Intro music

Reply to Angelo Carretta track list

Man these tracks are awesome! I do wondered if some may be too action representing compare to the amount of action that is actually with in the play. "The Devil came to Georgia" has the perfect lyrical content but seems a bit too happy. I personally like "Dark Model - Judgment Day", it's Not too epic, not too happy, and it gives off the feeling of doom. With that being said, it all depends on how we as a class want the audience to feel before it's showtime. Comfortable, anxious, scared, worried, creeped out, we have the power.

Pre Show Tracks

Some dark and driving orcehestral tunes to set the mood:

https://www.youtube.com/watch?v=Ms7Qu3XcwVo

https://www.youtube.com/watch?v=cDm_ZHyYTrg

http://www.youtube.com/watch?v=ImCLTyEVQ-I

http://www.youtube.com/watch?v=KimaSZJezjk

Ableton and Largo Waldorf

Principles and Practice of Electronic Music

Sorry it's taken so long to post about what I've read from the book I borrowed, Principles and Practice of Electronic Music by Gilbert Trythall. I got caught up learning about conductors and transmitters and then realized I still didn't understand the bulk of it. Kept reading about analogue recording though.

It's amazing to me that just how the recording process was considering what it is today. Today, you can hover your mouse over an audio region, then splice it, copy it, comp it, and the quality remains pretty constant, unless the edits are bad. But reading about how it used to be done is fascinating. The tape machine had three heads that read the magnetized tape. The play back head the recording head and the erasing head. Each just as important as the next. Initially the playback and the recording head were as one, but oodles of latency issues arose from that because it took milliseconds longer to record within the same timeline as the playback. This was corrected through manually adjusting the tapes so they were aligned properly. To reduce this hassle, they made one head into two heads.

Also, because of the limited amount of different tracks you could have started at 2 (then 4 and 8, then 16 to 24) you were required to comp any finalized track to an already existing track and then work with the track availability you have. However, through comping, you were also compromising the sound quality every time you have to re-magnetize the audio. Nowadays, you have unlimited amounts of digital track availability. Also, even if you are limited to a track number, digital comping leaves a lot less audible artifacts. Its taken the science and engineering out of it, but digital recording has most certainly progressed the quality of music and ease of recording.

Pre Show Music

It's hard to pick two songs. These are the songs I have arrived at, at least today, for the pre music.

They are not listed in any order of favoritism.

Behemoth- Lucifer. Warning: This video is NSFW. I didn't realize Youtube would have this type of content. I found it amusing until I started feeling disturbed.  The lyrics are in Polish, thankfully. Very black metal. Theatrical and dramatic. I'm pretty sure Mephistopheles is following them on twitter. 

Sun 0)))- Big Church This band, along with Earth, are pioneers of drone metal. Big Church has a great chorus intro that evokes an exorcism like feeling which then inter mingles with the drones of distortion. In my mind this one is perfect for Faustus. 

ISIS- Wills Dissolve and False Light(Ayal Naor Remix) These tunes are by post-metal band ISIS. They are lush with driving distortion and feel more melodic than the other songs I have.

Scorn-Scorpionic. This is a project that was anchored by former Napalm Death drummer Mick Harris. Heavy bass and pounding drums. It's a metal, dub, and industrial hybrid with spooky cyclic momentum. Mick Harris also had a dark ambient project called Lull.

Godflesh- Antihuman Godflesh is a band who is fronted by Justin Broadrick( Jesu, Techno Animal, FINAL) Lots of hard buzzing bass and a pulsing drum track. Lyrics are a bit out of context but I like it anyway.

Other considerations I have are Crash Worship, Kaniba, Warhorse, Earth, Pelican, Swans, Anaal Nathrakh, Mogwai. 

Daft Punk's Vocoder

Been listening to Daft Punk's stuff, and boy is it vocoder heavy. In this song specifically, they use the vocoder to play the melody as opposed to building harmonies, such that of Imogen Heap and Laurie Anderson. What can be most speculated about their production process concerning the vocoder is that they laid down the verbage and the spoken words and looped it throughout the song while changing the vocoder's melodic input.

In their newer form, Daft Punk teamed up with highly acclaimed hip-hop producer Pharrel Williams to bust out a summer album. Pharrel's natural harmonies play a strong counterpart to Daft Punk's vocoded/arpeggiated sound in lose yourself to dance. Daft's "C'mon"s are a great filler that allows the listener to extend their listening experience from a traditional funk sound to a revamped, renovated funk sound that has a higher emphasis on Daft's electro history.

