SPECIAL ISSUE 15 MARTIN DAILY BOARD: Difference between revisions

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<i>For my sound piece I worked on a 20 seconds looped sample of the track called Beat Box (Diversion One) from Art of Noise (1984) that I recorded  some years ago and more recently transformed to 1 Beat per second. With the help of SonicPI, I am  questioning how musical or/and sound echo, overlap and reverberation can affect the listener's mental perception of the space where the music/sounds are being played.</i>
<i>For my sound piece I worked on a 20 seconds looped sample of the track called Beat Box (Diversion One) from Art of Noise (1984) that I recorded  some years ago and more recently transformed to 1 Beat per second. With the help of SonicPI, I am  questioning how musical or/and sound echo, overlap and reverberation can affect the listener's mental perception of the space where the music/sounds are being played.</i>


<br><br>




[[File:Sonic Pi Sample Deconstruction .png|thumb|left|For my sound piece I worked on a 20 seconds looped sample of the track called Beat Box (Diversion One) from Art of Noise (1984) that I recorded  some years ago and more recently transformed to 1 Beat per second. With the help of SonicPI, I am  questioning how musical or/and sound echo, overlap and reverberation can affect the listener's mental perception of the space where the music/sounds are being played.]]
[[File:Sonic Pi Sample Deconstruction .png|thumb|left|For my sound piece I worked on a 20 seconds looped sample of the track called Beat Box (Diversion One) from Art of Noise (1984) that I recorded  some years ago and more recently transformed to 1 Beat per second. With the help of SonicPI, I am  questioning how musical or/and sound echo, overlap and reverberation can affect the listener's mental perception of the space where the music/sounds are being played.]]


<br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br>
<syntaxhighlight lang="python" style="border:1px dashed black">
#PLAY THE TRACK ONCE IN NORMAL MODE, NO ECHO, NO REVERB, NO TIME-STRECHING TO GIVE TO THE LISTENER AN IDEA OF WHAT MATERIAL I AM WORKING WITH
with_fx :reverb do
  sample "/Users/martin/Desktop/LoopA.aiff", rate: 1, attack: 1
  sample "/Users/martin/Desktop/1.aif", rate: 1, amp: 10
  sleep 20.05
end
#PLAY THE TRACK ONCE (WITH DECAY AND RELEASE) AND OVERLAP IT WITH THE SAME TRACK PLAYED AT 50% SPEED, DECAY AND RELEASE ONE SECOND AFTER
with_fx :reverb do
  with_fx :echo, phase: 1, decay: 16 do
    sample "/Users/martin/Desktop/LoopA.aiff", rate: 1, release: 16, amp: 1
    sample "/Users/martin/Desktop/1.aif", rate: 1, amp: 10
    sleep 1
  end
end
with_fx :reverb do
  with_fx :echo, phase: 2, decay: 8 do
    sample "/Users/martin/Desktop/LoopA.aiff", rate: 0.5, release: 8, amp: 0.75
    sample "/Users/martin/Desktop/2.aif", rate: 1, amp: 10
    sleep 20
  end
end
#PLAY THE TRACK ONCE (WITH DECAY AND RELEASE) AND OVERLAP IT WITH THE SAME TRACK PLAYED AT 50% SPEED, DECAY AND RELEASE ONE SECOND AFTER AND ON AND ON AND ON AND ON (X5)
with_fx :echo, phase: 1, decay: 16 do
  sample "/Users/martin/Desktop/LoopA.aiff", rate: 1, release: 16, amp: 1
  sample "/Users/martin/Desktop/1.aif", rate: 1, amp: 10
  sleep 1
end
with_fx :reverb do
  with_fx :echo, phase: 2, decay: 8 do
    sample "/Users/martin/Desktop/LoopA.aiff", rate: 0.5, release: 8, amp: 0.75
    sample "/Users/martin/Desktop/2.aif", rate: 1, amp: 10
    sleep 1
  end
end
with_fx :reverb do
  with_fx :echo, phase: 4, decay: 4 do
    sample "/Users/martin/Desktop/LoopA.aiff", rate: 0.25, release: 4, amp: 0.5
    sample "/Users/martin/Desktop/3.aif", rate: 1, amp: 10
    sleep 1
  end
end
with_fx :reverb do
  with_fx :echo, phase: 8, decay: 2 do
    sample "/Users/martin/Desktop/LoopA.aiff", rate: 0.125, release: 2, amp: 0.25
    sample "/Users/martin/Desktop/4.aif", rate: 1, amp: 10
    sleep 1
  end
end
with_fx :reverb do
  with_fx :echo, phase: 16, decay: 1 do
    sample "/Users/martin/Desktop/LoopA.aiff", rate: 0.1, release: 8, amp: 0.1
    sample "/Users/martin/Desktop/5.aif", rate: 1, amp: 10
    sleep 40
  end
end
</syntaxhighlight>


