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New podcast: COMPOSING WITH PROCESS: PERSPECTIVES ON GENERATIVE AND SYSTEMS MUSIC #9.1, by Mark Fell and Joe Gilmore


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New podcast: COMPOSING WITH PROCESS: PERSPECTIVES ON GENERATIVE AND SYSTEMS MUSIC #9.1, by Mark Fell and Joe Gilmore


Mark Fell and Joe Gilmore wrap up this series on generative and process music with a piece created specifically for the occasion: 'Two Discrete Generative Systems'.





The focus of the ninth episode in this series is a project entitled 'Two Discrete Generative Systems' by Mark Fell and Joe Gilmore. The works referred to in the title were developed separately and first heard together at Enjoy ArtSpace, Leeds, UK, on 29 April 2013. The recording presented here is an ambisonic room recording of the event which was open to the public. It is hoped that the works and their combination respond to some of the key themes addressed throughout the series.


Gilmore's piece, presented on four loudspeakers, explores behaviours generated by a flocking algorithm. These behaviours are used to control the frequency and amplitude of four oscillators. The piece is presented as a series of 'studies' of fixed duration followed by one minute of silence. In each study the conditions of the flock are predetermined. Flocking is a description of the group bahaviour of living things such as birds, fish and bacteria. In flock simulations, the motion of each agent is dependent on the conditions governing the overall behaviour of the flock, and also on the interaction between autonomous agents. The three main conditions governing movement are avoidance, alignment, and coherence. Although flocking exhibits somewhat chaotic motion, in reality there is a complex set of behavioural interaction occuring between individuals in the flock.


While Gilmore's piece explores tonality with multiple loudspeakers, Fell's contribution by contrast uses a single speaker, centrally placed, playing rhythmic structures with a percussive single sound principally derived from the Linn kick drum. Among the arrangement of speakers a computer is placed on a plinth, this displays a collection of sliders that are used to generate and change the rhythm that is played. Audience members take it in turns to change the sliders and make patterns. The algorithm used to produce to rhythmic structures is based around groupings of durations and repetitions of temporal intervals. This simple structure generates a number of distinct patterns.


You can find the complete series here: http://rwm.macba.cat/en/composingwithprocess_tag


If you enjoyed this series, you may also be into PROBES, by Chris Cutler: http://rwm.macba.cat/en/probes_tag
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Sounds like someone listening to Hafler Trio's 'Fuck' whilst they're doing the strimming !

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I only just got around to listening to the first one (which I downloaded when it came out).

 

'twas awesome! Right up my street.

 

Have to get the rest of these now.....

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Sounds like someone listening to Hafler Trio's 'Fuck' whilst they're doing the strimming !

tumblr_m8f1f7CRHI1rtc9of.gif

 

It does though ! Do you know what track I'm talking about, here's an extract -

 

http://www.brainwashed.com/common/sounds/mp3/hafler_trio-fuck_1a.mp3

 

I'm not being facetious, I've listened to a lot of these CWP podcasts - just that was my first thought !

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I don't know if it's just that I'm a good mood from a combination of it being Friday and the endorphin-rush I'm still reeling from post last night's migraine but that SND set sounded considerably better than I remember. Obviously I minimised it so I could only hear the audio (stupid Boilerroom nonsense) but it was like what Rez would've sounded like if Raster Noton had chosen the soundtrack - hearing the slow progression (rather than skipping through bits) made it make far more sense. It reminded me of a more experimental version of this -

 

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sounds good, love the Fell podcast. Looking forward to Leidecker's upcoming podcast titled

Edited by John Ehrlichman
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