21 de octubre de 2018

     

This came about when I was reading about bipolar disorder.

More specifically manic episodes,

Manic Episode Symptoms

The symptoms of mania include: elevated mood, inflated self-esteem, decreased need for sleep, racing thoughts, difficulty maintaining attention, increase in goal-directed activity, and excessive involvement in pleasurable activities. These manic symptoms significantly impact a person's daily living.
What is a manic episode? A manic episode is not a disorder in and of itself, but rather is diagnosed as a part of a condition called bipolar disorder.
manic episode is a mood state characterized by period of at least one week where an elevated, expansive, or unusually irritable mood exists. A person experiencing a manic episode is usually engaged in significant goal-directed activity beyond their normal activities. People describe a manic mood as feeling very euphoric, “on top of the world,” and being able to do or accomplish anything. The feeling is like extreme optimism — but on steroids.
Sometimes the manic mood is more irritable than it is elevated, especially if the person’s wishes are curtailed or denied altogether. Often a person in the midst of mania will engage in multiple projects at the same time, with little premeditation or thought going into them, and finishing none of them. They may work on these projects at all hours of the day, with little regard for sleep or rest.
A person’s change in mood is typically associated with manic symptoms that should be observable by others (e.g., friends or relatives of the individual) and must be uncharacteristic of the individual’s usual state or behavior. In other words, they’re acting in a way that isn’t typical of themselves, and other people recognize it.
The manic feelings the person experiences should be severe enough to cause difficulty or impairment in their ability to function at work, with friends or family, at school, or other important areas in their life. Symptoms also cannot be the result of substance use or abuse (e.g., alcohol, drugs, medications) or caused by a general medical condition.

Specific Symptoms of a Manic Episode

In order for a manic episode to be diagnosed, three (3) or more of the following symptoms must be present:
  • Inflated self-esteem or grandiosity
  • Decreased need for sleep (e.g., one feels rested after only 3 hours of sleep)
  • More talkative than usual or pressure to keep talking
  • Flight of ideas or subjective experience that thoughts are racing
  • Attention is easily drawn to unimportant or irrelevant items
  • Increase in goal-directed activity (either socially, at work or school; or sexually) or psychomotor agitation
  • Excessive involvement in pleasurable activities that have a high potential for painful consequences (e.g., engaging in unrestrained buying sprees, sexual indiscretions, or foolish business investments)
Inflated self-esteem is typically present, ranging from uncritical self-confidence to marked grandiosity, and may reach delusional proportions. Individuals may give advice on matters about which they have no special knowledge (e.g., how to run the United Nations). Despite lack of any particular experience or talent, the individual may embark on writing a novel or composing a symphony or seek publicity for some impractical invention. Grandiose delusions are common (e.g., having a special relationship to God or to some public figure from the political, religious, or entertainment world).
Almost invariably, there is a decreased need for sleep. The person usually awakens several hours earlier than usual, feeling full of energy. When the sleep disturbance is severe, the person may go for days without sleep and yet not feel tired.
Manic speech is typically pressured, loud, rapid, and difficult to interrupt. Individuals may talk nonstop, sometimes for hours on end, and without regard for others’ wishes to communicate. Speech is sometimes characterized by joking, punning, and amusing irrelevancies. The individual may become theatrical, with dramatic mannerisms and singing. Sounds rather than meaningful conceptual relationships may govern word choice (i.e., clanging). If the person’s mood is more irritable than expansive, speech may be marked by complaints, hostile comments, or angry tirades.
The individual’s thoughts may race, often at a rate faster than can be articulated. Some individuals with manic episodes report that this experience resembles watching two or three television programs simultaneously. Frequently there is flight of ideas evidenced by a nearly continuous flow of accelerated speech, with abrupt changes from one topic to another. For example, while talking about a potential business deal to sell computers, a salesperson may shift to discussing in minute detail the history of the computer chip, the industrial revolution, or applied mathematics. When flight of ideas is severe, speech may become disorganized and incoherent.
A person in a manic episode may easily lose attention. Distractibility is evidenced by an inability to screen out irrelevant external stimuli (e.g., the interviewer’s tie, background noises or conversations, or furnishings in the room). There may be a reduced ability to differentiate between thoughts that are germane to the topic and thoughts that are only slightly relevant or clearly irrelevant.
The increase in goal-directed activity often involves excessive planning of, and excessive participation in, multiple activities (e.g., sexual, occupational, political, religious). Increased sexual drive, fantasies, and behavior are often present. The person may simultaneously take on multiple new business ventures without regard for the apparent risks or the need to complete each venture satisfactorily. Almost invariably, there is increased sociability (e.g., renewing old acquaintances or calling friends or even strangers at all hours of the day or night), without regard to the intrusive, domineering, and demanding nature of these interactions. Individuals may also display psychomotor agitation or restlessness by pacing or by holding multiple conversations simultaneously (e.g., by telephone and in person at the same time). Some individuals write a torrent of letters on many different topics to friends, public figures, or the media.
Expansiveness, unwarranted optimism, grandiosity, and poor judgment often lead to an imprudent involvement in pleasurable activities such as buying sprees, reckless driving, foolish business investments, and sexual behavior unusual for the person, even though these activities are likely to have painful consequences. The individual may purchase many unneeded items (e.g., 20 pairs of shoes, expensive antiques) without the money to pay for them. Unusual sexual behavior may include infidelity or indiscriminate sexual encounters with strangers.
People who experience a manic episode are often diagnosed with a type of bipolar disorder.