====Nami/Pongie/Martin Description====
====Nami/Pongie/Martin Description====

Revision as of 08:41, 13 May 2021

Overview



Links





Hotlines



Pads





Keywords



_ making of worlds. language, science, technology : these forces produce worlds. world doesn't exist w/o language, language is an active part of the world

  • The poetic of relations (Eduard Glissant)
  • Entanglement (Karen Barad)

_ entanglement assumes that we have different things that are being knotted together _ state of being knotted together Denise Ferreira Da Silva: introduces "implicancies" things be co-response-able for each other starting point is particles

  • Response-ability (Barad + Haraway)
  • Implicancies (Denise Ferreira Da Silva)

_ The term "implicancies" brings together: entanglement, response-ability & relations. That is why this SI is called Radio Implicancies

  • Techno-epistomologies:

_ Technological knowledge systems [metadata etc how algorithms produce data]

  • Techno-ontology: How social media puts a filter on the world. We know a lot about bodies through scanning technologie. In line with that: algorithms are part of the world, while structuring the world. So when it is claimed to work on "fair AI" or "fair algorithms", algorithms are placed outside the worlding forces.

_ Donna Haraway's frames of references: biology, US based, 75 year old https://www.youtube.com/watch?v=J2DcAf16zeI _ 2nd person that is important in thinking through relations: Eduart Glissant in French context.

Ressources



From https://pzwiki.wdka.nl/mediadesign/Implicancies_Resources

Watching / listening

Reading



Sketch a musical composition



  • Each of the 2 system login sounds slowed down as a starter

Legend Radio with Louisa



Louisa and I created a musical dialogue between Microsoft and Mac operating sound systems. In order to create this soundtrack, we first used Musiclab, a Google song maker allowing to make simple songs with visual patterns. In a second step, we tryed to remake our song with Earsketch, a sound editor working with Python language. By refering to Musicalab visual pattern, we could quiet easily understand how to reconstruct our track in Python. Some screenshots bellow will eventually even show so visual links between the two things! 

#		python code
#		script_name:
#
#		author:
#		description:
#

from earsketch import *

init()
setTempo(115)

# Add Sounds
fitMedia(MARTINFOUCAUT_STARTUP_CUSTOM , 15, 1, 3)
fitMedia(MARTINFOUCAUT_START_UP_WINDOWS2, 16, 1.5, 4)
fitMedia(MARTINFOUCAUT_STARTUP20, 15, 19, 26)
fitMedia(MARTINFOUCAUT_EVERY_WINDOWS_STARTUP_SHUTDOWN_SOUND_TRIM, 16, 19, 20)
#fitMedia(MARTINFOUCAUT_LOOPE, 5, 20, 30)
#fitMedia(MARTINFOUCAUT_LOOPF, 6, 25, 35)
#fitMedia(MARTINFOUCAUT_LOOPG, 7, 30, 40)
#fitMedia(MARTINFOUCAUT_LOOPH, 8, 35, 45)
#fitMedia(YG_RNB_TAMBOURINE_1, 10, 1, 5)
#fitMedia(YG_FUNK_CONGAS_3, 11, 1, 5)
#fitMedia(YG_FUNK_HIHAT_2, 12, 5, 9)
#fitMedia(RD_POP_TB303LEAD_3, 13, 5, 9)

 
# Effects fade in
#setEffect(1, VOLUME,GAIN, -20, 5, 1, 10)

# Fills
fillA = "----0-------0-------0-------0---"
fillB = "0-00------0---0-0-00------0---0-"
fillN = "0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-"


fillC = "--------------0---0---0---0-----"
fillD = "--0--0--0--0----0---0-----0-0-0-"
fillE = "-0--0--0--0---0---0---0---------"
fillF = "0--0--0--0------0---0-----0-0-0-"

fillG = "----------------------0-------0-"
fillH = "---0--0--0--0-------------------"
fillI = "-------------0--------0---------"
fillJ = "--------------0------0------0---"
fillK = "------------0---0---0--------0--"
fillL = "------------------------------0-"
fillM = "------------0---0---0--00---0---"

