albums soundart for carrito of Trento, triptych soundart 2012 2013 2014 that I’ve been doing systematically since 2012 with RolloSONIC software (100% freeware, fully-modular sound-synthesis environment for Windows). In this project, this software is my material for realise my artwork.”

“This album is a tangential discourse to a larger, global conversation surrounding hyper- and augmented reality. Through sound and mediated interface, this album is my personal first attempt at egalitarian composing through using the concept of a sonic network. Some of the phases in this album are non negotiable, while others are open invitations for audience participation. (These moments will be clearly marked and announced). These experiments are to involve and engage the listener in a more pragmatic sense; I wish for you to become more than a listener, more than an audience. My highest hope for this project is to create a space for both of us to become interactors and our own personal composers, though we are separated by time and physical distance.”

“OEL represents an auditory psychedelic triple dimensions, manipulated sound by using the idea of infinitesimal elements of the universe, showing a state of contradictory and subliminal. This release comes down with five digital drawing of a puzzled mind.”

The Pump-Powered Permawave is a pump-activated synthesizer built to resemble a vintage suitcase. The First Clue is a coded audio piece highlighting the ambient potential of the instrument along with digital zine containing instructions for further audience participation.

“An expanded audio release created to celebrate the biological indicators of spring. With music recorded in the hills of Hollywood, and ridges of Big Sur, it also includes a bonus track recorded for KCHUNG’s laser tag installation. The art incorporated with this release is a zine of macro photography shot by Brian and Ang, accompanied by some of Ang’s prose.

“How wonderful it is to be wonderful, when growth is infinite,
and life’s meaning is vast.”

Ang Wilson: playing Nepalese Singing bowls, bells and found sounds. Brian Griffith: playing Electric Bass with effects.”

a series of 12 graphic scores

“In Spatial Movements I-XII the audience is asked to open a movement, and play the image with a musical instrument of their choice. The image is open to interpretation.”

“The mysterious Antikythera Mechanism, an astrolabe known as the first computer, was recovered in 82 fragments from a sunken shipwreck off the island of Antikythera around 1900. Although it is widely believed to have been constructed by a Greek astronomer around 100 BCE, this origin story has not been confirmed. No other such technologically complex artifact appeared anywhere in Europe until late 14th century. In 2015AD, BQF Theorists unearthed rare, previously unseen records and unheard sound clips claiming to detail the true origins of the mechanism as designed and constructed by a secret society in ancient Ifriqiyah as a device for time displacement.”

“This album is a tangential discourse to a larger, global conversation surrounding hyper- and augmented reality. Through sound and mediated interface, this album is my personal first attempt at egalitarian composing through using the concept of a sonic network. Some of the phases in this album are non negotiable, while others are open invitations for audience participation. (These moments will be clearly marked and announced). These experiments are to involve and engage the listener in a more pragmatic sense; I wish for you to become more than a listener, more than an audience. My highest hope for this project is to create a space for both of us to become interactors and our own personal composers, though we are separated by time and physical distance.”

“These tracks were written and recorded in tandem with the composition of the poems contained in Letters to Verlaine. The creation of the cover image was recorded and used as the basis of track 5 (Paul Written).”

“computer said he had jumping flash,
computer said he had freebase cough,
computer said he had pacific shift,
computer said he had outer shine,
computer said he had neon blend,
computer said he had fork in time,
computer said he had warble & push,
computer said he had said else tempo,
computer said he had non upper,
computer said he had siesta”

Note: This release contains video and sound with strobe effects, flashing elements and extreme effects which may not be suitable for people who experience photosensitive epilepsy.

“One for one, two for two
6,5,4,3,2,1
Ready, go.
One for one
1,2,3,4,5,6
Stop
So, I got to about six and a half.
1,2,4,5,6,7,8
Two for five, two for six, three for seven, three for eight
Stop
So, Sammy got about eight in fifteen seconds.
Ready, go.
Meadow- paper edge- glass
11 for 21, 11 for 22, 11 for 23
Stop
Cave-warmth
The most logical thing
Stop
Twelve for twelve, thirteen for thirteen, fourteen for fourteen, fifteen for fifteen
Gloaming-humid
Stop
Twenty, uh, thirty out of forty-two.”

“In this digital release for DEEPWHITESOUND, Thomas designs audio performance software to reconfigure live guitar improvisations in real-time. The resulting long-form studies still maintain their familiarity as guitar recordings, but are rendered in new perspectives through custom effect chains generating temporal displacement, spatial movement, and re-tuning of the instrument. This folder includes 2 tracks processed using Triple-Perc software. The “Sample Movement Application” is a demonstration version of this software. Audio Mix and Mastered by Kevin Ramsay at PASS in NYC.”

“The remnants of a not quite started, forever unfinished and clinically unfocused anti hobby. Rightly buried for a decade but revived by the most tenuous of threads stretching from the admirable DeepWhiteSound to the misery of London rentals from which hung the machine gunned corpse of Vera Lynn.”

Improvisational psych-noise by fried weirdo collective The Big Drum in the Sky Religion. Fuzzed out ruminations on the true nature of rebellion told through a loose narrative around 15th century witch-burning. “The Season of the Witch is now. The Reason for the Season of the Witch is us.”

Lo fi experimentations in stuttered beat-making. following pop sensibility to its logical conclusion: complete pituitary collapse.

“In Karoumagi, fourteen songs build a kind of musical narrative, interacting with the listeners imagination to create a cinematrograhic synesthethic experience. A musical journey all across the world, or perhaps other worlds. Karoumagi is comprised of sometimes heavily processed, improvisational acoustic sounds that often in unexpected ways turned into songs through chance occurrences during the production process.”