Here’s my submission :
This week’s challenge made me think of the famous Voyager gold disc recordings and specifically Laurie Spiegel’s music… so I’ve gone for something on those lines using two tracks of Moog Model 15 iOS app, controlled from a Seaboard Block and then the metallic percussive taps which were created with the modular synth (Ears triggering Braids into Random Source Serge VCFS, modulated by a Random Source Serge D.U.S.G.) The finished piece has a slight feeling of radio waves traveling through space to me, which seems slightly appropriate.
Here’s my submission :
i´m working on a piece for theater “moskitos” from lucy kirkwood, there are a few persons with some problems and it plays in genf near the CERN
so this is my track to send in the universe, all made with elektron´s beautiful Analog4 MK II
 Immanuel Kant attempted a Copernican Revolution in philosophy, in which he proposed that knowledge does not conform to objects, but, rather, that objects conform to our knowledge. Part of Kant’s attempt to unpack this claim involved reference to a wholly transcendent ‘noumenon’, something beyond our forms of space and time, posited in order to prevent our cognition from becoming a mere frictionless spinning in the void. If the noumenon could ever speak to us (which it could not, because then it would have entered our temporal framework), it might (not) sound something (un)like this.
 I once had an apocalyptic nightmare in which society had collapsed and all our power grids were down. I was in a field at night, and my only source of light was the moon. I looked up and saw an alien craft edge across the sky. Then, it destroyed the moon, plunging me into darkness. This is the soundtrack to my dream.
 Jonathan Keats: “Our behavior is self-centered. Our culture is bigoted, our politics tribal.” This track is the voice of planet earth warning us to calm down by growing up.
Despite these heavy themes - or perhaps because of them - have a great weekend. Say a nice word and hug someone!!
that was absolutely gorgeous, thank you!!
human music, what we’ve intercepted, is very slow so one of the challenges of representation is making it comprehensible and interesting while retaining a sense of authenticity. this piece has been slowed to a mean of 999bpm and drops interminably to 354bpm for a long moment, bear with this, reflect on primitivity: humans still believe that speed of conscious thought and speed of music are commensurate. worse, they believe that sub-conscious (embodied-)emotion should be represented by further slowing when of course intensity is better represented by quickening gradients. likewise, they waste resources making instruments that actually produce sound waves, despite attaining tech that recreates this efficiently. almost no environmental sounds are used to create music. (we do have to remember that this is their first cycle before pre-civ so of course they’ll be likely resistant to change.) randomized earth sounds have been used (synthesized alarm/didgeridoo/motorcycle/pool balls) with a 7 point vibration delineation system. as usual environmental/resynthesized sounds were reverse engineered to recreate their rudimentary software.
(random freesound samples in protoplasm. i felt like assuming!)
Cannot resist this sort of prompt, having been working in the experimental alien communication mode since at least, ah, 2013 looks like.
A piece composed of sounds from earth, and sounds from space, filtered through various gathering devices and sensibilities [earth field recordings by me, deep time stuff by NASA and others]. We don’t know what aliens might consider signal and what they might consider noise, so here is a combination of both. All of the above applies also to us: as above, so below.
They are like us but with worse taste.
Two song cycles: First, a cycle for beings that perceive time at five times the rate we do. That is, to them 600 bpm is an average tempo. The cycle consists of three songs:
- vivace: “Discovery”
- adagio: “Courtship”
- moderato: “Expansion”
The second song cycle is for beings that perceive time at one twentieth the rate we do. Alas, I only had time to compose the first three notes. They can be heard in the bass register under the other song cycle.
Okay this week was really fun. Great challenging idea! The last week (the first of these I’ve tried) was more of a do-what-you’d-like regarding composition as it was just ‘make something with new equipment’ - But this week had me seeing the value of these weekly challenges. It was really interesting to think of communication in a Copernican way. I’m thankful for the challenge as, left to my own models, I doubt I’d make a piece like this.