Keeping with the theme, I found an interesting video on vocoding drums, something I wouldn't have thought to try out.

Sounds

So I was thinking this Sound Effect might be cool for when Mephistopheles enters the scene: http://www.youtube.com/watch?v=QpQQ7UZ7brA This is the sound the Tripods made from the movie War of the Worlds. For the last week I racked my brain for this sound, trying to remember when/where I had heard, I could recall it but not the source. Finally after some desperate Google searches I found it. It's a bit heavy on the mechanical side but I know that idea was tossed around during class.

I have a few songs that I came up with for the preshow.

The first song is called Denied by Sonic Syndicate, the are a rock back with some scream, however and thankfully it's not the very girly kind of scream you so often hear so I figured it would fit fairly well. http://www.youtube.com/watch?v=0t0FGyhB6C8 They have quite a few songs that I think might fit well in the preshow.

Second I have the song Amaranth by Nightwish: http://www.youtube.com/watch?v=dSs4xfvATjc it has a female lead singer, I am not sure if this is against what the directer is looking for but its a heavy song without any scream, however it does give off the feel of epicness without being so much like Dragonforce.

Third I have, If I had a Heart by Fever Ray: http://www.youtube.com/watch?v=EBAzlNJonO8 This song gives off such eerie and ominous feeling, a really great song for ambiance. It's also very light on lyrics and is void of any scream, which could be a nice change for those who don't like it much.

Fourth is specifically an artist Trent Reznor, he has a lot of music that could fit well and many of it is great ambient pieces. Specifically if you just Google search the genre "Ambient Electroacoustic Experimental" you'r bound to come up with some great pieces, such as Ghost 1: https://www.youtube.com/watch?v=JA5rc4M-YrA&list=PLYlOTEbCyafDxx7EpgtQfy0y-p849m_Sd

Fifth is a song called Brennisteinn by Sigur Ros: https://www.youtube.com/watch?v=Oc6zXSdYXm8 It's weird and creepy, especially if you watch the official music video.

If you notice my choices are all very different but in a way very similar to each other as well based on the idea that they all are very applicable to the play's preshow or post show. I have plenty more possible songs for the preshow/postshow that have the same characteristics as these few. So if we decided to go with anything similar to what I have posted, it should be pretty easy to find more that'll fit along side it.

I read through the script and I was very disappointed by the lack of scene description and other happenings outside of the dialogue, which makes our job both easier and harder when it comes to adding sound effects aside form a musical soundtrack. Only a few stood out to me, most of them were entrances we could do interesting sounds for, such as when Mephistopheles enters as well as the angel and daemon. There were ever few highlights sound effects, one I did notice was the sound of thunder.

Main Scene and their page numbers.

For the consideration of atmospheric sounds for scenes. 

 

Dorm

Page 1-5

Outside club

5-6

Dorm

6-9

Outside (Park)

9-11

Dorm

11-20

Vatican

21-23

Outside Merchant’s Shop

23-25

Throne 1

25-30

Throne 2

30-31

Dorm

31-END

Main Scenes for Dr. Faustus

These are the scene locations for the modern Dr. Faustus that the director has listed for the Digital Projection Class. This should help with the atmospheric audio we can create.
1. Dorm room
2. Outside Club
3. Outside (park/campus)
4. Throne Room A
5. Throne Room B
6. Church (Vatican)
7. Outside Merchant Shop

e.e. cummings: Ambient Dub Poet

This was my first hack at a "composition" using VSTs,  custom generated beats and bassline from my microKorg, reverb and delay, etc. The practice basically made me aware of the techniques that I should glean from the lessons and manual to get a better result.

Free Reaktor Ensembles

http://boscomac.free.fr/?p=rack

Feeling it- (Ableton)

