For my work, I decided to work with the basic notion that everything slows down, from physical objects and their thrust, to sound waves and their trajectory, hence the composition’s name.
the comparison of movement in slowed-down motion is intriguing to me, as I am fascinated by the inner workings of flux in-between things, from fractal divisions to the unified theory problem.
I used several sound-stretching methods (on various DAWs), using recorded sound material made mostly by what is generally regarded as noise, or garbage sound, like power tools, street-noise hum, among other recorded samples of synthesizers, to make a plethora of “stretch-able” sound material. In the process, I found that as far as I stretch the sound, the flux of the partials in the noise help progress the visual stimuli, making use of a lot of discrete video and sound comparisons. The colors of the unprocessed visuals helped me write the music, with its different textures, achieved by different apertures manipulated in the filming process and superimposing them one on top of the other.
For the most part, the music was influenced by the visuals captured, playing with long, stretched lines of colors, found inside the footage itself. The Music proposes a different ethereal feel, allowing the inter-connectedness of the materials on different levels, for the viewer’s discretion.
Moving places, moving countries, moving homes, moving along.
The change in location evokes a strong sense of self. Following that, I had made “Other People’s” as a personal note on attempts to recollect and reposition myself and my artistic route through the move to a different country, i.e moving from Tel Aviv, Israel to London, UK.
I made a few basic assertions on “Other People’s”, consisting of the fact that when I landed here, I did not have my own apartment to stay in, but moved in-between different sublet apartments, all the while with my wife and partner. I had no permanent base of work to compose and film from and needed to find an outlet for myself.
I tried to compose off of that notion, using other people’s collected samples (which I helped record and then further processed) and other people’s musical ideas (i.e, different genres mashed together in my head).
To me, noise is a very important medium, as a musician, I don’t classify noise genres (e.g Noise Music, Noise Rock) and feel that the musical evaluation of noise is not “good” or “bad”, but a product of distant music scenes and a sub-genre consisting of “sound aesthetics”, a way to enrich compositions with ethereal “feel” and consistency. It reinforces the structuralism of cultural binaries, as a powerful anti-subject of culture, and brings forward imperious yet essential questions of human experience, socialization, individual subjectivity, and political control. [Noise is culture; noise is communication, noise is music]
I am also “holding back”, creating a sense of tension achieved by long dissonant lines of noise stretched and juxtaposed one atop the other, enriching the imagined sonic soundscape, allowing for the true release of self in the noisy city.
Being in big cities around the seasonal holidays nowadays adds up mainly to seasonal shopping sprees and festive sales. As the piece developed, I found out that my need for some fresh air and natural settings was growing, so I left to shoot outdoors, capturing trees as footage and water as a sound source.
I found myself walking around so many brightly lit stores in between shooting, I was lost.
I feel the pieces are connected in a broader sense and are of greater value when viewed one after the other, as I was finishing the preparation of the pieces, I had noticed that “Borders” is a sequel to “Limits”, placing the ideas studied in this assignment further outwards into “black skies”.
I feel the pieces are connected in a broader sense and are of greater value when viewed one after the other, as I was finishing the preparation of the pieces, I had noticed that “Borders” is a sequel to “Limits”, placing the ideas studied in this assignment further outwards into “black skies”. I made Bothe pieces one after the other, unable to create a strong enough divide between the two. I feel the distinction between the pieces in the visual side could have been better, as to, using more color pallets and applying them differently, yet I insisted on using just the visual bank I had, so I didn’t allow myself to color further with other tools than what I had, hence the similarity.
A composition study in the creative use of collage and montage, using collages within a montage and fragmentation of augmented visuals in a montage as instances of a collage in the bigger form of the piece.
Much love and praise to my brother Or Fleisher for advice and help with some shader magic, and to Ronen Tanchum for his amazing words of wisdom in TouchDesigner to push this piece forward.
I also have a few jazz compositions, which try and emphasize my compositional ideas in a more straightforward musical way: