| Does anyone of the Csound list here have music/noise from Japan ?? It
seems that there is a good
experimental noise-scene over ther !! Info strongly wanted !!
David.
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To: davids@pavell.com, csound@maths.ex.ac.uk
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Subject: Re: [?/general/music] Japanese noise
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Hello,
beside 1000 other things I am member of german H=F6rBar, dedicated to imp=
roving=0A(local) contact amoung industrial musicians and organising conce=
rts. Last year=0Awe made an Osaka Noise Festival with Contageous Orgasm a=
nd Third Organ, find=0Asome pics at
http://members.aol.com/block4k7/osaka.htm
Besides that I plan a collaboration with Suzuki Shunya, who done a nice n=
oise=0Acd sampler (with some japanese bands and Whitehouse) and several t=
apes on his=0Aown, I know him from the tapescene and he send me some stuf=
f I will run=0Athrough cSound modular madness. It will result into a CD, =
I will keep you=0Ainformed.
For more information about H=F6rBar and more:
http://members.aol.com/block4k7
With friendly greetings,
Malte Steiner
-----------------------------------------------------
find hYdra, the adsyn file editor here:
http://members.aol.com/additiv
-----------------------------------------------------=0A
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Date: Sun, 09 Aug 1998 10:15:10 -0700
From: Sean Costello
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To: David Schuyeteneer
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Subject: Re: [?/general/music] Japanese noise
References: <19980809105533128.AAA98@turing.hogent.be>
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David Schuyeteneer wrote:
>
> Does anyone of the Csound list here have music/noise from Japan ?? It
> seems that there is a good
> experimental noise-scene over ther !! Info strongly wanted !!
I have heard and seen video of some of the bands in question (Merzbow,
CCCC, others). Most of the bands seemed to be using electronic feedback
(i.e. mixer feedback) to get the sounds, with the feedback being piped
through different effects boxes (I noted an Electro-Harmonix Frequency
Analyzer, a type of ring modulator, being used by Merzbow, as well as a
variety of fuzzes and echoes). Very low tech, not a computer in sight
(although these sounds could undoubtedly be produced digitally). The
key to these sounds is feedback (output fed into input) being passed
through various nonlinear elements (i.e. multipliers, clipping
circuits). Delays are useful for sustaining the sounds.
Sean Costello
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Date: Sun, 9 Aug 1998 12:42:11 -0600
To: csound@maths.ex.ac.uk
From: =cw4t7abs
Subject: Re: [?/general/music] pl!t!kl kontra akadem!k noise
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The science of noise
- the precise construction/restructuring of noise in an environment
inhabited by representation, relativization and allusion enables the
analysis of the constant barrage of generated noise interpolated with
abstract and vocal social commentary. If the decisive level of social
analysis is in language then this is highly indicative of the move of the
higher societies toward digitization. A collapse of unification through
multiplicity, KROP3ROM||A9FF is an exponent of opposing ideals, of
postmodern artistic and political thought.
KROP3ROM||A9FF is a language game. However the rules are either entirely
non-existent or require a constant updating of intellectual and social
systems knowledge. Most certainly, the positions of speaker (the music
itself), the listener and referent of information (in this context
information replaces the narrative element) create a relation of mutual
exteriority. A cohesive communicative vehicle it is not, where as a form,
or structure within which a communicative discourse can take place, it
excels if the listener is competent. This work is unavoidably incoherent to
the ill-informed.
Here, the discursive temporality is circular, not linear like most
scientific discourse, and like most complicated musical forms only upon
repeated listening is the information relayed with any clarity. In this
context the work takes on credibility as a commentary on social forces (the
darker nature of much of its length suggests condemnation and support of
fascist values) and scientific language (where it plays its own game - it
is incapable, like science, of legitimizing other language games). The
status of legitimization takes on two tendencies, each of which appear to
extend in conflicting directions. First, it develops its own self
justification with its internal imagery and compositional techniques of
unification through thematic structures (rhythmically and referentially),
confirming its musical cohesion. Secondly, science (the science of computer
music, of social commentary, of politics and economy) expands its relation
to society, or the instrumentality of society. Computerization enables both
these opposing tendencies and Kroperom is circular in its internal
referentiality.
The theory of computerization has provided a model for the system control
that equates contingency with noise. The ideal: to eliminate contingency
and maximize control by the system. The elimination of contingency here
points to the reprezentationality in KROP3ROM||A9FF of social currency.
Perhaps most relevant is the appearance of a sample of the system control
machine Alpha60 from Godard's Alphville. The control of society by a
mainframe computer and its inevitable faults made only apparent with the
arrival of a man from an outside 'democratic' society. Like the
multiplication of sites of power and resistance on the .net and currents in
modern politics and economic management, there seems an effort to
complicate the social and extricate it from the theoretical clutches of
analytic and dialectic reason. KROP3ROM||A9FF redefines noise structure as
a locus of contingency, absence of subject and linguistic uncertainty.
