{"id":274,"date":"2014-12-04T12:42:01","date_gmt":"2014-12-04T12:42:01","guid":{"rendered":"http:\/\/digital.eca.ed.ac.uk\/gap-in-air\/?p=274"},"modified":"2014-12-04T12:44:27","modified_gmt":"2014-12-04T12:44:27","slug":"reach-playlist-dxarts","status":"publish","type":"post","link":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/2014\/12\/04\/reach-playlist-dxarts\/","title":{"rendered":"reach playlist – DXARTS"},"content":{"rendered":"

\"Screen<\/a>Special thanks to the DXARTS group and Joseph Anderson for their contribution of three full playlists of work in b-format.<\/p>\n

wiki.dxarts.washington.edu\/groups\/general\/<\/a><\/p>\n

PLAYLIST: DXARTS A
\nDURATION: 69\u201916\u201d<\/p>\n

NAME: ANDERSON, Joseph
\nSOUND_FILE(S): DXARTS_A01_anderson_kyai_44k_24b.wav
\nTITLE\/YEAR:Kyai Pranaja (1998)
\nDURATION:19\u201941\u201d
\nNOTES: Kyai Pranaja translates into English as something like \u201cfrom the heart\u201d or \u201cfrom the interior\u201d. The suspension of moments, manifestations of veiled harmonies, the shifting of masses, these are born from the inner spaces and resonances of sounding bodies.
\nBIO:\u00a0 Joseph Anderson (b. 1970) studied composition with Russell Pinkston, and later with Jonty Harrison. A founding member of the New San Francisco Tape Music Collective (nsftmc), he is currently a Research Scientist at the Center for Digital Arts and Experimental Media (DXARTS) and an Affiliate Assistant Professor at the School of Music at the University of Washington.
\nWEB: joseph-anderson.org\/<\/a><\/p>\n

NAME: ANDERSON, Joseph (b 1970)
\nSOUND_FILE(S): DXARTS_A02_anderson_mpingo_44k_24b.wav
\nTITLE\/YEAR: Mpingo (2003)
\nDURATION: 23\u201920\u201d
\nNOTES: Mpingo, African Blackwood\u2014names the dark wood of piccolos and clarinets. That obscure shade is Temps, with all its sorrows and weariness. Then, there is the awakening of birds, a blackbird or nightingale improvises. And in fleeting moments, wind rushes through reeds\u2014light, colours filtered through air. . . with advancing deserts, quantities decline. . . .
\nNAME: ANDERSON, Joseph
\nSOUND_FILE(S): DXARTS_A03_anderson_pacific_44k_24b.wav
\nTITLE\/YEAR: Pacific Slope (2002)
\nDURATION: 26\u201915\u201d
\nNOTES: The region of the North American continent which drains into the Pacific Ocean is referred to as the Pacific Slope. Metaphor, \u2018the wave\u2019\u2014unending, unyielding, paradoxically powerful, at the same time intangible. The ocean as birth place and endless desert, both life and death\u2014united without sentiment. The bell\u2014the ancients\u2019 call to transcendence. At once an attempt to stay \u2018the wave\u2019, halt death and life; metal, the interior of earth\u2014touched by man. Yet masses move unheeding.
\nPLAYLIST:
\nDXARTS B
\nDURATION:
\n44\u201900\u201d<\/p>\n

