Sol LeWitt

My recreation of the Sol LeWitt Drawing Now some audio recreations (the first part is comprised of low frequencies, not silence, so you need good speakers or patience) Sol LeWitt One -- odd bark @ 0.1 durat w/ sine window @ 1.95*dur Sol LeWitt Two -- " @0.01 durat w/ sine @ 1.999*dur (more overlap) Sol LeWitt Three (not as strict as the others because of the hangover lengths, but I can't resist exploration. -- " @0.5 w/ each times (1.01, 1.03..1.21) durat, w/sine @ 2*dur This is the SuperCollider Code

(//sine tone with sine envelope SynthDef(\sinePerc, {arg freq, dur, amp, pan; var env = EnvGen.kr(Env.sine(dur*2,0.2), 1.0, doneAction: 2); var timbr = SinOsc.ar(freq, 0, amp) * env; OffsetOut.ar(0, Pan2.ar(timbr, pan)); }).add; ); ( var durat = 0.5, bark1 = (1.0,1.1..2.0).barkToHz.do , bark2 = (2.0,2.1..3.0).barkToHz.do , bark3 = (3.0,3.1..4.0).barkToHz.do , bark4 = (4.0,4.1..5.0).barkToHz.do , bark5 = (5.0,5.1..6.0).barkToHz.do , bark6 = (6.0,6.1..7.0).barkToHz.do , bark7 = (7.0,7.1..8.0).barkToHz.do , bark8 = (8.0,8.1..9.0).barkToHz.do , bark9 = (9.0,9.1..10.0).barkToHz.do , bark10 = (10.0,10.1..11.0).barkToHz.do , bark11 = (11.0,11.1..12.0).barkToHz.do , bark12 = (12.0,12.1..13.0).barkToHz.do , bark13 = (13.0,13.1..14.0).barkToHz.do , bark14 = (14.0,14.1..15.0).barkToHz.do , bark15 = (15.0,15.1..16.0).barkToHz.do , bark16 = (16.0,16.1..17.0).barkToHz.do , bark17 = (17.0,17.1..18.0).barkToHz.do , bark18 = (18.0,18.1..19.0).barkToHz.do , bark19 = (19.0,19.1..20.0).barkToHz.do , bark20 = (20.0,20.1..21.0).barkToHz.do , bark21 = (21.0,21.1..22.0).barkToHz.do , rytm1 = [1,0,0,0,0,0,0,0,0,0,0] , rytm2 = [1,1,0,0,0,0,0,0,0,0,0] , rytm3 = [1,1,1,0,0,0,0,0,0,0,0] , rytm4 = [1,1,1,1,0,0,0,0,0,0,0] , rytm5 = [1,1,1,1,1,0,0,0,0,0,0] , rytm6 = [1,1,1,1,1,1,0,0,0,0,0] , rytm7 = [1,1,1,1,1,1,1,0,0,0,0] , rytm8 = [1,1,1,1,1,1,1,1,0,0,0] , rytm9 = [1,1,1,1,1,1,1,1,1,0,0] , rytm10 = [1,1,1,1,1,1,1,1,1,1,0] , rytm11 = [1,1,1,1,1,1,1,1,1,1,1] ; a = Pbind( \instrument, \sinePerc, \dur, durat*1.01, \amp, Pseq([Pseq(rytm1), Pseq(rytm2), Pseq(rytm3), Pseq(rytm4), Pseq(rytm5), Pseq(rytm6), Pseq(rytm7), Pseq(rytm8), Pseq(rytm9), Pseq(rytm10), Pseq(rytm11) ], 1), \freq, Pseq([Pseq(bark1, 11)], 11) ); b = Pbind( \instrument, \sinePerc, \dur, durat*1.03, \amp, Pseq([Pseq(rytm1),Pseq(rytm2),Pseq(rytm3),Pseq(rytm4),Pseq(rytm5),Pseq(rytm6),Pseq(rytm7),Pseq(rytm8),Pseq(rytm9),Pseq(rytm10),Pseq(rytm11)]*0.9, 1), \freq, Pseq([Pseq(bark3, 11)], 