This work exemplifies certain issues brought about due to the emergence of
computerization. A powerful discourse in systems management, as complicated
and formulaic as Hesse's Glass Bead Game, and probably as vague. Though it
may express the foundational theme: that our existence is becoming
increasingly characterized by machines, it challenges the instability of
digitization while remaining within the set itself. A degree in higher
mathematics would be desirable to fully comprehend the chaotic structures
of KROP3ROM||A9FF. The macro points to frameworks similar to fractal
patterns, demonstrating order and presence of pattern in apparently
irregular systems.
In KROP3ROM||A9FF there is no centered subject directing the listener
through a narrative, more a multidimensional logic of deleuzian strata and
assemblages, recalling the disfunctionality of concept and subject. Is
KROP3ROM||A9FF the disciplined consciousness of a scientist or social
theorist? The highly developed non-linearity contextualizes the binary
logic of the current systems as weak, proclaiming an anti-authoritarian
stance. Clearly acknowledging the intertextuality that constitutes social
and musical structures as a proliferation of linguistic instability giving
rise to increasingly unintelligible tendencies, KROP3ROM||A9FF is a radical
non-centered work mitigating the suspect notion of freedom as the flux of
desire.
http://www.god-emil.dk/=cw4t7abs/0f0003/ztpd/audio.html
>i2 0 42
>i1 0 1 9000 440 2 51 ; kar!erz
>i1 + . . . . .
>i1 + . . . . .
>i1 +
>i1 +
>i1 +
>i1 + - f3.mazk!n3nkunzt.m9ndfukc macht fre!.
>i1 + . d u b ! z t e s . d u b ! z t e s .
>i1 +
0f0003||m2sk!n3nkunzt.m9ndfukc++
- hTTp://194.19.130.194/=cw4t7abs
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Date: Sun, 9 Aug 1998 12:44:10 -0600
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Subject: 0+2 sh.funkt!on.module s
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| b 1 2 5 7 + 1 2 | v. 0+2 sh.funkt!on.module
dounload urL
=3D http://www.god-emil.dk/=3Dcw4t7abs/0f0003/ztpd/lakk.shtml
kode sekt!on
k o n t i n u e
|||||||||||||||||||||||-------------------------
| b 1 2 5 7 + 1 2 | v. 0+2 soundhack.module
|||||||||||||||||||||||-------------------------
note -- in the data out selection field an option exists for b1257+12.
if you have access to b1257+12 you will notice
that it does not operate with the current release of b1257+12.
it will operate with b1257+12 v.0+2 which will be
released this month.
note ++ there is 0+0 tekk || emot!onal support 4 this release.
__________
mode.d.utilizat!on:|?|
_______________________+++++++-- s m _
step 00 - click open
step 00 - select a soundhack generated function [text format supported - onl=
y]
step 00 - click button adjacent to open button
step 00 - setup midi config
step 00 - setup data gating . transpose . etc
step 00 - setup number generator mode of operation.
. small menu =3D mode select
. next box =3D min value to cycle from
. next box =3D min value to cycle to
. next box =3D step size
. next box =3D rate
step 00 - click start
step 00 - lokate other functions
|||||||||||||||||||||||-----------------------
0 f 0 0 0 3 . m 2 z k ! n 3 n k u n z t
|||||||||||||||||||||||-----------------------
d ! z . f u n k t ! o n a l . a =B6+1 t . k =BA d e .
k o n t a k t 0 + =3Dcw4t7abs < antiorp@tezcat.com>
k o n t a k t - 2 http://www.god-emil.dk/=3Dcw4t7abs/0f0003/ztpd/lakk.shtml
k o n t a k t 0+2 http://www.god-emil.dk/=3Dcw4t7abs
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Date: Sat, 08 Aug 1998 22:12:35 -0400
From: Kirsh Family
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Organization: Kirsh Family
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To: Arne Hanna
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Subject: Re: Strange value
References: <199808080721.RAA16685@bohm.anu.edu.au>
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I think I see what's happening here. Recall that cpspch(oct.pch) returns a
pitch in cycles per second, given an argument of the form .
Normally, the pitch is a 2-digit number (including leading zero) between 0 and
11, to specify one of the twelve pitches in an octave. (I realize there are
tuning systems that don't have twelve pitches, but I'm trying to stick to the
normal case (normal for most of the music I listen to, at least :-).) E.g.,
cpspch(8.09) == 440 (A above middle C), and cpspch(8.00) == 261.626 (middle
C). Thus, middle C is the first (0th) note of octave 8. Notice that a pitch
8 octaves below that would be the 0th note of octave 0, which happens to be a
frequency of 261.626 / (2^8) == 1.021975 cps. That's why cpspch(0) == 1.021975.
David Kirsh
Arne Hanna wrote:
>
> Hi Folks. This statement: i7 = (p5<0? 1.021975/cpspch(abs(p5)) :
> cpspch(p5)/1.021975)
> is from Jim Dashow's "In Winter Shine" orc, specifically from instr 15.
>
> The first value for p5 in the score is 0.
> Usually, dividing 0 by x = 0, but for some reason, in csound, cpspch(0) =
> 1.022 and the "if not" part of the conditional, returns 1.
> What's going on here?
>
> Cheers
> Arne
>
|