All Videos Tagged concrete (The Visual Music Village) - The Visual Music Village

Mechanical Wave (digital radiophonic, glitch, databending) ~ Gen Thalz

2013-08-24T03:22:31.072Z

Music, video, and lyrics by Gen Thalz

THE ALCHEMY OF SOUNDS:

I think sometimes the role of a person who makes music is to take these everyday noises that are ugly and make them beautiful, and by this they doing magic ~ Bjork (singer-songwriter)

*No well-known musical instruments were used in the making of this music or sounds. No notes, notation, complex scale, or any simple chords. All sounds were made of random noises we collected, recorded and mutated, except for the human voice.

Ingredients:

1. Personal sound of morning piss on a Pik-Nik (original) can.
2. Wine Glass harping.
3. Crumpled newspaper.
4. Rubber band, plucked.
5. Stapler, pressed several times.
6. Comb scraping with hairpin.
7. Shake water jug.

We call the technique used in this music or sound as "Digital Radiophonic" or "Databending". It is a digital version of the original techniques such as Radiophonic and Music Concrete were composers use magnetic tape, morphophone and other recording devices available at that time to record and manipulate raw sounds from anything they could find on their surroundings or "found sound" like frying pan, spoon and fork etc. They manipulate these recorded sounds by changing its speed or tempo, altering the pitch, distort it, reversed, apply effects like echo, delay, flanger and so on to create new weird, strange, out of this world sound.

One of the key figure in radiophonic is Delia Derbyshire (musician, composer of electronic music, and music concrete), they call her "The Sculptress of Sound". Best known for her electronic realization of Doctor Who theme music (BBC science fiction television, 1960's).

The only difference between Digital Radiophonic and the original Radiophonic itself is the device use. Here we only used computer, music editor software, and a ordinary microphone use for chatting but the process is much like the original radiophonic, only we manipulate sounds as wave form on the music editor software and we want to be minimal in a sense, and to be sound more like glitch music similar to the works of Alva Noto, Ryoji Ikeda, Pan Sonic, and Kabutogani.

However glitch music is primarily made of computer or any machine sound errors. So what we basically do here is creating a glitch sound using radiophonic/music concrete technique and databend digitally.

It's not complex or technical and not so simple as well, but more detailed (fussy) and time consuming, so you would put a lot of effort just to create a 1 minute or 3 minutes music piece out of the abstract sounds you may find wherever they came from.

Digitally it's not that easy, what more for the original radiophonic and music concrete were they cut and paste magnetic tape manually to produce unconventional sounds? But it's really worth the journey, especially if you're into experimental music or sound art.

Music concrete, radiophonic, glitch music, and digital radiophonic is a new look or another way of composing presented by means of non-traditional way of making music. Collecting any form of noises or sounds then turning it - the abstract, errors, and chaos of sounds into order. As Pierre Henry (pioneer of the musique concrète genre of electronic music.) states:

"Musique concrète, in my opinion ... led to a manner of composing, indeed, a new mental framework of composing".

idrioema - defracta _ extracts

2012-05-03T18:08:47.183Z

The present composition defractea from the Latin word "diffractus" is focused on a particular phenomenon of the sound: the diffraction.

It happens all the time that somehow something restricts or obstructs a wavefront.
When a wave encounters an obstacle in his way or is forced to pass through a small crack, it takes advantage of his ability to shatter and to reconstruct, scattering, beyond the obstacle or the slit.

In this regard, for the composition, the sound recordings have been made in the internal staircases of two buildings with architectural structures and properties very different from each other in which it was possible to pick up the sounds coming from the apartments, windows and doors and then be extrapolated from their original space-time context and subsequently processed and overlapping such as debris of resonances, highlighting the harmonic components for the construction of a third spatial structure.

defracta:
Intolerance of limit
for absolution of the absolute

audio track: http://soundcloud.com/idrioema/idrioema-defracta-extracts

idrioema © 2012

www.idrioema.tk

idrioema - defracta _ preview

2012-04-24T19:06:37.813Z

idrioema © 2012

www.idrioema.tk

idrioema - syntaxea

2012-04-24T19:05:37.170Z

The present composition is focused on the concept of language, primarily on it's written and oral form.
Every language, whether written or oral, contains symbols and its own distinctive sounds that distinguish it from others by providing a specific identity and hence uniqueness.

Syntax has the meaning of order and this order is dictated by the syntactic composition model adopted.
To order, therefore, different languages by means of a unique syntax of composition, paradoxically lead not only to a sort of hybridization but also to a highlighting of the different symbolic and sonorous variables of the individual languages involved.

In this regard, a poem has been translated into different languages and then has been processed using the same programming language, typical of Internet browsers, leading to build a horizontal babel with the vain purpose of standardize the comunication.
This construction is destined to collapse by the structure used as insufficient and inappropriate to the assumption and contrary to its own intrinsic value in the diversity of its components because it tends to destroy both the form and substance of symbols and original meanings.

communication without communicability: silence

The sounds used are the result of the conversion of text using speech synthesizers and their following transformations.

audio track: http://soundcloud.com/idrioema/idrioema-syntaxea

idrioema © 2012

www.idrioema.tk

Note: Watch it in HD fullscreen mode.

idrioema - vertea _ extracts

2012-02-21T19:10:06.298Z

Volumetric debris in discordant spatialities
hover alleviating halos of margin
pulling veils of referential shades
for the weaving of constants propagations symmetrically bright

absolute

To perceive the space, means to perceive the geometric characters of things and our orientation in it is unavoidably conditioned by reference points.
So finding us in a vast sea of white light or in total darkness, with no discernible borders and references, we would be completely unable to orient ourselves and to establish our position in it.

For the present composition have been recorded and used only the sounds of a steel tube, a glass sphere, a pendulum and skin to symbolize both the instability and the quest for balance.

knowledge draws a spiral
which center is established by perception

idrioema © 2012

www.idrioema.tk