11) ); c = Pbind( \instrument, \sinePerc, \dur, durat*1.05, \amp, Pseq([Pseq(rytm1),Pseq(rytm2),Pseq(rytm3),Pseq(rytm4),Pseq(rytm5),Pseq(rytm6),Pseq(rytm7),Pseq(rytm8),Pseq(rytm9),Pseq(rytm10),Pseq(rytm11)]*0.8, 1), \freq, Pseq([Pseq(bark5, 11)], 11) ); d = Pbind( \instrument, \sinePerc, \dur, durat*1.07, \amp, Pseq([Pseq(rytm1),Pseq(rytm2),Pseq(rytm3),Pseq(rytm4),Pseq(rytm5),Pseq(rytm6),Pseq(rytm7),Pseq(rytm8),Pseq(rytm9),Pseq(rytm10),Pseq(rytm11)]*0.7, 1), \freq, Pseq([Pseq(bark7, 11)], 11) ); e = Pbind( \instrument, \sinePerc, \dur, durat*1.09, \amp, Pseq([Pseq(rytm1),Pseq(rytm2),Pseq(rytm3),Pseq(rytm4),Pseq(rytm5),Pseq(rytm6),Pseq(rytm7),Pseq(rytm8),Pseq(rytm9),Pseq(rytm10),Pseq(rytm11)]*0.6, 1), \freq, Pseq([Pseq(bark9, 11)], 11) ); f = Pbind( \instrument, \sinePerc, \dur, durat*1.11, \amp, Pseq([Pseq(rytm1),Pseq(rytm2),Pseq(rytm3),Pseq(rytm4),Pseq(rytm5),Pseq(rytm6),Pseq(rytm7),Pseq(rytm8),Pseq(rytm9),Pseq(rytm10),Pseq(rytm11)]*0.5, 1), \freq, Pseq([Pseq(bark11, 11)], 11) ); g = Pbind( \instrument, \sinePerc, \dur, durat*1.13, \amp, Pseq([Pseq(rytm1),Pseq(rytm2),Pseq(rytm3),Pseq(rytm4),Pseq(rytm5),Pseq(rytm6),Pseq(rytm7),Pseq(rytm8),Pseq(rytm9),Pseq(rytm10),Pseq(rytm11)]*0.4, 1), \freq, Pseq([Pseq(bark13, 11)], 11) ); h = Pbind( \instrument, \sinePerc, \dur, durat*1.15, \amp, Pseq([Pseq(rytm1),Pseq(rytm2),Pseq(rytm3),Pseq(rytm4),Pseq(rytm5),Pseq(rytm6),Pseq(rytm7),Pseq(rytm8),Pseq(rytm9),Pseq(rytm10),Pseq(rytm11)]*0.3, 1), \freq, Pseq([Pseq(bark15, 11)], 11) ); i = Pbind( \instrument, \sinePerc, \dur, durat*1.17, \amp, Pseq([Pseq(rytm1),Pseq(rytm2),Pseq(rytm3),Pseq(rytm4),Pseq(rytm5),Pseq(rytm6),Pseq(rytm7),Pseq(rytm8),Pseq(rytm9),Pseq(rytm10),Pseq(rytm11)]*0.2, 1), \freq, Pseq([Pseq(bark17, 11)], 11) ); j = Pbind( \instrument, \sinePerc, \dur, durat*1.19, \amp, Pseq([Pseq(rytm1),Pseq(rytm2),Pseq(rytm3),Pseq(rytm4),Pseq(rytm5),Pseq(rytm6),Pseq(rytm7),Pseq(rytm8),Pseq(rytm9),Pseq(rytm10),Pseq(rytm11)]*0.15, 1), \freq, Pseq([Pseq(bark19, 11)], 11) ); k = Pbind( \instrument, \sinePerc, \dur, durat*1.21, \amp, Pseq([Pseq(rytm1),Pseq(rytm2),Pseq(rytm3),Pseq(rytm4),Pseq(rytm5),Pseq(rytm6),Pseq(rytm7),Pseq(rytm8),Pseq(rytm9),Pseq(rytm10),Pseq(rytm11)]*0.1, 1), \freq, Pseq([Pseq(bark21, 11)], 11) ); Pseq([a,Ppar([a,b]),Ppar([a,b,c]),Ppar([a,b,c,d]),Ppar([a,b,c,d,e]),Ppar([a,b,c,d,e,f]),Ppar([a,b,c,d,e,f,g]),Ppar([a,b,c,d,e,f,g,h]),Ppar([a,b,c,d,e,f,g,h,i]),Ppar([a,b,c,d,e,f,g,h,i,j]),Ppar([a,b,c,d,e,f,g,h,i,j,k]) ],1).play; )