COMMENTS ON CLASSMATES LOOPS with audacity

COMMENTS ON CLASSMATES LOOPS Sorry guys I had this in my drafts, guess I never sent it. Angelo — The Sounds you collected fit well together in loops 1 and 2. Each loop had a mysterious feel to them. I can see Loop 2 being used in a commercial advertising perfume with an Indian influence. Loop 3 has a happy feel to it. Loop 3 has a higher tempo relative to the first two loops. The vocals used throughout your loops definitely creates an emotional mood that is recognizable. Muzak II (user624352967) — Your first loop has a musical feel. I feel as if you are a fan of dubstep and musical rhythm. If this is true, you did a nice job with having a versatile collection of sounds. However, I would have liked to hear more sounds in loop 2 and 3. I could only catch about three or four sound distinctions in “Dark”. Loop 2 was best to me because it didn’t have any recognizable sound other than the vocals. TDoughty — I like how you handle the beginnings and ends of your loops by being selective with what is the first or last sound you hear. For example the ocean sound in “Ocean Chains”. Wish you would have left the names of your loops untitled. Giving them names limits your audience interpretation. With the titles there, my mind wonder to the subject of the sound and I lose the mysteriousness of the sound because I already have a sense of it before I listen to it. The second loop had a few nice transitions to stir up the mood and felling. Improvising by adding the two tones instead of using cords was creative and they worked cohesively. SOUND DESIGNERS FROM UBUWEB Dj Food from ubuweb, caught my attention just by the name. It was surprising to hear how well his sound was put together. It makes me wonder what makes a “sound designer” a sound designer. Are Djs more of sound designers or producers? Is their much of a difference? I’m asking questions be cause I honestly don’t know but wonder about these things. His pop edgy sounds like a typical Dj but he showed attention to detail by combining sounds and artists a normal djs wound think about integrating

MIDI

I’ll be honest, before entering this course I always thought that Midi was just a keyboard instrument being used for scoring and writing music for sound and music programs. It is obviously a way more powerful instrument. I learned a lot reading the Wikipedia on Midi but I learned more about MIDI by experimenting with it in various programs. (Ableton 9, logic pro X, and FL Studio). Just by playing around with MIDI answer so many of my questions. One question that remains is, What counts as a midi controller? If I connect a midi keyboard, bass guitar, or drum machine to my computer, which of these are considered to be midi controllers? If I use an ipad to control a sequence in Logic Pro, is that considered a MIDI controller? So Many things are specific to MIDI that to me it seems almost to broad to label with one acronym. The wiki and other readings can explain everything there is to know about midi but what I look forward to most is getting hands on experience to go along with the new learned knowledge about it.

Curtis Roads (Granular Sythesis) Interview Videos

I was exploring Ubu Web and found myself at the GranularSynthesis.com website and these videos of an interview with Curtis Roads that I thought I should share. I liked the way he related his composition method to landscape architecture and creating space with sound. He also discusses the evolution of taking the methodology of Iannis Xenakis and transposing it to the digital realm.

MIDI Communication and Control

MIDI is a means of communication between musical instruments, computers, musical and show performance software, sequencers, and recording devices and allows one devise to control a number of others. MIDI messages can be sent through a MIDI link which can carry sixteen independent channels of information. A devise can listen to only one channel or it could listen to all channels. This capability greatly expands the range of composers, musicians and other artists ability to create, perform, and manipulate sounds and effects with a high degree of control and customization. For instance, MIDI sequencers allow composers to audition and edit their work much more quickly and efficiently than did older solutions, such as recording to multitrack tape. They improve the efficiency of composers who lack strong pianistic abilities, and allow untrained individuals the opportunity to create polished arrangements. Because MIDI is a set of commands that create sound, MIDI sequences can be manipulated in ways that prerecorded audio cannot.
MIDI can control the parameters of a synthesizer’s filters and envelops. When one of the controller numbers is assigned to a parameter the device will respond to any of the MIDI messages it receives. The tactile adjustment features of a MIDI keyboard controller( the knob, switches, and pedals) could all be used to send these messages.
As we have already learned, compositions can be turned into sequenced MIDI recordings and saved as a MIDI file that can be adjusted via computer software. Changing instrumentation, adding effects and filters, and changing tempo to a piece of music is possible.

 I know this may be premature but here are a couple of examples of  MIDI file embellishment I played with over the weekend. The first is a snippet of So What by Miles Davis

 The second is the full piece( I’m sorry), Adagio by Samuel Barber. If you have seen the movie Platoon you have heard it.

MIDI

MIDI basically seems like a musical language. It's a program or executable that can be read by certain software equipped to read it. The frequencies and pitches correlate to notes, and the notes, obviously, form into a melody or song. The original MIDI files themselves were actually quite small, making them ideal for early generation video games and computer software.

Weirdly enough, the MIDI style, which was originally intended as a composition format, actually became popularized due to the association with old-school video games. Things like chip tunes and 8 bit music evolved from the original compositions. They feature a focus on melody and lighter background instrumentation. Actually, there's a bit of a "genre" revolving around creating music using a Gameboy. 

