Hey guys,
thanks for the words & questions! I’ll try my best to answer, sorry in advance if it’s a bit of a mess of elaborations.
@kbit In terms of this body of work, the pseudo-acoustic phenomena refers to the attempt of wording starting points for the practice. At Willem Twee Studios I was captivated by the knowledge and apparatuses that exist in that space, especially an old Siemens analog computer that Hans Kulk had in the other studio. It was used (for example) to calculate what kind of shocks bridges could take by programming series of voltage controlled events. Although these were obviously precise calculations and not meant to be used in a auditive or musical format, the idea of conjuring fabrications of causalities from analog signals that might exist in our physical realm inspired the sonic work. Other starting points included the classic “bouncing ball patch”, which felt like a guiding example in the explorations. I work as a sound designer and I don’t really have the knowledge or the tools to approach from a mathematics- or physics-oriented point of view, so the research questions are basically just umbrellas for artistic guidance.
@x2mirko @Jonny It’s very honoring to hear Becker’s name when commenting the pieces as he’s obviously a huge inspiration and I also adore his work alot. The sonic beings singing on his Traditional Music albums are synthesized to perfection and the physmod is surreal in accompanying the alien Bacchanalia. Trying out similar things that I find so impeccable in his work obviously guided some of the sound work. The whole album actually came together from just a fraction of recordings that I did on the instruments. I wasn’t necessarily looking to compose work, but just to gather a knowledge of methods to summon sonic material that revolved around these questions of auditive texture perception, forms and shapes, kinetics and the weight of sonic information in forming a multimodal experience. The aim was not to replicate something, but to render sounds and sonic events that would carry some substance of the aforementioned phenomena. For synthesis I wanted to use explicitly analog signals and it’s just a marvelous thing that I had access to the instruments at Willem Twee Studios – they are the breathing bodies behind every sound. Eventually I started to form some kind of collages from some of the recordings I had done and ended up arranging them to more musical pieces.
If you find yourself from the Netherlands, the Willem Twee studios is a must visit! The people there are genuine, warm, supportive and also experts in their craft. I don’t think I even have to mention the instruments & the facilties.
Thanks again for the support & interest, I hope I had some answers for the questions too!
Also deleted some used codes:)