NAME:
\nKARPEN, Richard
\nSOUND_FILE(S):
\nDXARTS_B01_karpen_camera_44k_24b.wav
\nTITLE\/YEAR:
\nCamera Cantorum (2000)
\nDURATION:
\n12\u201950\u201d
\nNOTES:
\nCamera Cantorum presents a sonic analog of an array of old mirrors, each facet reflecting a different fragment of one of my previous pieces. Old mirrors become cloudy and warped (now magnified, now dim and faded). In this work the materials are often heard through a veil of distance. It\u2019s dusk and you\u2019re looking into an old mirror at the reflection of things that are far behind you. The experience of this work may be somewhat more opaque for those who do not know those compositions of mine from which I have drawn to make the current piece (they include,Life Studies #4 and #5, Sotto\/Sopra for violin and computer, Pericolose, un gioro, bellezze, for soprano, choir, and computer). At the same time, those who hear this work first and at some later time hear the older ones, will hear those pieces somewhat differently than they would have had they not first heard Camera Cantorum.
\nBIO:
\nRichard Karpen (b. 1957) is a Professor of Music Composition and Director of the School of Music at the University of Washington after previously serving at the UW as Founding Director of the Center for Digital Arts and Experimental Media (DXARTS). Karpen is a native of New York, where he studied composition with Charles Dodge and Gheorghe Costinescu.
\nWEB:
\nfaculty.washington.edu\/karpen\/Home.html<\/a><\/p>\n

NAME:
\nJONES, Perry
\nSOUND_FILE(S):
\nDXARTS_B02_jones_taos_44k_24b.wav
\nTITLE\/YEAR:
\nThe Taos Hum (2014)
\nDURATION:
\n13\u201920\u201d
\nNOTES:
\nThe Taos Hum is part of a larger suite of pieces entitled Mirum Terra. Each piece in the suite focuses on a specific acoustic phenomenon occurring around the world. The Hum, heard only in select places around the world, can best be described as a pitched vibration of extremely low-frequency–only perceptible to some people–that seems to emanate from all directions. The aural effect can cause disorientation and confusion among those who can hear it. My piece intends to create a musical representation of this event, emerging listeners into a low-pitched journey and challenging their ears to grapple with the lowest end of the frequency spectrum.
\nBIO:
\nPerry Jones (b. 1983) is a DMA candidate in Music Composition at the University of Washington, and has studied composition with John David Earnest, Huck Hodge, Juan Pampin and Richard Karpen. He has written for orchestra, chorus, chamber ensembles and solo instruments. His current work is focused on music designed for Ambisonic surround sound.
\nWEB:<\/p>\n

NAME:
\nPETERSON, Daniel
\nSOUND_FILE(S):
\nDXARTS_B03_peterson_swarm_44k_24b.wav
\nTITLE\/YEAR:
\nSwarm of Echoes (2011)
\nDURATION:
\n17\u201950\u201d
\nNOTES:
\nSwarm of Echoes was influenced by the short novel The Invention of Morel by Adolfo Bioy Casares in which a fugitive escapes to a mysterious deserted island only to find a group of tourists appear seemingly out of nowhere. Full of imagination and the fantastic, the novel questions boundaries between fantasy and reality”. Swarm of Echoes attempts to create real environments consisting of rain and waves that evolve and are juxtaposed with synthetic environments of strange bird\u00ad-like sounds and impossible crashing waves, taking influence from the imagery and metaphysical ideas of the real and the immaterial. The listener is taken on a journey into worlds that are believable, yet strange and mysterious.
\nBIO:
\nDaniel Peterson (b. 1984) was born and raised in Honolulu, Hawaii, and has studied Comparative Literature with Willis Konick and Music Composition with Juan Pampin. Currently a PhD candidate at DXARTS, his interests include spectral analysis, Ambisonics, and the exploration of the relationships between literature, philosophy and music.
\nWEB:
\nwww.haarproject.com\/<\/a><\/p>\n

