edition04.d. m’scape 03

Enter – m’scape 03 – directly here

m’scape III –
features following artists—>

Jim Barrett aka NaDa BaBa (Sweden)
Bronwen Casson (Ireland)
William Fowler Collins (USA)
Jared Dunne /Meloday (USA)
Satoshi FUKUSHIMA (Japan)
Olaf Hochherz (Germany)
Yuicho Ito (Japan)
Dario Lazzaretto (Italy)
Matthew Ostrowski (USA)
Neil Rose (UK)
Satellitic aka Paul Jamrozy (USA)
Jouni Tauriainen (Finland)

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  • Jim Barrett aka NaDa BaBa
  • artist biography

    Interview for SIP – SoundLAB Interview project

    Title:
    Thursday Morning in London (Falluja Mix)
    (2005), 8 mins.

    This is a collage sound piece. The live recording was made the morning of Thursday, 7 July, 2005 in the forested north of Sweden (didgeridoo, drums, bells, synth samples). As I stopped working for lunch I turned on the TV and saw the pictures of the death in London. This directed me to include a commentary on this in the piece. It came from Ken Livingston, mayor of London responding to the attacks, as well as Joe Carr reporting from the siege of Falluja in Iraq. Both situations are spaces of urban terror and political and cultural violence. All samples are in the public domain.

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  • Bronwen Casson
  • artist biography

    Interview for SIP – SoundLAB Interview project

    Title:
    “No Man’s Land”
    2005, 6 minutes 11 seconds
    The Audio piece “No Man’s Land” documents a personal journey, both physical and metaphorical. It is concerned with “The little disturbances of man”: with the small incidents of daily life, with depression and with despair and the problem of identity in a disorientating world. It incorporates both voices from memory, and the voices of passing strangers. Set within the context of the urban environment, it has particular and symbolic reference to “The Bus Stop”, traffic and the motorway. This audio piece may be presented within the framework of an installation.

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  • William Fowler Collins
  • artist biography

    Interview for SIP – SoundLAB Interview project

    Titles:

    1. Untitled Dream #1
    2006, 5:00

    2. Untitled Dream #2
    2006, 5:00

    With these 2 mixes I have combined raw field recordings made in varied geographical locations (a farm at night, a bus station, urban street noise) with both processed and unprocessed recordings of acoustic and lap steel guitars, drum machines, tambourine, and electronics (feedback from a 7 watt amplifier and sounds created with SuperCollider 2 audio synthesis
    software) to create transient, dream-like pieces.

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  • Jared Dunne /Meloday
  • artist biography

    Titles:
    1. Circle in Space
    This is a piece that I did for my Electronic Arts class. For the assignment we were provided a video clip from the film 2001: A Space Odyssey. We then had to compose to picture a Music Concrete piece. I’ve never before approached a piece with the sound design ethos in mind. Working in such a way forced to me think outside the formulaic compositional box. My original plan was to take six or seven natural samples, run them through a Granular module, then, once in Logic, arrange and apply the automation to each track. As I began working on the first audio track, I became intrigued with the sounds that I was getting from that single track by simply applying three effects: EQ, delay and reverb. I enjoyed the results so much that I made the decision to use the single audio track, instead of importing the other six. There were points throughout the piece when I felt the need to use another track to vary the sound. I fought the urge. This made the process more challenging but, in the end, more rewarding.

    2. Oto May Shun
    For this spectral composition I used only one sample for the entire harmonic composition. I started by building a patch with Vaz Modular synthesizer. The patch is built around a granular oscillator. I then inserted a vowel filter and a wave-shaper to affect the output of the granulator oscillator. I inserted two temp-lfos into the signal chain. I routed the tempo-lfos to the vowel filters resonance and morph-modulation parameters, respectively. The morph-modulation affects the morphing time between the vowel consonance of the filter. The output of the vowel filter and the wave-shaper is sent to the mixer.

    3. Liquidation
    Of all the minimalist techniques, the one that interests me most is the idea of phasing. In the vein of Steve Reich’s ‘Come Out’, this composition attempts to explore the changes that occur when a single sound phrase falls in and out of rhythmical unison, and how that sound transforms from identifiable to unrecognizable. Melodically, I wrote a very simple line with my multi-sampled flute instrument, which was mapped into a sampler within FL Studio. Then, over the course of the piece, I added and subtracted notes from that line with the hopes that the change would be gradual.

