https://github.com/fdch/untitled2
Performance patch for the acousmatic piece "Untitled2"
https://github.com/fdch/untitled2
acousmatic art electroacoustic patch puredata sound
Last synced: 7 months ago
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Performance patch for the acousmatic piece "Untitled2"
- Host: GitHub
- URL: https://github.com/fdch/untitled2
- Owner: fdch
- Created: 2018-05-24T19:15:17.000Z (over 7 years ago)
- Default Branch: master
- Last Pushed: 2022-05-05T22:25:28.000Z (over 3 years ago)
- Last Synced: 2025-01-14T09:15:52.739Z (9 months ago)
- Topics: acousmatic, art, electroacoustic, patch, puredata, sound
- Language: PostScript
- Homepage: https://fdch.github.io/untitled2
- Size: 85.9 MB
- Stars: 1
- Watchers: 1
- Forks: 0
- Open Issues: 0
-
Metadata Files:
- Readme: README.md
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README
# UNTITLED2
Performance patch for the acousmatic piece "Untitled2"
## To run it
```
$ git clone https://github.com/fdch/untitled2.git
$ cd untitled2/bin
$ pd main.pd
```
* Or simply click the green download button and open ``main.pd`` with your latest Pure Data.
## Dependencies
You can get all of these via ``deken`` (Pd > Help > Find Externals)
* fd_lib
* vbap
* ggee
## Get Pure Data
* Go to [msp.ucsd.edu/software.html](http://msp.ucsd.edu/software.html)
## About the work
Immersed in a digital environment, “untitled2” lives at the limit between field recording and synthesis, soundscape composition, and sound art. This liminality aims to resonate its way into the complex difference between art and life, and between the human and the non human.
The sound design of “untitled2” is geared towards emulating transducer signals from soundscape recordings. In order to achieve this, I recorded several soundscapes in different locations in Mykonos, Greece, analyzed the signals, and deconstructed them in their most basic perceivable elements. Thus, there are sounds that resemble seagulls, other types of birds, cicadas, storms, wind, among others. Most of these sounds are granular in nature, allowing for the possibility to spatialize them using algorithms such as the flocking algorithm and the Lorenz system of equations.
The original setup was for four channels, but by design the number of channels is variable. Therefore, the work is adaptable to any configuration of speakers of any kind, with the requirement of at least one subwoofer. The four channel version and stereo reduction of the piece have been recorded from live performance. This means that the work itself is meant to be performed live on a laptop with some basic guidelines. In addition to these guidelines, I have written the following text (in spanish) as inspiration for the first section: truena de repente // gaviotas gritan giran // rondando // // llueve a lo lejos // lluvia cae de cerca // rondando // // gritan giran gaviotas // y se van, ellas // al olvido //
The liminality of the piece appears as well in the narrow gap between silence and sound that very quiet moments point to, as well as the complete spectral saturation towards its climactic moment close to its ending. This gesture towards saturation comes from the accelerating way in which one sound generator is triggered. Specifically, the real-time computation of the chaotic system of equations commonly referred to as the Lorenz system is accelerated from one millisecond to less than 1/1000 of a millisecond, approaching computational zero-time, intentionally clogging the computer’s real-time audio capabilities.
These two poles of “untitled2,” soundscape reconstruction and computational saturation, comment on the complex, but present difference between sonic art and sonic life. The proximity between the reconstructed signal and its original creates a third sonic image, one that I like to call a ghost signal. This ghost signal permeates through the work as if it were the “real” version, turning the listening experience into an experience of the uncanny. This mysterious and unsettling experience, however, only appears in hindsight, after the piece has reached its climactic moment: the moment of complete saturation the second pole projects. Therefore, in listening to “untitled2,” I invite the listener to contemplate on the human role in its environment.
“Untitled2” was composed and premiered during the ``Delian Academy for New Music'' held in Mikonos, Greece, in June 2018
## fch226 at nyu dot edu
Email me with questions or suggestions