Here’s "Meanwhile, Her Neighbor Privately Speaks with His Beige Venetian Blinds"
Hope everyone is well,
Of Mu Arae - Disquiet0373
Started making an upbeat extraterrestrial dance number and it just didn’t fit. Then the weather came…ugh. Decided instead to project Earthed emotion onto some distant species (bonus points for that reference). A tale of exploration and longing. Searching for some imagined ideal, only to find you brought everything here with you…
you can’t escape…
Made five patches and recordings in AUM using iVCS3(The Putney) and one patch and recording with AudioDamage’s Quanta. The Quanta is the underlying “melody” that plays throughout the track, while the Putney made great clicks, noises, sweeps and screams. A little verb on the scream and some minor eq adjustments help separate the frequencies a bit in Cubasis.
Mu Arae also named Cervantes , is a main sequence G-type starapproximately 50 light-years away from the Sun in the constellation of Ara. The star has a planetary system with four known extrasolar planets (designated Mu Arae b, c, d and e; later named Quijote, Dulcinea, Rocinante and Sancho, respectively), three of them with masses comparable to that of Jupiter. The system’s innermost planet was the first ‘hot Neptune’ or ‘super-Earth’ to be discovered.
Collaborative extra-terrestrial transmissions recorded with percussionist Mitch Shiner (https://soundcloud.com/mitchshinermusic). SuperCollider synths played with a MalletKat MIDI controller. Any transmission to outer space is bound to be sent using technology that will be obsolete by the time it reaches beings elsewhere in the universe, so this piece was recorded directly to cassette tape before being transmitted to you fellow humans via SoundCloud.
Very recently I wrote a piece that came quite close to fitting the intentions of this project. Of course, I did not want to simply re-brand and submit, so I decided to broaden and extend it, increasing from 8 to 13 instruments and doubling the length.
My idea was to primarily use sound clusters that expand and contract, as well as interact with one another. I wanted to stay away from presenting a hodgepodge of sound, so the layers are built on a tonic and there is a theme that is referenced throughout.
Copernican Transience was written for four Violins, four Violas, three Cellos and two String Basses.
The score is available at http://bit.ly/2Eqtm66
For this piece, I thought about resonance, modulation, and rhythm, because if one was to strip away [as much as possible, anyway] the cultural considerations and expectations we have about music, then these aspects would be the core of what we’d be left.
This piece is built from a sample of a struck gong. I also thought about a part of Johnathon Keats’ Copernican Manifesto [point 3]:
“Music must have the gross entropy of the universe. Let it be noisy.”
ETA: also made a music visualisation
My idea was to use the human voice, as a way of familiarising the aliens with people.
Then I thought about the messages I’d want to share, so I’ve welcomed them “Down under” and introduced “homo sapiens”.
And, since it’s a piece of music, I’ve added percussion and bass line.
Hope they like to dance!
Ableton Live messed with the video, so I’m going to assume it’s showing an alien’s point of view.
Floating amongst space debris - this electronic combination of random EuroRack modular synth noise and Una Corda Piano is inspired by the task of creating a Copernican piece of music for future alien encounters…
The piece is short - 2minutes - and it’s composed of, amongst others, 3 EuroRack Radio Music modules activated by ALAK euclidian rhythms. In Ableton, I later added NI Una Corda theme, DIVA Bass and Microtonik percussion… and a few SoundToys and Izotonik plugins.
(This is the first time I’m participating - thank you for the opportunity and the community!)
This is a slow dance for alien lovers.
Say, man - This is plenty creative and well constructed! Welcome.
The playlist is rolling. I’m off social media for the weekend, so if you feel like sharing it, that’d be super.
Composed entirely on a small 7u eurorack modular synth. Recorded in a single take in stereo with absolutely no post processing.
The heart of the patch is 3 random sources in a complex web of feedback patching. Each modulation source was affected by another in an interlocking generative system. Inspired by the somewhat famous “krell” patch, but expanded and iterated upon. The main sound source was the Piston Honda MKIII through a Three Sisters filter. There are two secondary sounds coming the Hertz Donut MKIII, one though an LxD and the other through a regular VCA. This is all summed and then multed to two final VCAs each independently controlled by different envelopes. Those are routed into the left and right channels of a micro clouds which is also under somewhat heavy modulation.
I really enjoyed this exercise as I so often make somewhat tonal music that is on a grid. I decided to leave both of those behind to delete my inherent cognitive bias toward human music production.