video by Theodore Darst
SeaForth Ocean Parallel by Jeffrey Plaide
and here is Jeffrey’s wonderfully detailed project description:
SeaForth Ocean Parallel is an experimental, electronic and ambient music composition made up of a number of various treated components to create textures of sound and textures of effects. What had started off as an average assemblage of rhythmic lines morphed into a surreal “underwater” mixture supported by the effect of applying dynamic equalisation to the rhythmic loop, then adding synthesizer parts on top, creating a more interesting blend. All sequences were initially clocked to a 120 bpm click track. Four different rhythm sequences were joined at various intervals, created on the ElektroStudio OCET Rhythm Synthesizer and treated to flanger effects. Filtered ring-modulated test tones filled in the rhythm sequences. Added to this was a cymbal sequence created on the Hammerhead Rhythm Station. The Angular Momentum Additive Table Synthesizer provided the choral wash texture featured in the background, and providing an ethereal feel. More springy tones and rhythms fade in and out as the composition progresses, with the OCET Rhythm Synthesizer providing the “bird chirps” featured in the latter part of the composition. The SynFactory 1.15 Modular Software Synthesizer created the metallic primal tones, and the eerie rarified metallic atmospherics heard in the second half of the work. Various kinds of flanged test tones and ring-modulated combinations complete this first mix. This first mix was heavily filtered, dynamic equalisation applied, added reverb, slowed-down and delay-mixed with itself. The result is a curious “underwater”-like mixture totally unlike the original first mix. KX-Synth X16 FM tones add twinkles and metallic-like melody lines. The next track is a SynFactory creation, reversed and multiplied x 4. The Cygnus SF Synthesizer created the eerie metallic-like chords played underneath the rest of the strange mixture. The work was given added creepiness by the Xenharmonic FMTS Synthesizer and subjected to a ringing flanger to create a creepy swirling and pulsating emission of tones. The composiiton was given a final polish of KX-Synth X16 rising and falling space tones. The result is a surreal, watery and underwater work quite unlike anything else previously explored. Using a dynamic EQ can impart filter-like sweeps of the kind synthesizers employ. The visuals were created from a multitude of various electronically-generated textures and weaves overlayed by various coloured modulating forms and moire effects. The textures resemble ocean currents, and the modulating forms create the impression of fish and other swimming marine life - but all created by electronically-generated modulations and moire patterns.
nitea ] ….. .—— [
Luigi Scotti & Teresa Águas
The following composition was made by converting graphically and sonically different file formats. Including them in one context, they find themselves forced to interact, to collide and to adapt in search of their space for the preservation of their essence; therefore an adaptation that affects and is affected by the whole. (via Triangulation)
Tape Generations (by johan rijpma)
Alva Noto (Carsten Nicolai) at Ars Electronica 2010. Visual developed with Wuestenarchitekten (Markus Heckmann).via Here & Now
Day eight of erasing.tumblr.com’s video series.
Last month, I posted Norman McLaren’s 1971 work Synchromy to Rhizome. Vernissage TV visited the WRO Art Center in Wrocław, Poland, where the exhibition surveying his career “Norman McLaren: Synchromie. Musique Optique” is currently on display. In this clip, curator Piotr Krajewski discusses McLaren’s technique and relationship to sound. - Rhizome