[microsound] [as] february 2004

[Benjamin Green <b@xxxxxxxxxxxxxxxxxxx>]

.....as...
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02.02.04
Peter Ablinger: 55'25" as FIDELITO/LA REVOLUCIÓN Y LAS MUJERES

Titles:
Quadraturen III („Wirklichkeit“)
Squarings III („Reality“)
studies for player piano

study #3: „Fidelito/La Revolución y las Mujeres“
3 parts
total time: 55’25“

special thanks to Thomas Musil, who wrote the software for all of the 
Quadraturen pieces, and to Winfried Ritsch, constructor of the 
computer-controlled piano

::(general text about the Quadraturen)::
Quadraturen (Squarings) is the name I have given to a method that seeks 
to present in visual terms any type of recorded sound. It may be 
compared to the phenomenon of grain encountered in photographs. 
Frequency (f) and time (t) are used as co-ordinates on a screen 
comprised by a number of small noise fields, whose format may be, for 
example, 1 second (time) multiplied by 1 second (interval).

The first thoughts on how to carry out the technical realization arose 
after encountering the whole-tone filter of the Experimental Studio in 
Freiburg. This piece of equipment has a „freeze function“ that may be 
understood as a kind of spectral screen (visually and analytically). An 
invitation by IEM Graz led to a number of happy encounters with the 
institute’s personnel, including Robert Höldrich, Winifried Ritsch and 
Thomas Musil. At last, I had the opportunity to carry out my ideas. 
First, a semitone filter was constructed, one that allowed intervallic 
sizes to be varied at will. Then, the concept of temporal screening — in 
the sense of a series of more or less rapid static analyses — was 
developed for the entire sound spectrum. At the beginning of 1997 the 
first two-dimensional screening in real time became possible. During 
this time a name for our project was found, and by the end of that year 
the undertaking had broadened considerably.

The whole cycle of „Quadraturen“ consists of:
Quadraturen I „City portrait Graz“ (2 versions)
„Language is“ - Preliminary studies in recorded form
Quadraturen II „20th century speakers“ — Installation for 6 loudspeakers 
on tall platforms based On screened speeches by Hitler, Lenin, Kennedy, 
Fidel Castro, Gandhi, and Martin Luther King
Quadraturen III „Reality“ — studies for player piano
Quadraturen IV „Self portrait with Berlin“ — for ensemble and CD
Quadraturen V „Music“ — for orchestra


::(special text for „Fidelito“)::
Quadraturen III („Wirklichkeit“)
Squarings III („Reality“)
studies for player piano
study #3: „Fidelito/La Revolución y las Mujeres“

Quadraturen III is, in opposition to the otherwise fixed and finished 
Quadraturen I, II, IV and V, an open work — or, itself a series within 
the series. Therefore, Quadraturen III consists of an open number of 
installation- and concert-pieces for computer-controlled piano, all of 
them concerned with the reproduction of concrete sounds, street noise, 
speech, —reality—, via the sound-repertoire of the piano.

„Fidelito/La Revolución y las Mujeres“ („Fidelito/the Revolution and the 
Women“), the third of its pieces, uses as its material three of eight 
sides of four records that comprise a single speech given by Fidel 
Castro during a congress of the „revolutionary women of Cuba“ in 1974. 
All of the sounds of the piece result from the direct transfer of the 
sounds of the record — the needle, the scratches — and it’s content — 
the voice of Fidel Castro, the applause and jubilation of the mostly 
female audience — into the sound world of the piano. This transfer might 
be described as the manipulation of the grid, or, in photographical 
terms, as the enlargement or diminution of the grain, and the variation 
of contrast between fore- and background. A larger grain stands for a 
slower piano and a piano — as it then plays within a more human range of 
potentialities — that at least reminds one of a piano. A smaller grain 
stands for a faster piano, or for an increase in tempo such that one can 
no longer distinguish single attacks as tempo and the sounds therefore 
become continuous. In such sections it becomes audible that we are 
listening to a voice and — with some practice and acclimation — we can 
sometimes even understand a few words of Castro’s Spanish.

And yet listening to a voice seems incompatible with listening to a 
piano. Comparable to those 3D-pictures where one first sees a mass of 
abstract ornaments and then — with practice squinting — discovers a 
three-dimensional object. But one can never have both at once: the 
ornament or the object, the piano or the voice.