Laurie Anderson

The first time I was actually exposed to Laurie Anderson was actually in a theater class. We were reviewing her performance of "Zero and One."

It was interesting because, the very first time I saw this video, I thought she was a man. It's obviously tricky to tell thanks to the manipulation of her voice, but it did make me wonder if she was trying to say something by doing that.

Well, regardless, while I really like her passion towards her projects and attempts at innovation, I can't say I'm a fan. She is very much a disciple of art, for better or for worse. To me, it sounds like the type of art that intentionally surrounds itself with vague lyrics and unorthodox instrumentation in order to truly set itself apart. And it certainly does that, but I can't say the music leaves me wanting more.

But I am extremely intrigued by her presentational style and instrumental pioneering. Her blending of spoken word with interludes of musical scores really makes her concert feel like a show, which can be really refreshing for some. The fact that she's not afraid to put herself out there for the sake of her art is really admirable, even if I don't necessarily agree with the end result.

As far as her instruments go, her creation of the tape bow violin is super interesting. I don't think Id ever use it, but it uses magnetic tape in the bow and the bridge to create an all new sound; different than an electric violin. She later used one that fired off midi samples when the strings contacted with the bow, which is bonkers. 

There Will Be Blood

Hey, I don't know if this is against the rules or something, but I just finished There Will Be Blood a few days ago, and it's a beaut. A really good movie. If you haven't seen it, I highly recommend it. It is super long, though (2 and a half hours!), so don't get into it unless you have the time. But, really, the reason I'm mentioning it is the music. John Greenwood, the guitarist for Radiohead, actually composed the soundtrack himself, and it's a fantastic use of contrapuntal sound. In parts, at least, which is why I bring it up. But first, just a really good song from the film:

That's just a great atmospheric track to listen to. Nothing really tricky production-wise, but it's a really fun song theoretically, with the piano and cello (I'm assuming it's cello) clashing with one another. And there's the calm and then there's the storm. Just a really good example of schiz without being too overbearing.

But it's the tracks that go out of their way to really let you know something's up that grabbed me. Especially in the shots they were used in. The scenes tended to be relatively uneventful (a man walking or a camera panning), but the suspense from the sound really but the viewer on edge. I feel tracks like these really express the dominance sound can have on an audience's entertainment experience:

How this all relates to something like Faust is that I feel it's a technique that we could utilize to create a sense of dread or foreboding in a way that isn't in-your-face creepy. I feel horror stems from subtlety, and I think this film is an excellent example of that controlled subtlety. 

Oscar Winners for Sound Editing/Design- Re-posted

I don't really put a lot of weight into the Oscar awards but I thought this would be an interesting point of examination. There are few movies that I watch more than once.  I usually focus on plot and film making during a first run. Think I will look back on some of these movies and listen instead of watch.
I wonder if anyone has a movie that they appreciated primarily because of the sound, or if the sound is what makes them return to a film.

Off the top of my head I would say 2001: A Space Odyssey is one for me. I know there are more.

Television Power Electric-brown was the color of her dress(then blue smoke)

This what a sound improve session sounds like. Television Power Electric is a changing group of electronic musicians who engage in dialogues of sound. There are so many techniques occurring and overlapping on this track  that it is hard for me to identify them. They are using subtractive synthesis, grain, and the gamut of oscillators, along with samples, turntables, and keyboards. 

This track name is a play on a Charles Mingus tune called Orange was the color of her dress(then blue silk).

Thomas Köner- Nuuk (Night)

Thomas Köner- Nuuk (Night) headphones recommended.
In this piece I am identifying low frequency modulations with a slow attack with gradual decay. Back in the mix are long delays of granulated shifting noises with possibly some added pink noise. There are celestial keys that come slowly out of the mix almost dominanting the piece at the end, suggesting twilight shifting to constellations in a moonless sky.
For me this is very dark music but it doesn’t evoke heavy gloom. The climax suggests light emerging out of the darkness.  The glacial speed of the low frequencies combined with the shimmering keyboards is peaceful but ominous.
Side note: Coincidentally  this artist composed a a digital opera, The Futurist Manifesto, inspired by the famous manifesto published in 1909 by Filippo Tommaso Marinetti, Pat posted earlier this week.
   

