Electronic Frequencies

00:00 Jingle.
00:35 Siamak Anvari: Gereh II.
13:41 Ezequiel Menalled: Forward (guitar: Elliot Simpson).
27:31 Luc Döbereiner: Beginning.
29:44 Agostino Di Scipio: Hörbare Ökosysteme Nr 2a.
35:00 Jeff Carey: 20160411.
39:17 Stelios Manousakis: Megas Diakosmos.
47:56 Microseq: Green.
53:47 Semay Wu: Francesca’s.
58:56 (Reprise).

This program consists of a rather quiet first and a more noisy, almost harsh, second part. For most pieces I have put the liner notes below.

Siamak Anvari: Gereh II.
This piece is part of a research project titled “composing music based on carpet designs” that I carried out during my Masters study at the Institute of Sonology. In this piece, I tried to apply some prominent features of carpets in the process of making music. For instance, the way that multilayered networks of design in a carpet structure a unified complex texture. Another important aspect of Gereh II inspired by carpets is (a) symmetric spatial strategies in shaping the 8-channel material. An earlier version of the piece premiered in June 2013 during The Next Generation festival at ZKM in Karlsruhe, Germany.
http://www.siamakanvari.com/audio.aspx?ID=16

Ezequiel Menalled: Forward. (guitar: Elliot Simpson)
“Forward” was composed for guitarist Elliot Simpson to be featured in his upcoming album “The wayward trail”. It is scored for Just Intonation National Resophonic Guitar (in scordatura) and fix media electronics.
http://emenalled.wixsite.com/ezequielmenalled

Luc Döbereiner: Beginning.
Taken from Audio Den Haag compilation.
http://www.doebereiner.org

Agostino Di Scipio: Hörbare Ökosysteme Nr 2a.
In audible ecosystemics feedback study the source are larsen tones that the performer deliberately generates in the hall. The computer process manages by itself to avoid saturation, and the feedback sounds are transformed into a polyphony of textural and gestural events.
http://agostinodiscipio.xoom.it

Jeff Carey: 20160411.
Taken from Audio Den Haag compilation.
http://jeffcarey.foundation-one.org

Stelios Manousakis: Megas Diakosmos.
Megas Diakosmos (‘Μέγας Διάκοσμος’, roughly translating to ‘The Great Order of the Universe’) takes its name from a lost cosmological treatise written by Leukippos, an ancient Greek natural philosopher of the 5th century BCE. In this treatise, Leukippos introduced for the first time an Atomic Theory of cosmology, surprisingly comparable to contemporary cosmological theories. Very little is known about the work, but according to remarks of other ancient writers, Leukippos postulated that the universe consists of tiny, invisible, indestructible, unchangeable and indivisible ‘Atoms’ (the ‘Being’) differing only in size and shape, and of ‘Void’ (the ‘Non-being’), that exists in-between atoms and has also material properties, although different (anti-matter?). This infinitely expanding and contracting void allows atoms to move and collide eternally, creating and destroying matter, new bodies, and our world, but also a vast number of other worlds in the universe, some inhabited some not.

Leukippos’ atomic theory and turbulent cosmogonic vision form the conceptual and experiential starting points for the composition, its sonorities and their development throughout the piece, as well as for the system and sound synthesis methods used. The system is a cybernetic model based on digital feedback and implemented as a sonic complex dynamical system – mathematically similar to a cosmological entity or universe in motion. This sonic universe is defined by the sample-by-sample interactions of a single binary digit (One, or ‘Being’) moving incessantly within a world of Void (Zeros, or ‘Non-being’). This digit floats and collides, is fused and split from delayed copies of itself, thus creating countless sonic bodies in states of equilibrium, oscillation, chaotic behavior, noise and silence.

Although Megas Diakosmos is a fixed medium piece, all the different ‘worlds’ (layers and sections) were performed in real-time using a hands-on, live electronics version of the system to maintain an aspect of ‘in-time’ timelessness, and to accentuate the primal and visceral character of the composition.
http://modularbrains.net/portfolio/megas-diakosmos/

Microseq (Pandelis Diamantides): Green.
http://www.pandelisdiamantides.com

Semay Wu: Francesca’s.
Taken from Audio Den Haag compilation.
https://semaywu.wordpress.com

Image from Wikipedia: Toranj – special circular design of Iranian carpets by Alborzagros.