14 de octubre de 2018

A year ago I read Pierre Schaeffer's book
In Search of a Concrete Music by Pierre Schaeffer & John Dack & Christine Northso it's nice to see it make a come back!

Musique concrète

From Wikipedia, the free encyclopedia
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Musique concrète (French pronunciation: ​[myzik kɔ̃.kʁɛt], meaning "concrete music")[nb 1] is a form of musique expérimentale (experimental music (Palombini 1998, 542)[not in citation given]) that exploits acousmatic listening, meaning sound identities can often be intentionally obscured or appear unconnected to their source cause. It can feature sounds derived from recordings of musical instruments, the human voice, and the natural environment as well as those created using synthesizers and computer-based digital signal processing. Compositions in this idiom are not restricted to the normal musical rules of melodyharmonyrhythmmetre, and so on. Originally contrasted with "pure" elektronische Musik (based solely on the production and manipulation of electronically produced sounds rather than recorded sounds), the theoretical basis of musique concrète as a compositional practice was developed by Pierre Schaeffer, beginning in the early 1940s. From the late 1960s onward, and particularly in France, the term acousmatic music (musique acousmatique) started to be used in reference to fixed media compositions that utilized both musique concrète based techniques and live sound spatialisation.

14 de octubre de 2018


I cannot help it but repost this Wikipedia page:

The Art of Noises

The Art of Noises (ItalianL'arte dei Rumori) is a Futurist manifesto written by Luigi Russolo in a 1913 letter to friend and Futurist composer Francesco Balilla Pratella. In it, Russolo argues that the human ear has become accustomed to the speed, energy, and noise of the urban industrial soundscape; furthermore, this new sonic palette requires a new approach to musical instrumentation and composition. He proposes a number of conclusions about how electronics and other technology will allow futurist musicians to "substitute for the limited variety of timbres that the orchestra possesses today the infinite variety of timbres in noises, reproduced with appropriate mechanisms".[1]
The Art of Noises is considered to be one of the most important and influential texts in 20th-century musical aesthetics.[2]

The evolution of sound[edit]

"Ancient life was all silence"[edit]

Russolo states that "noise" first came into existence as the result of 19th century machines. Before this time the world was a quiet, if not silent, place. With the exception of stormswaterfalls, and tectonic activity, the noise that did punctuate this silence were not loud, prolonged, or varied.