open society priciples

This is a very compelling suggestion for open world principles. The idea of filter is important to his sense of the problems with open society. Hearing this, it occurs to me that openness either began in the arts of the 1950-70's or it has yet to happen. His Four Principles are 1. Collaboration 2. Transparency 3. Sharing 4. Empowerment The music at the end seemed a bit off to me and not just because it is cliche, but rather, because it is about a hierarchical counterpoint system, where the ground bass reigns. That hierarchy is exactly what he is arguing against. On the other hand, the interdependence and the ascent of the individual from the masses is appropriate. What I think is more realistic is a higher degree of granularity in the sense of sound. The starlings provide a decent illustration, but I prefer the notion of clouds and weather, where the "individual" undergoes transformations and mutations.

some videos and classic electronic music

The first human birth in an MRI Squid pigment cells

MAKING OF POINTS IN SPACE from ducroz on Vimeo.

This would be amazing in sound and is sort of where I am headed these days.

POINTS IN SPACE from ducroz on Vimeo.

This is a great listen

Design Questions

Design Questions

Japanesse Noise

A good mix from C. Spencer Yeh Tracklist (note: all tracks are edited for the purposes of this mix) 01. Violent Onsen Geisha 'Heavy Introduction' 02. Government Alpha 'Anonym Slander' 03. The Gerogerigegege 'Nothing to Hear, Nothing to... 1985' 04. K2 'We Destroyed Barcelona Again' 05. Aube 'Aquatremble 2' 06. Merzbow 'Chant 2 (Part 1)' 07. Hedlah 'Proud Flesh' 08. Solmania 'Panic Bend Rock' 09. MSBR 'Psychic Blue' 10. Incapacitants 'Necrosis' 11. Masonna 'Spectrum Ripper (Part XVII/Part XII)' 12. Hanatarash 'We Are 0:00' 13. Killer Bug 'One-Eyed Nudist' 14. Monde Bruits 'Continuum' 15. Hijokaidan 'What A Nuisance!' 16. Masomania 'Burn Me Fast' 17. C.C.C.C. 'Loud Sounds Dopa (Part II)' 18. Gomikawa Fumio 'Satan's Tail, Santa's Head' 19. Niku-Zidousha 'Untitled' 20. Flying Testicle 'Testicle Rider' 21. Pain Jerk 'Crack n' Roll' 22. Kazumoto Endo 'Itabashi Girl'

Violin/Feedback Improvs

This image works for these recordings. It has been a while since I have made posted something I made. I was doing some experiments with a bit of SuperCollider Code for feedback and violin this today. Some great moments in there. The delay creates a great harmonization and loop depending on the volume of the input. This is the SC code

( play {        var delay = 0.01;        DelayC.ar(SoundIn.ar, delay*2, delay + (SinOsc.ar(MouseX.kr(10,1000,\exponential))*MouseY.kr(0,delay))); }; ) // You all know what the violin source code is, so I won't post it.

Funny part about it, sometimes got stuck in the loop and I could not hear it until I listen back to the recording. Maybe it is best to call this improvised chamber music, the computer code did not know what amplitude and frequencies I would provide and I did not know how it would react. I love dynamic systems. vlnFdbk1 vlnFdbk2

MashUps

Omicron

Good Production values in the intro. The Batman esque strings are really not compelling, but the pure electronic sounds have a great design. Nice eye candy as well.

Bruce Sterline Film

Dunne and Raby, "Technological Dream Series No. 1: Robots," 2007, By Bruce Sterling

John Baldessari

John Baldessari Entertaining short presenting objects and the man.