(A few examples of words that I at least think I understand:
I/0:30 „queridas invidadas, (I/0:37) queridas compañeros“
I/0:56 „…delegatión (I/0:59) de las mujeres de todo el mundo“
I/2:29 „Valentina Tereshkova, (I/2:34) Angela Davis“
I/2:44 „la presencia numerosa (I/2:52) de las mujeres de las pueblos 
hermanos de América Latina, (I/3:02) la presencia (I/3:09) de las 
mujeres árabes“
etc.)



08.02.04
Tabula Viae: AS:SERTION
CHAMBER MUSIC IN 6 PARTS FOR MIDI-GUITAR, ORGAN, SEQUENCER AND 
IMAGINATED FRIENDS
EM e-organ/sequencer/samples/computer
JR midi-guitar/sampler/computer
www.no-edition.de



15.02.04
Mark Bain: one hour: as the sound of the ground vibrations during the 
collapse of the World Trade Center.

StartEndTime
2001.254.12:44:17.1360 UTC
2001.254.14:56:05.7258 UTC

This work involves a process of audification of the seismological data 
record, which occurred in the area of New York State, New Jersey, and 
New England during the collapse of the World Trade Center buildings on 
September eleventh. The data streams were acquired from Columbia 
University's Geological survey lab, which runs a network of earth 
monitoring stations in the area; with the closest being 34 km away from 
the epicenter of the event. A process of data conversion and signal 
translation was used to make the normally inaudible seismic waveforms 
both audible and to play back in real-time as the event unfolded. No 
other processing or effects were added to the tracks. The registration 
includes four events and the between sound of the drone of the earth. 
The heaviest impact of the collapses registered 2.4 on the Richter 
scale. The event times of this recording are as follows:
First impact: 07:00
Second impact: 22:58
First collapse: 42:00
Second collapse: 61:45

©markBain2003
simulux@xxxxxxxxxxxx
www.simulux.com



22.02.04
Jon Tulchin: 57 minutes as location recordings from Hawai'i
The following recordings were gathered from Hawai'i on the island of 
O'ahu. All recordings were gathered utilising a portable DAT recorder 
and a variety of microphones including: geophones, contact microphones, 
binaural omni-directional condensers and a cardoid stereo microphone. 
All recordings are presented as they were observed during the initial 
documentation; no editing or processing has been applied.
01: Geophone on an electric door [Manoa Valley, Hawai'i]
02: Wind, birds and power lines [Moanalua Valley, Hawai'i]
03: Frog in the wind [Hau'ula, Hawai'i]
04: Geophone on a metal tower ['Aiea, Hawai'i]
05: Rain [Moanalua Valley, Hawai'i]
06: Bamboo Forest [Manoa Valley, Hawai'i]
07: Contact mic on power line supports ['Aiea, Hawai'i]
08: Blowhole [Kaena Point, Hawai'i]
09: Fly swarm [Makakilo, Hawai'i]
10: Tree in the wind [Moanalua Valley, Hawai'i]
11: Forest creatures [Nu'uanu, Hawai'i]
12: Mynah birds [Moanalua Valley, Hawai'i]
13: Thunder storm [Makakilo, Hawai'i]



29.02.04
one hour as sound, works of Ilya Monosov

1. "playing with sound" catalog 2001-2002 (audio format)

2. improvisation for Hurdy Gurdy and Electronics
ilya monosov: hurdy gurdy and electronics, sound design and mastering by 
Daniel Hicks.

3. Architectures on Air. composition and writing.
with help from larry polansky and josh russell. master: josh russell.

and lastly a radio performance,

4. FOR RADIO (2003): 'sound, to be broadcast at any time through any
space for any speaker for touching, throwing, cutting, molding and
etc, for some set duration'.
composed by Ilya Monosov in 2003 for resonance104.4FM

pieces for a single speaker and some unspecified objects (copper pipes, 
scissors, ceramic boxes, gongs, etc) have now become a consistent part 
of my live sets. by working directly with the sound I seek the feeling 
that a sculptor might have while working with a large chunk of wet clay. 
thanks to resonance104.4 FM, I am able to share this with any willing 
participant. to better appreciate the medium of radio, i wanted to 
highlight some of its less noticed characteristics.

while talking with my friend Robert (Civiu Kkliu, who has also created a 
program for the series '...as...'), i made reference to the radio as a 
giant water channel linking thousands of people to something that is 
flowing; my piece is very much a flowing performance and a chance to 
utilize the radio to bring the listeners into 1 event - to transmit an 
event into many homes. you will engage, physically, a sound flowing from 
your speaker cone. our meditation here is on the medium of radio. thanks 
to again Benjamin Green, resonance104.4FM and Michel Henritzi for making 
this possible. [ilya monosov]
FrogPeak Collective: www.frogpeak.org


.........
cheers
b.

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