makeBeat(MARTINFOUCAUT_WINDOWS_RECYCLE2, 12 , 3, fillA)
makeBeat(MARTINFOUCAUT_BASSO, 13, 3, fillB)

makeBeat(MARTINFOUCAUT_SPEECH_MISRECOGNITION, 14, 2, fillN)
makeBeat(MARTINFOUCAUT_SPEECH_MISRECOGNITION, 14, 4, fillN)
makeBeat(MARTINFOUCAUT_SPEECH_MISRECOGNITION, 14, 6, fillN)
makeBeat(MARTINFOUCAUT_SPEECH_MISRECOGNITION, 14, 8, fillN)
makeBeat(MARTINFOUCAUT_SPEECH_MISRECOGNITION, 14, 10, fillN)
makeBeat(MARTINFOUCAUT_SPEECH_MISRECOGNITION, 14, 12, fillN)
makeBeat(MARTINFOUCAUT_SPEECH_MISRECOGNITION, 14, 14, fillN)
makeBeat(MARTINFOUCAUT_SPEECH_MISRECOGNITION, 14, 16, fillN)
makeBeat(MARTINFOUCAUT_SPEECH_MISRECOGNITION, 14, 18, fillN)

makeBeat(MARTINFOUCAUT_WINDOWS_RECYCLE2, 12 , 4, fillA)
makeBeat(MARTINFOUCAUT_BASSO, 13, 4, fillB)

makeBeat(MARTINFOUCAUT_WINDOWS_RECYCLE2, 12 , 6, fillA)
makeBeat(MARTINFOUCAUT_BASSO, 13, 6, fillB)

makeBeat(MARTINFOUCAUT_WINDOWS_RECYCLE2, 12 , 8, fillA)
makeBeat(MARTINFOUCAUT_BASSO, 13, 8, fillB)

makeBeat(MARTINFOUCAUT_WINDOWS_RECYCLE2, 12 , 10, fillA)
makeBeat(MARTINFOUCAUT_BASSO, 13, 10, fillB)

makeBeat(MARTINFOUCAUT_WINDOWS_RECYCLE2, 12 , 12, fillA)
makeBeat(MARTINFOUCAUT_BASSO, 13, 12, fillB)

makeBeat(MARTINFOUCAUT_WINDOWS_RECYCLE2, 12 , 14, fillA)
makeBeat(MARTINFOUCAUT_BASSO, 13, 14, fillB)

makeBeat(MARTINFOUCAUT_WINDOWS_RECYCLE2, 12 , 16, fillA)
makeBeat(MARTINFOUCAUT_BASSO, 13, 16, fillB)

makeBeat(MARTINFOUCAUT_WINDOWS_DING4, 1, 6, fillC)
makeBeat(MARTINFOUCAUT_WINDOWS_DING3, 2, 6, fillD)
makeBeat(MARTINFOUCAUT_WINDOWS_DING2, 3, 6, fillE)
makeBeat(MARTINFOUCAUT_WINDOWS_DING1, 4, 6, fillF)

makeBeat(MARTINFOUCAUT_WINDOWS_DING4, 1, 8, fillC)
makeBeat(MARTINFOUCAUT_WINDOWS_DING3, 2, 8, fillD)
makeBeat(MARTINFOUCAUT_WINDOWS_DING2, 3, 8, fillE)
makeBeat(MARTINFOUCAUT_WINDOWS_DING1, 4, 8, fillF)

makeBeat(MARTINFOUCAUT_WINDOWS_DING4, 1, 12, fillC)
makeBeat(MARTINFOUCAUT_WINDOWS_DING3, 2, 12, fillD)
makeBeat(MARTINFOUCAUT_WINDOWS_DING2, 3, 12, fillE)
makeBeat(MARTINFOUCAUT_WINDOWS_DING1, 4, 12, fillF)

makeBeat(MARTINFOUCAUT_WINDOWS_DING4, 1, 16, fillC)
makeBeat(MARTINFOUCAUT_WINDOWS_DING3, 2, 16, fillD)
makeBeat(MARTINFOUCAUT_WINDOWS_DING2, 3, 16, fillE)
makeBeat(MARTINFOUCAUT_WINDOWS_DING1, 4, 16, fillF)