Modulations- The Movie

Over the weekend I watched the film Modulations. It is a brief history of electronic music that mainly focuses on the development of modern electronic dance music. Modulations touches on pioneers such as Pierre Henry, John Cage, and Karlheinz Stockhausen. There is also a  segment dedicated to Afrika Bambaataa and how developments in electronic music in Germany (Kraftwork) bleed into the Bronx’s evolving hip-hop scene. Another artist who is mentioned briefly is Japanese ambient musician Tetsu Inoue. The filmmakers show him walking around his apartment recording his microwave, door latch, and other everyday sounds that he incorporates into his compositions.
The film primarily examines the development of techno, jungle, house, industrial, and chill and how it ebbed and flowed along with the rave culture. There is also discussion about how the technology and in some cases economic access to technology shaped how the music was performed and designed. This aspect of the movie made a less interesting part of the film watchable.
There are some great interviewees, notably Bill Laswell, DXT, members of Can, and DJ Spooky, but with the exception of Genesis P-Orridge they just aren’t featured enough. If you are interested in late twentieth century dance music I would recommend this movie for you. But if you are looking for a real history electronic music I would advise you to keep on looking.

Imogen Heap

Thanks to the advancement of technology her song sounds a lot cleaner. With more effects such as auto tune, delay, and chorus flanger Imogen Heap sounds a lot better and spacy. Notice I used the word “song” even though it doesn’t have many musical instruments like “O Superman”, Imogen formats it more like a song with the traditional verse, chorus, bridge, etc. If not, at least it has part you can begin to identify as such. In Laurie Anderson’s “O Superman” I can even began to dissect it into a song format. I also use the word “song” because it had more actual singing involved. This acapella doesn’t have nearly as much vocal distortion compare to Anderson’s. Even though I have no experience with the tool, I have this hunch that Ableton live was use in this process of having her vocals still come out this clean. I appreciate the sound design in “O Superman” more but I’d rather listen to Heap.

O Superman - Laurie Anderson

Laurie Anderson experimented with this technique long before Imogen Heap, maybe before she was even born. But their techniques are very similar in sound usage. In “O Superman”, you rarely hear any sounds being used other than the artists vocals. You may hear strings softly used time to time to compliment her voice but other than that you will not hear any instruments. Mostly near the end Base frequency sound occur and melody bells are pretty much the only non human sounds used in the middle. Her vocals and vocoding are used as instruments in an harmonic fashion. It’s hard to tell if the “HUH, HUH, HUH” repeated sound is her actual voice or subtractive synthesis done by a sound designer. Patrick showed us how close we can get to making it sound like a human made the sound. This is the only song I’ve heard by her so its tough for me to classify her as an artist or musician. The part I enjoy the most is from 1:01– 1:08 of the video where she harmonizes the “huh, huh” part. I wish more of the track had a little bit more of that used with different words and tones. Other than that I would not change anything.

