Sound Lost and Found; Being Human Festival 2017
I went down to Dorset for a day of soundwalks, soundscape recordings and topped it all off with a fine concert with the amazing people from the Diva Contemporary and Goldsmiths research fellows.
This study explores the acoustic resonance found in drums.
I analyzed a recorded snare sample’s resonance and created a physical model of it. With the new-found knowledge of the salient frequencies within the resonance’s time domain, I built a custom max/MSP patch, based on the CNMAT resonance~ object, giving it arguments to play the frequencies most audible in the recorded sample. I then excited the new “resonance machine” with the different transformed samples and the wooden box samples, using the original sample’s resonances, omitting the “dry” signal, making the resonance louder and more audible.
Throughout the composition I emphasize the lack of the original sample, rarely making the original source material audible in the composition, thus allowing me to mainly compose with the original recorded snare’s resonant frequencies.
This study is a research into the field of experimental rhythm perception.
I used computer generated noise elements as a study in to noise and musical time perception.
The subject of temporal allocation over time and our brain’s entrainment specifications has many unanswered questions, such as why do we group certain elements together, what gives rise to a sense of meter and the measureable passage of time. Rhythms underlined in space don’t necessarily give a sense of an equally divided measure. This study tries to use ideas of rhythmic entrainment from three great writers; Justin London, Godfried Toussiant and Efrain Toro, each with a unique approach to musical time.
My biggest interest is based in rhythmic cognition and perception, mainly, how do we hear time? What mechanism is at play while we make attempts at rhythmic entrainment?
and how can I use these notions and aesthetics for artistic expression and exploration? These are some of the questions I try to explore in this performance.
This improvisation studies moving time perceptually, using a custom built Max4Live Patch.
Based on Efrain Toro’s Harmonic Rhythm concepts and rhythmic similarity research by Godfried Toussiant. Recorded live at the electronic music studios at Goldsmiths, University of London 2018
Shot lovingly by the talented Noam Friedman
much thanks to Or Fleisher, for encouragement and Jitter love <3
I participated in the Cocktails and Electronics event in Goldsmiths, followed by a live improvised session in Out of The Brew in New Cross, London. The workshop for DIY synths was led by the amazing Ewa Justka, building our own version of her crazy Voice Odder synth.
here’s a documentation of our live set:
Final Creative Project for M.Mus Sonic Arts
The result is an experience in composing music with environmental samples’ manipulation, as a means of composing with elements which were familiar to most participants in an attempt to make the experience composing music more inclusive and render it more reachable for people not necessarily versed in the field of sound art. In the experimental graphic score notation, the installation is stretching out the borderline between visual arts, sound art and performance art, raising basic questions, such as “what does music looks like?” and the process of composition and performance as two sides of the same coin.
The installation explores our perception modes and correlating listening modes’ in gestural composition and our “mental imaging” of visual cues into experimental notation systems
All sounds are triggered in real-time live by user interaction and are controlled and manipulated by it. By multiple juxtapositions of generative and interaction-based processes, the synthesized environment has a naturally occurring sound to it, extending the notion of soundscape composition.
Project supervised by Daniel James Ross