I transcribed some notes on memory (allegedly) and added a soundfile-in-progress
#Almat news - many materials have now been published on the continuous exposition: https://www.researchcatalogue.net/view/381565/381566
Notably, you will find talk videos for 'Simulation and Computer Experimentation in Music and Sound Art' at Orpheus Ghent, and 'Algorithmic Spaces' at ZKM Karlsruhe.
#Mellite v2.38.1 is out - https://archive.org/details/Mellite - including the Negatum genetic programming object. I also published a new tutorial for that object: https://peertube.social/videos/watch/0ae57dac-5f7d-4f0b-87e8-7d49250bb1da
My colleague confirmed this impression; seems to require closed headphones. My theory is that we "hear" a spectrally complementary function, for example notches when there where strong partials, similar to how we see negative afterimages when we look at a static image for a while and then move the eyes to something else.
There is a reference from German psycho-acoustician Zwicker about an "acoustical aftertone", describes as sine components after prolonged hearing of a notched noise.
Another interesting genetically programmed sound: https://open.audio/library/tracks/42839/
scalacollider-code for that sound:
val freq0 = Seq(1.0, 1.02).map(_ * 8.824352)
val freq2 = Seq(1.0, 0.994).map(_ * 7860.8604)
val xi = LFSaw.ar(freq = freq0, iphase = 0.0)
val freq_0 = xi clip2 0.011223611
val lFDNoise3 = LFDNoise3.ar(freq_0)
val cuspN = CuspN.ar(freq = freq2, a = 1.0, b = 0.0, xi = xi)
val mix = Mix(lFDNoise3, cuspN))
val sig = Limiter.ar(LeakDC.ar(mix.clip2(1.0)) * 0.5)
There is a peculiar phenomenon with "strict" repetitive electronic sounds that I noticed a few times. When listening to these sounds for prolonged durations (a minute or two suffice) via headphones, then turning them off, all your "natural" acoustic environment has a strange modulation to it. E.g. with the following sound, the acoustic "after image" I have is some "bubbly" or "fft-ish" modulation of my environment. Guess it's a neural-physiological thing:
https://open.audio/library/tracks/42838/ (try with loop)
About this account
I'm a sound and digital artist, interested in installation and intermedia, improvisation and electronic/electroacoustic music. I develop a bunch of open source software.
I keep only one account, so the toots are a mix of sound/art focused things, random thoughts, and few rants (CW'd, and you don't need to share my opinion). I'm friendly/respectful 🍍 + aim to keep an open mind.
Account is locked (allow time to review), because I don't want bots and nazis to follow me. Thx 🌈
The info is that James McCartney will be talking about his new language project which "draws on ideas from APL", code is compiled and stored in database (why that sounds familiar LOL?), but no pre-compiled UGens but live DSP code. Exciting!
Back to working with the genetic synth-def programming in #Negatum ; I will try to integrate that soon into mainline Mellite. Now trying to automatically reduce the redundant graphs (replace constants, replace duplicate UGen signals). Here is a nice one:
(should I use mp3 directly now in mastodon or stick to funkwhale?)
I learned a word last week: Petrichor - it's the amazing type of smell you get when the streets are dusty and it just begins to rain
Having a great time at #xCoAx in Milano.
Yesterday also came the great news that our project 'Algorithmic Segments' will be supported by the cultural office of #Graz for 2020, which will run up to and including the joint Almat + xCoAx conferences next year, building an exhibition distributed across the city.
Calls will be prepared for autumn this year.
Been hacking on a fully modulatable convolution UGen for #FScape (2). Seems to be working finally, allowing some funky things like quasi-continuous brickwall frequency filtering using dynamic windowed-sinc kernels 🤓 .
Next I want to try this as anti-aliasing filters for synchronous frequency shifting.
(sadly the "slides" are recorded only as stills so the parts that have short videos are missing, also the demo is a bit difficult to follow without continuous screen capture.)
Making a postcard series for combo xCoAx 2020 / Almat 2020 conference and symposium (they will be available week after next at xCoAx 2019). I split the Almat motif set into two, using different parametrisation of the Neural Gas algorithm to trace my handwriting. I like both qualities, one is perhaps the gothic variant (gloomy like a Murnau), the other is more constructivist.
Status: rendering a series of images for an upcoming #Almat2020 postcard. The sequence is - tablet/hand writing -> growing neural gas -> DSP compositing.
Sound Artist, Composer, Researcher
The social network of the future: No ads, no corporate surveillance, ethical design, and decentralization! Own your data with Mastodon!