SUPERcollider

Super collider examples

More Resources

a nice Pd Tutorial covering our recent explorations

http://www.pd-tutorial.com/english/ch03s06.html

and for MAX/MSP

Frequency Modulation & Max / MSP

http://decmaxmsp.blogspot.com/

The Futurist Manifesto

F. T. Marinetti, 1909

We have been up all night, my friends and I, beneath mosque lamps whose brass cupolas are bright as our souls, because like them they were illuminated by the internal glow of electric hearts. And trampling underfoot our native sloth on opulent Persian carpets, we have been discussing right up to the limits of logic and scrawling the paper with demented writing.
Our hearts were filled with an immense pride at feeling ourselves standing quite alone, like lighthouses or like the sentinels in an outpost, facing the army of enemy stars encamped in their celestial bivouacs. Alone with the engineers in the infernal stokeholes of great ships, alone with the black spirits which rage in the belly of rogue locomotives, alone with the drunkards beating their wings against the walls.
Then we were suddenly distracted by the rumbling of huge double decker trams that went leaping by, streaked with light like the villages celebrating their festivals, which the Po in flood suddenly knocks down and uproots, and, in the rapids and eddies of a deluge, drags down to the sea.
Then the silence increased. As we listened to the last faint prayer of the old canal and the crumbling of the bones of the moribund palaces with their green growth of beard, suddenly the hungry automobiles roared beneath our windows.
"Come, my friends!" I said. "Let us go! At last Mythology and the mystic cult of the ideal have been left behind. We are going to be present at the birth of the centaur and we shall soon see the first angels fly! We must break down the gates of life to test the bolts and the padlocks! Let us go! Here is they very first sunrise on earth! Nothing equals the splendor of its red sword which strikes for the first time in our millennial darkness."
We went up to the three snorting machines to caress their breasts. I lay along mine like a corpse on its bier, but I suddenly revived again beneath the steering wheel — a guillotine knife — which threatened my stomach. A great sweep of madness brought us sharply back to ourselves and drove us through the streets, steep and deep, like dried up torrents. Here and there unhappy lamps in the windows taught us to despise our mathematical eyes. "Smell," I exclaimed, "smell is good enough for wild beasts!"
And we hunted, like young lions, death with its black fur dappled with pale crosses, who ran before us in the vast violet sky, palpable and living.
And yet we had no ideal Mistress stretching her form up to the clouds, nor yet a cruel Queen to whom to offer our corpses twisted into the shape of Byzantine rings! No reason to die unless it is the desire to be rid of the too great weight of our courage!
We drove on, crushing beneath our burning wheels, like shirt-collars under the iron, the watch dogs on the steps of the houses.
Death, tamed, went in front of me at each corner offering me his hand nicely, and sometimes lay on the ground with a noise of creaking jaws giving me velvet glances from the bottom of puddles.
"Let us leave good sense behind like a hideous husk and let us hurl ourselves, like fruit spiced with pride, into the immense mouth and breast of the world! Let us feed the unknown, not from despair, but simply to enrich the unfathomable reservoirs of the Absurd!"
As soon as I had said these words, I turned sharply back on my tracks with the mad intoxication of puppies biting their tails, and suddenly there were two cyclists disapproving of me and tottering in front of me like two persuasive but contradictory reasons. Their stupid swaying got in my way. What a bore! Pouah! I stopped short, and in disgust hurled myself — vlan! — head over heels in a ditch.
Oh, maternal ditch, half full of muddy water! A factory gutter! I savored a mouthful of strengthening muck which recalled the black teat of my Sudanese nurse!
As I raised my body, mud-spattered and smelly, I felt the red hot poker of joy deliciously pierce my heart. A crowd of fishermen and gouty naturalists crowded terrified around this marvel. With patient and tentative care they raised high enormous grappling irons to fish up my car, like a vast shark that had run aground. It rose slowly leaving in the ditch, like scales, its heavy coachwork of good sense and its upholstery of comfort.
We thought it was dead, my good shark, but I woke it with a single caress of its powerful back, and it was revived running as fast as it could on its fins.
Then with my face covered in good factory mud, covered with metal scratches, useless sweat and celestial grime, amidst the complaint of staid fishermen and angry naturalists, we dictated our first will and testament to all the living men on earth.

MANIFESTO OF FUTURISM

1. We want to sing the love of danger, the habit of energy and rashness.
2. The essential elements of our poetry will be courage, audacity and revolt.
3. Literature has up to now magnified pensive immobility, ecstasy and slumber. We want to exalt movements of aggression, feverish sleeplessness, the double march, the perilous leap, the slap and the blow with the fist.
4. We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed. A racing automobile with its bonnet adorned with great tubes like serpents with explosive breath ... a roaring motor car which seems to run on machine-gun fire, is more beautiful than the Victory of Samothrace.
5. We want to sing the man at the wheel, the ideal axis of which crosses the earth, itself hurled along its orbit.
6. The poet must spend himself with warmth, glamour and prodigality to increase the enthusiastic fervor of the primordial elements.
7. Beauty exists only in struggle. There is no masterpiece that has not an aggressive character. Poetry must be a violent assault on the forces of the unknown, to force them to bow before man.
8. We are on the extreme promontory of the centuries! What is the use of looking behind at the moment when we must open the mysterious shutters of the impossible? Time and Space died yesterday. We are already living in the absolute, since we have already created eternal, omnipresent speed.
9. We want to glorify war — the only cure for the world — militarism, patriotism, the destructive gesture of the anarchists, the beautiful ideas which kill, and contempt for woman.
10. We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice.
11. We will sing of the great crowds agitated by work, pleasure and revolt; the multi-colored and polyphonic surf of revolutions in modern capitals: the nocturnal vibration of the arsenals and the workshops beneath their violent electric moons: the gluttonous railway stations devouring smoking serpents; factories suspended from the clouds by the thread of their smoke; bridges with the leap of gymnasts flung across the diabolic cutlery of sunny rivers: adventurous steamers sniffing the horizon; great-breasted locomotives, puffing on the rails like enormous steel horses with long tubes for bridle, and the gliding flight of aeroplanes whose propeller sounds like the flapping of a flag and the applause of enthusiastic crowds.