makeBeat(MARTINFOUCAUT_GLASS5, 5, 10, fillG)
makeBeat(MARTINFOUCAUT_GLASS, 6, 10, fillH)
makeBeat(MARTINFOUCAUT_GLASS2, 7, 10, fillI)
makeBeat(MARTINFOUCAUT_GLASS3, 8, 10, fillJ)
makeBeat(MARTINFOUCAUT_GLASS4, 9, 10, fillK)
makeBeat(MARTINFOUCAUT_GLASS7, 10, 10, fillL)
makeBeat(MARTINFOUCAUT_GLASS6, 11, 10, fillM)

makeBeat(MARTINFOUCAUT_GLASS5, 5, 12, fillG)
makeBeat(MARTINFOUCAUT_GLASS, 6, 12, fillH)
makeBeat(MARTINFOUCAUT_GLASS2, 7, 12, fillI)
makeBeat(MARTINFOUCAUT_GLASS3, 8, 12, fillJ)
makeBeat(MARTINFOUCAUT_GLASS4, 9, 12, fillK)
makeBeat(MARTINFOUCAUT_GLASS7, 10, 12, fillL)
makeBeat(MARTINFOUCAUT_GLASS6, 11, 12, fillM)

makeBeat(MARTINFOUCAUT_GLASS5, 5, 14, fillG)
makeBeat(MARTINFOUCAUT_GLASS, 6, 14, fillH)
makeBeat(MARTINFOUCAUT_GLASS2, 7, 14, fillI)
makeBeat(MARTINFOUCAUT_GLASS3, 8, 14, fillJ)
makeBeat(MARTINFOUCAUT_GLASS4, 9, 14, fillK)
makeBeat(MARTINFOUCAUT_GLASS7, 10, 14, fillL)
makeBeat(MARTINFOUCAUT_GLASS6, 11, 14, fillM)

finish()


LT_MF_EarchsetchCapture_01
LTMF_MusicLab_Song01























Eachsketch_Pattern_01























Working with audio interpolations



What did I do?
<br< Transforming a text into a question/answer text, make it read by a computer Interpolating the readen text with Who wants to be a billionaire ambiant soundtrack with THX intro and I Feel Love (acapela) from Donna Summer

Original 

"Barry Popper’s cruel step-parents make him live in a skip in the driveway of their house. Barry’s stepsister is spoiled and fed cake and ice cream while Barry eats cold spaghetti and licks empty crisp bags. One day a fox delivers a telegram which informs Barry that he has a place in Stinkwort’s Academy. Barry is instructed to go to departure gate 27-and-a-half at Local Airport at such-and-such a time. On arrival he is escorted on to a helicopter by the crew of friendly badgers.  On the plane he sits next to fellow Stinkworter, Ginger Boozy. 'Hello, you must be Barry" says Ging...'



Retelling a Story



Question 1
A”Barry Popper’s" cruel step-parents make him live in a skip in the driveway, of?
Answer C
their house.

Question 2
Barry’s stepsister is?
Answer A
spoiled and fed cake and ice cream while
Question 3
Barry eats?
Answer A.
cold spaghetti and licks empty crisp bags.

Question 4
One day a fox delivers a telegram which informs Barry that?
Answer D.
he has a place in Stinkwort’s Academy.

Question 5
Barry is instructed to go to departure gate 27-and-a-half at?
Answer B.
Local Airport at such-and-such a time.

Question 6
On arrival he is escorted on to a helicopter by?
Answer B.
the crew of friendly badgers.

Question 7
On the plane he sits next to?
Answer A.
fellow Stinkworter, Ginger Boozy

https://pad.xpub.nl/p/martinfoucaut_interpolation

Streching audio space/time perception (with sample interpolation, overlap, looping and echoing)

With Sonic Pi and as part of the team with Naami and Jacopro, I am working on time perception, by looping, overlapping and sketching a single track more and more untils it becomes a single constant note.
For what I am doing I could take as a reference this https://www.youtube.com/watch?v=mjnAE5go9dI&list=LLfu-Fy4NjlpiIYJyE447UDA&index=27&t=2743s "the recordings consist of tape loops that gradually deteriorated each time they passed the tape head, the unexpected result of Basinski's attempt to transfer his earlier recordings to digital format."

Here it is more about a media deterioration than streching the audio space perception, but the process is pretty much the same, so I found relevant to keep this in mind.

