LIMIT is: (rough final cutting-in-process for upcoming album! apologies if you've seen this before) http://www.alansondheim.org/maine830.jpg http://www.alansondheim.org/danmoib.mp3 (sample) Luke Damrosch, programming, mastering, madal Azure Carter, songs, voice Alan Sondheim, instruments, mastering, concept Reverse reverberation in real time is an impossibility; the physics of space-time doesn't permit it. That said, Luke Damrosch has developed programs that approach the impossible; the result is a new form of music dynamics. The general idea is that you can reverse shorter and shorter segments 'almost' as if they were real time in reverse, but you're really dealing with fundamental limits of spacetime; only on a quantum level is reversibility possible (for example a positron as an electron moving temporally backwards in Feynmann diagrams - retrocausality in Wikipedia), and that's up for grabs. In any case, I've been interested in processes that operate at the edge of this sort of dynamics, where physics, acoustics, and philosophy meet. And here is a resulting cd, using acoustic instruments, where this is a guiding principle. A second example involves the use of dynamics processing (I'm using Adobe Audition), in which the louder something is, the quieter the output - reversing the usual dynamics. I've been doing this in post-processing, but with voltage-controlled amplifiers, it's easy to do as analog in real time. The result is fascinating - if I'm playing shakuhachi or guqin for example, the sounds of breathing, of the body, of string slip, etc., come to the foreground and the traditional musical 'content' recedes. The body becomes a fundamental source of sound, almost as if it were playing itself. Again there are a lot of contradictions here; since a slow sinewave, for example, varies in amplitude, it might disappear or become increasingly dominant itself, depending on the settings (frequency ranges employed) for the dynamics processing. I'm also working with pitch reversal, so that, for example, a frequency F is transformed into 1/F; the basis of F can be set so that the range as a whole is inverted. You can see how this is almost the same as dynamics processing; the two are deeply related. (This hasn't been implemented yet.) All of this connects to my interest in philosophy and the foundations of mathematics. Most acoustic transformations are 'surface' transformation, as if the physical acoustic environment were itself changing (larger or smaller room, etc.), or as if parameters were changing holistically (raising or lowering pitch, etc.). There are exceptions, but this is done, for the most part, in terms of musical or other aesthetics. I'm interested in something fundamental in a different way. Traditional foundations of mathematics begins with such things as logic, set theory, etc. - as you know, anomalies appear all over the place (Godel's theorem is the most obvious example). But the tendency now is to look at dynamics based on things like category theory - in which there are objects and arrows, or objects and morphisms and rules and structures emerging from these. Arrows are also objects, objects can be morphisms, etc. etc. I understand very little of this, but it's really relevant to the kinds of global transforms that revrev or inversions represent; I tend to think of dynamics applied through acoustic spaces for example - at least that's where I'd like to go... additional notes music swallowing itself == temporally / dynamically determined w/ unexpected buffering broad calculable frequency range -- live performance, playing into the past and future - Inverse dynamics: _fundamentally_ dependent on quality - human decision making - the waveform treated as a material substance, broken into independent parcels? (Think of this as a literal granularity of the real, via several levels of abstraction: the recording of the waveform in its initial configuration; its banding; the alterations of the bandings; the reassembling of the bands.) The fragility and dirtiness of the waveform (taken as an entirety): no 'clean and proper body,' but a body dissasembled, a surgical body, a body of potential _incisions._) The 'human project/ion' - simultaneous playing into past and future: with revrev always a capitulation (double meaning of word?) - temporal 'smearing' on the part of the player (as if playing a song for example, but in this case the song resonates, comes back as a haunting) -- Kristeva, p. 44: In this sense _there exists only one signification,_ that of the thetic phrase which contains the object as well as the proposition and the complicity between then." In _this_ case, the complicity is also a temporal unfolding/smearing, the memory of _what has not yet occurred._ There is also a memory of the program itself and its attributes, an underlying structure that is always already a _process_ - here is another accountable inherence of the world. One plays within and without the program: one plays the world, within the fragile boundaries of a temporary domain that is always (vis-a-vis the program) bootstrapped. Text of Borrowera (Azure Carter / Alan Sondheim; may or may not be included with liner notes): BORROWERS On borrowed space/Im making and making I will lose this space/I will take my tiny house with me Where will my tiny house go/where will my tiny house go I am a snail in a shell/my shell is memory My shell goes/where my memory follows It was never my land/it was never my time Im making on borrowed time Im living on borrowed time Im making on borrowed time Im living on borrowed time In my wandering/I have some tiny things A form of capital/in a borrowed world A political economy/to be sure With borrowing/and small return Oh where will/I set my tiny things Oh where will/I set my tiny things Im making on borrowed time Im living on borrowed time Im making on borrowed time Im living on borrowed time I shall walk/among my things And my things/shall walk among me May I be a thing/among things And may things/be among me A carapace/of things New Jerusalems/and Shangri-las Im making on borrowed time Im living on borrowed time Im making on borrowed time Im living on borrowed time Who will/preserve them now Who will/keep them forever Soon/I will lose this space I will take/my tiny house with me Where will/my tiny house go Oh where will/my tiny house go Im making on borrowed time Im living on borrowed time Im making on borrowed time Im living on borrowed time Im making and making Im living and living Im making and making Im living and living --- The pieces (more or less final): 01/17/2017 11:26 PM 31,456,378 acb.wav 01/17/2017 11:33 PM 74,095,784 afghaninvdynb.wav 10/07/2016 11:15 PM 78,973,000 borrowers.wav 01/17/2017 11:43 PM 31,325,620 clarabb.wav 01/17/2017 11:47 PM 15,073,798 composb.wav 01/18/2017 01:38 AM 46,132,712 danmoib.wav 03/26/2016 10:26 PM 25,265,492 exp3.wav 01/07/2017 12:31 AM 69,067,426 harbinger.wav 11/11/2016 09:11 PM 56,086,328 hegelmadalmod.wav 01/17/2017 10:32 PM 22,648,246 holelessb.wav 10/13/2016 10:18 PM 23,819,232 kala.wav 01/17/2017 10:41 PM 52,926,854 longsazb.wav 01/17/2017 10:43 PM 21,174,162 movement4b.wav 01/17/2017 10:50 PM 32,403,090 movement5b.wav 01/17/2017 10:51 PM 80,569,480 preludeb.wav 01/17/2017 10:59 PM 46,257,710 rab1b.wav 01/17/2017 11:03 PM 225,798,444 symphonyb.wav 01/17/2017 11:05 PM 103,392,308 thecriesb.wav 01/17/2017 11:14 PM 47,635,756 topquark2b.wav 01/17/2017 11:22 PM 32,029,866 violexb.wav 21 File(s) 1,116,131,686 bytes ('b' indicates post-production) _______________________________________________ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