It is in Italy that we are issuing this manifesto of ruinous and incendiary violence, by which we today are founding Futurism, because we want to deliver Italy from its gangrene of professors, archaeologists, tourist guides and antiquaries.
Italy has been too long the great second-hand market. We want to get rid of the innumerable museums which cover it with innumerable cemeteries.
Museums, cemeteries! Truly identical in their sinister juxtaposition of bodies that do not know each other. Public dormitories where you sleep side by side for ever with beings you hate or do not know. Reciprocal ferocity of the painters and sculptors who murder each other in the same museum with blows of line and color. To make a visit once a year, as one goes to see the graves of our dead once a year, that we could allow! We can even imagine placing flowers once a year at the feet of the Gioconda! But to take our sadness, our fragile courage and our anxiety to the museum every day, that we cannot admit! Do you want to poison yourselves? Do you want to rot?
What can you find in an old picture except the painful contortions of the artist trying to break uncrossable barriers which obstruct the full expression of his dream?
To admire an old picture is to pour our sensibility into a funeral urn instead of casting it forward with violent spurts of creation and action. Do you want to waste the best part of your strength in a useless admiration of the past, from which you will emerge exhausted, diminished, trampled on?
Indeed daily visits to museums, libraries and academies (those cemeteries of wasted effort, calvaries of crucified dreams, registers of false starts!) is for artists what prolonged supervision by the parents is for intelligent young men, drunk with their own talent and ambition.
For the dying, for invalids and for prisoners it may be all right. It is, perhaps, some sort of balm for their wounds, the admirable past, at a moment when the future is denied them. But we will have none of it, we, the young, strong and living Futurists!
Let the good incendiaries with charred fingers come! Here they are! Heap up the fire to the shelves of the libraries! Divert the canals to flood the cellars of the museums! Let the glorious canvases swim ashore! Take the picks and hammers! Undermine the foundation of venerable towns!
The oldest among us are not yet thirty years old: we have therefore at least ten years to accomplish our task. When we are forty let younger and stronger men than we throw us in the waste paper basket like useless manuscripts! They will come against us from afar, leaping on the light cadence of their first poems, clutching the air with their predatory fingers and sniffing at the gates of the academies the good scent of our decaying spirits, already promised to the catacombs of the libraries.
But we shall not be there. They will find us at last one winter's night in the depths of the country in a sad hangar echoing with the notes of the monotonous rain, crouched near our trembling aeroplanes, warming our hands at the wretched fire which our books of today will make when they flame gaily beneath the glittering flight of their pictures.
They will crowd around us, panting with anguish and disappointment, and exasperated by our proud indefatigable courage, will hurl themselves forward to kill us, with all the more hatred as their hearts will be drunk with love and admiration for us. And strong healthy Injustice will shine radiantly from their eyes. For art can only be violence, cruelty, injustice.
The oldest among us are not yet thirty, and yet we have already wasted treasures, treasures of strength, love, courage and keen will, hastily, deliriously, without thinking, with all our might, till we are out of breath.
Look at us! We are not out of breath, our hearts are not in the least tired. For they are nourished by fire, hatred and speed! Does this surprise you? it is because you do not even remember being alive! Standing on the world's summit, we launch once more our challenge to the stars!
Your objections? All right! I know them! Of course! We know just what our beautiful false intelligence affirms: "We are only the sum and the prolongation of our ancestors," it says. Perhaps! All right! What does it matter? But we will not listen! Take care not to repeat those infamous words! Instead, lift up your head!
Standing on the world's summit we launch once again our insolent challenge to the stars!

---

(Text of translation taken from James Joll, Three Intellectuals in Politics)

SuperCollider Tutorials

Here are some VERY nice SuperCollider Tutorials for the software project that you are required to engage in. Remember, you will be asked to pick a language for sound design:
http://funprogramming.org/105-Introducing-SuperCollider.html
http://funprogramming.org/132-Change-volume-and-pitch-with-SinOsc-kr.html
they are available at funprogramming http://funprogramming.org/

Look for exciting lines of supercollider code:;
I'll share libes you can run to make some awesome beats and pieces.


1.) PURE DATA
2.) MAX/MSP/JITTER
3.) SUPERCOLLIDER
4.) CECILIA/Csound
5.) GIBBER


Spend a few weeks on it and present the class with a thorough presentation describing the benefits of the particular language. I am providing the Textbook and Software tutorials that should get you past all basic first time user questions. You can then come to me @ office hours for specific problems or ideas you are not sure how to implement and i will help you find solutions. So far we have touch on almost all the basic ones. I would like to have our LAN Jam this friday at the SAGE during class and hopefully we can get a mini laptop orchestra going using GIBBER.

