A short piece, the first I've posted in quite some time.
I've added a 140 to my system, and had some fun with it here in conjunction with the 281 and 266. I'm fond of the ping-pong duophony of the 266, and the minor illusion of delay here.
I'll be focusing my attention on a series of drawings over the next few months, but will try to post with more frequency my less frequent studies on the 200.
Derek Holzer has put together an impressive essay on artists experimenting with electronics for edition 19 of Vague Terrain entitled Schematic as Score, and kindly included me among them. Framing it as he does with his own work reinterpreting Tudor's Rainforest, the article is an inspired merging of concepts, visuals, and audio results. The article includes work by:
Derek Holzer/ Jason R. Butcher / Jessica Rylan / Lesley Flanigan / Loud Objects / Martin Howse / Moritz Ellerich / Peter Blasser / Synchronator
I cannot believe it has been so long since my last post.
Changes in work and living situations (all for the best), have distracted me a bit from this purpose. I present now, a few sketches from the past few months.
I added an Infinite Phase Shifter model 297 to my system recently and these recordings are all experiments intended to familiarize myself with its behavior. Particularly satisfying to me among this batch are Crackling Line and Dry Pine Sap Line, which are both Self-Playing experiments using only the Infinite Phase Shifter, Complex Waveform Generator, and the Source of Uncertainty. I suggest listening to them at relatively high volume through speakers in a nearly empty room after imbibing an entire bottle of artificial smoke flavoring.
Watered Path required most of the system, the 297 included in order to manipulate feedback, and is not a Self-Playing Patch.
Driving Conversation, also served as a test of the extreme times available through external control of the 281's Attack and Decay stages. The actual piece takes a very long time to decay completely to silence.