Broadcast 3

Personal track description

For my sound piece I worked on a 20 seconds looped sample of the track called Beat Box (Diversion One) from Art of Noise (1984) that I recorded some years ago and more recently transformed to 1 Beat per second. With the help of SonicPI, I am questioning how musical or/and sound echo, overlap and reverberation can affect the listener's mental perception of the space where the music/sounds are being played.




For my sound piece I worked on a 20 seconds looped sample of the track called Beat Box (Diversion One) from Art of Noise (1984) that I recorded some years ago and more recently transformed to 1 Beat per second. With the help of SonicPI, I am questioning how musical or/and sound echo, overlap and reverberation can affect the listener's mental perception of the space where the music/sounds are being played.





















#PLAY THE TRACK ONCE IN NORMAL MODE, NO ECHO, NO REVERB, NO TIME-STRECHING TO GIVE TO THE LISTENER AN IDEA OF WHAT MATERIAL I AM WORKING WITH
with_fx :reverb do
  sample "/Users/martin/Desktop/LoopA.aiff", rate: 1, attack: 1
  sample "/Users/martin/Desktop/1.aif", rate: 1, amp: 10
  sleep 20.05
end

#PLAY THE TRACK ONCE (WITH DECAY AND RELEASE) AND OVERLAP IT WITH THE SAME TRACK PLAYED AT 50% SPEED, DECAY AND RELEASE ONE SECOND AFTER 

with_fx :reverb do
  with_fx :echo, phase: 1, decay: 16 do
    sample "/Users/martin/Desktop/LoopA.aiff", rate: 1, release: 16, amp: 1
    sample "/Users/martin/Desktop/1.aif", rate: 1, amp: 10
    sleep 1
  end
end

with_fx :reverb do
  with_fx :echo, phase: 2, decay: 8 do
    sample "/Users/martin/Desktop/LoopA.aiff", rate: 0.5, release: 8, amp: 0.75
    sample "/Users/martin/Desktop/2.aif", rate: 1, amp: 10
    sleep 20
  end
end

#PLAY THE TRACK ONCE (WITH DECAY AND RELEASE) AND OVERLAP IT WITH THE SAME TRACK PLAYED AT 50% SPEED, DECAY AND RELEASE ONE SECOND AFTER AND ON AND ON AND ON AND ON (X5)

with_fx :echo, phase: 1, decay: 16 do
  sample "/Users/martin/Desktop/LoopA.aiff", rate: 1, release: 16, amp: 1
  sample "/Users/martin/Desktop/1.aif", rate: 1, amp: 10
  sleep 1
end

with_fx :reverb do
  with_fx :echo, phase: 2, decay: 8 do
    sample "/Users/martin/Desktop/LoopA.aiff", rate: 0.5, release: 8, amp: 0.75
    sample "/Users/martin/Desktop/2.aif", rate: 1, amp: 10
    sleep 1
  end
end

with_fx :reverb do
  with_fx :echo, phase: 4, decay: 4 do
    sample "/Users/martin/Desktop/LoopA.aiff", rate: 0.25, release: 4, amp: 0.5
    sample "/Users/martin/Desktop/3.aif", rate: 1, amp: 10
    sleep 1
  end
end

with_fx :reverb do
  with_fx :echo, phase: 8, decay: 2 do
    sample "/Users/martin/Desktop/LoopA.aiff", rate: 0.125, release: 2, amp: 0.25
    sample "/Users/martin/Desktop/4.aif", rate: 1, amp: 10
    sleep 1
  end
end

with_fx :reverb do
  with_fx :echo, phase: 16, decay: 1 do
    sample "/Users/martin/Desktop/LoopA.aiff", rate: 0.1, release: 8, amp: 0.1
    sample "/Users/martin/Desktop/5.aif", rate: 1, amp: 10
    sleep 40
  end
end

Nami/Pongie/Martin Description

0916653+1005344+1007629 In a system dominated by measures, demanding an ever increasing synchronization between individuals and their environments, we propose "Spacing in Time" as a way to escape per-determined variables. Through these audio experiments, we encounter a new moment of experiencing different time flows. The radio turns into a time's perception box where various tools for time measurement and orientation are being de-fragmented and re-boot. While creating audio environments with sound repetitions, reverbs and echoes, the experiments lead to a sense of physicality which allows the full immersion into a broadcasted, time travelling. Shut down the clocks and de-synchronize yourself from the established recognition of time, while un-practicing your common perceptions.

Prototyping and Annotating





Pads





Tools





Individual Research



Links





Reading and Listening





Reading



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