Early sounds[edit]

He notes that the earliest "music" was very simplistic and was created with very simple instruments, and that many early civilizations considered the secrets of music sacred and reserved it for rites and rituals. The Greek musical theory was based on the tetrachord mathematics of Pythagoras, which did not allow for any harmonies. Developments and modifications to the Greek musical system were made during the Middle Ages, which led to music like Gregorian chant. Russolo notes that during this time sounds were still narrowly seen as "unfolding in time."[3] The chord did not yet exist.

"The complete sound"[edit]

Instruments built by Russolo, photo published in his 1913 book The Art of Noises
Russolo refers to the chord as the "complete sound,"[3] the conception of various parts that make and are subordinate to the whole. He notes that chords developed gradually, first moving from the "consonant triad to the consistent and complicated dissonances that characterize contemporary music."[3] He notes that while early music tried to create sweet and pure sounds, it progressively grew more and more complex, with musicians seeking to create new and more dissonant chords. This, he says, comes ever closer to the "noise-sound."[3]

Musical noise[edit]

Russolo compares the evolution of music to the multiplication of machinery, pointing out that our once desolate sound environment has become increasingly filled with the noise of machines, encouraging musicians to create a more "complicated polyphony"[3] in order to provoke emotion and stir our sensibilities. He notes that music has been developing towards a more complicated polyphony by seeking greater variety in timbres and tone colors.

Noise-Sounds[edit]

Russolo explains how "musical sound is too limited in its variety of timbres."[3] He breaks the timbres of an orchestra down into four basic categories: bowed instrumentsmetal windswood winds, and percussion. He says that we must "break out of this limited circle of sound and conquer the infinite variety of noise-sounds,"[3] and that technology would allow us to manipulate noises in ways that could not have been done with earlier instruments.

Future sounds[edit]

Russolo claims that music has reached a point that no longer has the power to excite or inspire. Even when it is new, he argues, it still sounds old and familiar, leaving the audience "waiting for the extraordinary sensation that never comes."[4] He urges musicians to explore the city with "ears more sensitive than eyes,"[4] listening to the wide array of noises that are often taken for granted, yet (potentially) musical in nature. He feels these noises can be given pitch and "regulated harmonically," while still preserving their irregularity and character, even if it requires assigning multiple pitchesto certain noises.
The variety of noises is infinite. If today, when we have perhaps a thousand different machines, we can distinguish a thousand different noises, tomorrow, as new machines multiply, we will be able to distinguish ten, twenty, or thirty thousand different noises, not merely in a simply imitative way, but to combine them according to our imagination. [5]

Musicians/Artists influenced by The Art of Noises[edit]




13 de octubre de 2018


Ableton Live > max/msp > MaxforLive


13 de octubre de 2018


I have been on and off Bowerize for a long time now, but it's kind of nice to be able to come back. Nice to have this tiny space on the internet after 8 years. I still don't know if anyone reads this.

Blogspot...Does anyone even still use these? I am surprised that the service is still up! Does anyone remember the pages for sharing pictures in Hotmail? My God so many social media platforms have died on the way. It's kind of weird to think how these spaces "die".

Now we have Instagram. And...erm, Facebook. And the evil Pintrest. Google Scholar. So many platforms to share! We are missing an ItsOkNotToShare.com. A white rectangle. I feel like that's a bit how I feel about Bowerize. Maybe it's good that it's not so reciprocated. It's ok.

I am not feeling nostalgic, I am just amazed at the speed of all of this. The meaning? I don't know. Not that every social interaction has to have an end.

***

Today I wanted to write about Physical Input Controllers. It sounds kind of boring, but we actually use them all the time: the personal computer keyboard, the computer mouse, the phone tactile screen... All the interfaces mediating interaction between us and technology are in a way, physical input controllers. These are heavily developed in the game industry.

I was thinking about my practice as an "Artist". How I have been drawing for some time now. How I wish I could jump into sculpture. This has been a long term ambition of mine. I always feel like my drawings need to coexist in 3d form with their 2d counterparts. So hopefully I find the time at some points.