So really i am asking you to do several things simultaneously. 1.) Dabble with Gibber. -It's an incredible, cool use of web technologies for sound design. 2.) Choose your focus language - from the list above. 
start using SuperCollider, (make friends with it, it's awesome) to do the Sound Design Tutorials.  

We are following a pretty tried and true course for understanding sound
Additive Synthesis (adding Harmonics to make sounds and get feelings)
Amplitude modualtion (Ring)
Frequency Modulation (bells and metallic brassy sounds) chowning 67
Subtractive Synthesis
Formant Synthesis
Sampling
Granular synthesis
Waveshaping
Live and Surround Sound
MIDI


SUPERCOLLIDER CODE::::TRY SOME


Pspawner({|r|f={|t|r.par(Pbindf(Pbind(\note,Pseq([-1,1,8,5,1,1,-1,8,5,1,5,1].reverse.mirror,384)),\dur,t))};f.(1/2);r.wait(12);f.(0.1672)}).play//s.reich

Pspawner({|r|f={|t|r.par(Pbindf(Pbind(\note,Pseq([-1,1,6,8,9,1,-1,8,6,1,9,8].reverse.mirror,256)),\dur,t))};f.(1/1);r.wait(36);f.(1.0625)}).play//s.reich

Pspawner({|r|f={|t|r.par(Pbindf(Pbind(\note,Pseq([-1,1,6,8,9,1,-1,8,6,1,9,8]+5,319)),\dur,t))};f.(1/6);r.wait(12);f.(0.1672)}).play//s.reich

play{t=Impulse.ar(75);Sweep.ar(t,150).fold(0,1)*PlayBuf.ar(1,Buffer.read(s,"s*/*".pathMatch[2]),1,t,Demand.ar(t,0,Dbrown(0,2e5,2e3,inf)))!2}


play{f={LocalBuf(512)};r={|k,m|RecordBuf.ar(Pulse.ar(8,m,6e3),k)};r.(a=f.(),0.99);r.(b=f.(),0.99001);Out.ar(0,IFFT([a,b]).tanh)};//44.1kHz:)

play{AllpassC.ar(SinOsc.ar(55).tanh,0.4,TExpRand.ar(2e-4, 0.4,Impulse.ar(8)).round([2e-3,4e-3]),2)};// #supercollider with bass please...

play{Mix({a=LFNoise1.ar(0.2.rand);DelayC.ar(BPF.ar(WhiteNoise.ar(Dust2.ar(a*a*4**2).lag(8e-3)),10e3.rand+300,0.09),3,a*1.5+1.5,45)}!80).dup}

play{a=BPF.ar(Saw.ar([40,40.001]),LFNoise0.kr(128)+1*4e3+146,LFNoise1.kr(1)+1*5e-2+0.01).tanh;CombC.ar(a,9,a.abs.lag(2)*9,a.abs.lag(1)*100)}

play{LocalOut.ar(x=DelayC.ar(LPF.ar(LFNoise0.ar(8)**2+LocalIn.ar(2).tanh.round(0.05),6e3),1,LFNoise0.ar(8!2).range(1e-4,0.02)));x.tanh}//#sc

play{t=Impulse.ar(8)*LFNoise1.ar(2);CombL.ar(Saw.ar([3,4],Decay.ar(t,0.1)).tanh,1,TRand.ar(0,0.01,t).round(15e-4),TRand.ar(-30,30,t))};//#sc

play{LocalOut.ar(x=LFNoise1.ar(0.5*LocalIn.ar(1)+0.1,0.5,0.5));PitchShift.ar(PitchShift.ar(Pulse.ar([90,90.01],x),10,x*4,x),10,4-(x*4),1-x)}

play{q=[0,3,5,7,10];t=Impulse.kr(4)*LFNoise0.kr>0;PitchShift.ar(Saw.ar(Demand.kr(t,0,Drand((q+12++q+33).midicps,inf)),Decay.kr(t,3)),7,2)!2}

play{(HPF.ar(LFNoise1.ar(2),[10,10.1])*100).tanh}// #supercollider yay! (be very careful with this one, very loud)

Lost Cecilia StochGrains Test

This is an Aleister Crowley chant that I used previously in one of my loops that was run through the StochGrains Module in Cecilia with temporal and pitch adjustments. I had uploaded it but didn't post it.

Frequent Mutilations: Supercollider FM Fun

Harmonic Series Practice

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