    For this minimalist composition, I used two sounds:
    1) The splash sound of something being dropped into water.
    2) My multi-sampled flute instrument

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  • Satoshi FUKUSHIMA
  • artist biography

    Interview for SIP – SoundLAB Interview project

    short bio:
    Satoshi FUKUSHIMA, a composer, was born in Niigata, Japan in 1977. He studied music and programming at Institute of Advanced Media Arts and Sciences (IAMAS, 2002-2004). And he is a member of the “mimiz”. It is a free session group using a Digital and Analog noise.
    He has composed some works in live electronic music from 2002. His works include: ” compass ” (2005- ), which serises are played pianica on a using a real time algorithmic system; ” vocalise for six speakers “(2005-2006), which is played by a computer using a high-speed audio-channel switching system and six speakers.
    [prize]ARS ELECTRONICA 2006 Digital Music Honorary Mention (as mimiz)

    Title:
    vocalise for the outer layer”
    2006, [2:56]
    ” vocalise for the outer layer ” is a reshaped version of the past piece,”vocalise for six channels”(2005-2006). “vocalise..” series are composed of a one Soprano voice(sound file) and 6 channel switching system & Granular Synthesis on Max/MSP. ” vocalise for the outer layer ” was also made by cutting up the past one.

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  • Olaf Hochherz
  • artist biography

    Title:
    warum prozess
    (2005) 15:43

    why progress? the piece is made out of approximately 44 layers, each includes between one and twenty morsel. each morsel is between 0.5 an 14 seconds long. there are approximately 400 morsels. the piece begins with the morsel having the lowest averaged energy and ends with the morsel having the hightest averaged energy. i think there is only one problem.
    how does it look like when the community of the morsel is a undefined unknoted slited flick. is an embodiment always a directed gathering? here are the morsel organised in a direktion without an aim, without identifing and verifing the aim. is there meaning without embodiment and delineation of an aim? when there is shape, isn’t this totalitarian? anyhow there is something folded cut in this one creschendo.

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  • Yuicho Ito
  • artist biography

    Titles:
    1 .”Printer, Paper Cut and My Cough”
    (2005) 3:46
    Operation sound of printer, sound in which paper is cut with knife and coughing sound of me recorded by chance that was sampled. These sounds are the sounds of the work when I produce CD for the first time. The printer is a sound in which the jacket is printed, it is cut with the paper knife. And, my coughing sound. Memory of work and my existence.

    2. “Hear and Drunk”
    (2006) 5:18
    Japanese “KITA” is sampled. The meaning of “KITA” is “Come”. I think, the sound seems to be denied because of the noise that is I feel like getting drunk. I must get drunk exactly.

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  • Dario Lazzaretto
  • artist biography

    Interview for SIP – SoundLAB Interview project

    Title:
    Lady Larsen
    2004, 2’22”
    I made “Lady Larsen” with Larsen effect (the whistle produced putting a mic near a speaker). Standing in a large room with four speaker at the corners, putting echo and multitap delay effects on the mic, holding the mic (fixed with tape) at the chest, I immagined to dance with a real woman, and tried to feel her invisible feelings traduced in music. It have been like playing a performance unseen by anyone and recording is a way to keep a memory of tenmeeting with my immaginary lover.

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  • Matthew Ostrowski
  • artist biography

    Interview for SIP – SoundLAB Interview project

    Title:
    I hear
    (2006) 5’42”

    This piece uses texts from Leaves of Grass and product descriptions gleaned from online clothing and furniture catalogs. , all of which is spoken by computer-generated voices. Whitman’s imagery of industry and activity valorizes labor as delight and self-expression, and energetically brings a world of fulfilled and happy artisans to the mind’s eye. The catalog items evoke the modern reality of postindustrial capitalism, in which the overdetermined and bizarrely sensual descriptions of products (theoretically the end results of Whitmanesque labor) elevates consumption over production as the source of self-recognition and understanding.

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  • Neil Rose
  • artist biography

    Interview for SIP – SoundLAB Interview project

    Title:
    Nil By Mouth
    2006, 6:13,
    Memories of childhood experiences affirm and fix our identity, a significant event in my early life makes me the person I am today…

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  • Satellitic aka Paul Jamrozy
  • artist biography

    Titles:
    1. Global Horn Cacophonia 1
    (2006) 11.17

    2. Global Horn Cacophonia 2
    (2005) 3.30

    3. Global Horn Cacophonia 3
    (2005) 4.30

    Transient Memories /The trans border properties of sonic delivery

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  • Jouni Tauriainen (Finland)
  • artist biography

    Am I walking 2. Problem
    2006, 3:15
    One night I couldn’t sleep and realized that I was listening my alarm clock ticking. It was very annoying. So I decided to do something with it. Time is running and everything just keeps going no matter what you do. And there’s no better sound to describe that than a ticking clock. Quite a cliché but that’s the way it is. So I recorded that annoying clock and made a marching beat from it. Then I found this audio clip where a woman is counting and added it into the beat. I also recorded street ambience putting a microphone into a big glass bottle. In the end there is just a little electronic piano.
    I used shure sm58 to record the whole thing into my Boss hard drive recorder.
    I also used Boss sp-505 sampler and a small electric piano.
    The end result is quite anxious but still funny. Or at least I think so. Even if the ticking clock is very used and cliché Problem sounds fresh and interesting. A trip that makes you think every second and what you are doing with them. And is your time really yours….

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