Alongside the two items above: drawing and sculpture, I have been long fascinated by choreographic notation and its relationship to sound. I have also tried to incorporate these-if only conceptually-into my drawings.

Now in this phase I am now, where I have been listening to the-largely labelled-IDM, I have found about the concept of physical input controllers. Something that has been long used to create digital music instruments. This is when I thought to myself, ah! it's spatial instruments that I am trying to conceptualise here. And the movements is a form of musical notation.

***

The Artists that have really captivated me, due to their highly graphic sounds-maybe I am slightly synesthesic I don't know-are Autechre, Aphex Twin and Anklepants. I know, they are not really the same, but I always listen to them in conjunction. 

I love how "easily" translatable their music is to visuals. I think this might be because their music is very itemised (Autechre). This was my way into looking at custom made instruments. My God, specially Anklepants custom made instruments. I wasn't aware of all the max/msp environment. It reminded me of Grasshopper 3d. That was the closest resembling program I could think of...

So much to learn.



The Music Technology Computer Lab at McGill University, says that these "trends in computer music" are due to the availibility of cheaper computers, real-time audio processing and "greater interest in combining computers with live performers" following the need to "allow performer actions to control sounds produced by computers".


I am posting below the rest. I am feeling too lazy to redact it here.

Trends in Music Controllers

  • Controller technologies ... cheaper, faster, easier to use, and more available (e.g. from DigiKey, RobotShop, ...)
  • Significant scientific and commercial effort focused on "Human Computer Interaction (HCI)" design
  • International grant projects
  • New Interfaces for Musical Expression (NIME) conference
  • Games are making increasing use of HCI devices

These are the most interesting to met

Music Controllers: "Body" Controllers

  • Michel Waisvisz's "The Hands"
  • Tomie Hahnâ™s "Pikapika"
Meet Pikapika--a character influenced by anime and manga, Japanese pop animation and comics. Pikapika embodies movements from bunraku (puppet theater), a movement vocabulary Tomie studied while learning nihon buyo (Japanese traditional dance) pieces derived from the puppet theater. The concept of the sonic punctuation of Pikapika's movements is drawn directly from the bunraku musical tradition. However, the actual sounds are not drawn from bunraku musical vocabulary. Pikapika dons a new wireless interactive dance system (SSpeaPer)created by Curtis Bahn. SSpeaPer naturally locates and spacializes the electronic sounds to emanate from the speakers mounted on her body. As Pikapika moves her gestural information is sent by radio to an interactive computer music system. The sounds are then broadcast back to her body, creating a new sort of audio "alias" for her character; a sonic mask.

The Sensor/Speaker Performance Interface
As an outgrowth of investigations in the use of Sensor/Speaker Arrays for live performance for our composition "Streams," we became interested in the idea of mounting not only sensors, but also small speakers on a live performer. As Tomie dances, the actions of her body drive an interactive music algorithm which sonifys her performance. The sounds are broadcast back on to her body creating a new sort of audio "alias" for her character; a sonic mask. The interface naturally locates and spatializes the new sounds with her body.


"SSpeaPer" is an interactive sonic context for live performance currently in development by composer/ programmer Curtis Bahn and dancer/ ethnomusicologist Tomie Hahn











The sensors on Tomie's hands each sense pressure and 2 axis of tilt. This movement data is sent to a micro-controller on her right hip where it is translated into continous MIDI messages and broadcast, via a small radio transmitter on her left hip, to the computer. A MAX/MSP patch maps her movements into various sampled sounds and DSP algorithms, sending the results to an 8 channel audio system. Using a small radiotransmitter, 2 channels of sound are sent to Tomie's arms (discreet information to the left and right). The remaining 6 channels of audio are sent to 3 stereo spherical speaker arrays on stage.



I know it's very non-conclusive here, as always. But will try and keep posting here a bit more.

As always, all the best.