PLAYLIST:
\nDXARTS C
\nDURATION:
\n36\u201947\u201d<\/p>\n

NAME:
\nVARCHAUSKY, Nicol\u00e1s
\nSOUND_FILE(S):
\nDXARTS_C01a_varchausky_resonances_f_44k_24b.wav
\nDXARTS_C01b_varchausky_resonances_t_44k_24b.wav
\nDXARTS_C01c_varchausky_resonances_n_44k_24b.wav
\nDXARTS_C01d_varchausky_resonances_S_44k_24b.wav
\nTITLE\/YEAR:
\nResonances, Turbulences and Explosions (2011\/14)
\n\/f\/, \/t\/, \/n\/, \/S\/
\nDURATION:
\n4\u201944\u201d, 6\u201937\u201d, 1\u201905\u201d, 5\u201951\u201d
\nNOTES:
\nResonances, Turbulences and Explosions is a series of short acousmatic pieces for 3D sound that explore the inner soundscapes of each letter of the alphabet. Using analysis and re-synthesis techniques within an algorithmic composition environment, each piece takes the recording of a single phoneme to turn it inside out, unfolding in the process their latent acoustic beauty. The series takes its name from the basic acoustic properties of speech: when we speak, we filter turbulent streams of air, resonate in our heads periodic interruptions of those streams and release abruptly built up pressure under the glottis.
\nBIO:
\nNicol\u00e1s Varchausky (b. 1973) is an Assistant Professor and Researcher at the University of Quilmes (Argentina), where his research focuses on the musical relations between space, sound, speech and memory within technological environments. Works include electronic and instrumental music compositions, performances and art installations. He is currently a PhD candidate at DXARTS.
\nWEB:
\nwww.varchausky.com.ar\/<\/a><\/p>\n

NAME:
\nPAMPIN, Juan
\nSOUND_FILE(S):
\nDXARTS_C02_pampin_uom_44k_24b.wav
\nTITLE\/YEAR:
\nUOM (2001)
\nDURATION:
\n18\u201930\u201d
\nNOTES:
\nUOM is the acronym of the Argentine metal workers’ union (Uni\u00f3n Obrera Metal\u00fargica), well known for the lack of representation of its corrupted leaders and their gangster-like approach to politics. The piece explores the sound of metal in an allegorical way, using digital samples deployed in space as a representation of the “metallic” without mass, as the sonic essence of metal. The distance between what is represented and its representation, somewhat similar to the one between the metal workers and their union, constitutes the dialectic core of the work.
\nBIO:
\nJuan Pampin (b. Buenos Aires, 1967) is Associate Professor of composition at University of Washington and founding faculty member of the Center for Digital Arts and Experimental Media (DXARTS) for which he currently serves as Associate Director. Pampin received an MA in Composition from Conservatoire National Sup\u00e9rieur de Musique de Lyon, France and a DMA in Composition from Stanford University, where he studied with composer Jonathan Harvey. Juan Pampin’s works explore the territory articulated by the concepts of space, memory, and material, using algorithmic composition and signal processing tools of his own development. Juan Pampin’s music compositions, including works for instrumental, digital, and mixed media, have been performed around the world by world-class soloists and ensembles.
\nWEB:
\nwww.pampin.org\/<\/a><\/p>\n

PLAYLIST:
\nDXARTS D
\nDURATION:
\n36\u201947\u201d<\/p>\n

NAME:
\nVARCHAUSKY, Nicol\u00e1s
\nSOUND_FILE(S):
\nDXARTS_D01a_varchausky_resonances_a_44k_24b.wav
\nDXARTS_D01b_varchausky_resonances_k_44k_24b.wav
\nTITLE\/YEAR:
\nResonances, Turbulences and Explosions (2011\/14)
\n\/a\/, \/k\/
\nDURATION:
\n2\u201903\u201d, 7\u201952\u201d
\nNOTES:
\nResonances, Turbulences and Explosions is a series of short acousmatic pieces for 3D sound that explore the inner soundscapes of each letter of the alphabet. Using analysis and re-synthesis techniques within an algorithmic composition environment, each piece takes the recording of a single phoneme to turn it inside out, unfolding in the process their latent acoustic beauty. The series takes its name from the basic acoustic properties of speech: when we speak, we filter turbulent streams of air, resonate in our heads periodic interruptions of those streams and release abruptly built up pressure under the glottis.
\nBIO:
\nNicol\u00e1s Varchausky (b. 1973) is an Assistant Professor and Researcher at the University of Quilmes (Argentina), where his research focuses on the musical relations between space, sound, speech and memory within technological environments. Works include electronic and instrumental music compositions, performances and art installations. He is currently a PhD candidate at DXARTS.
\nWEB:
\nwww.varchausky.com.ar\/<\/a><\/p>\n

NAME:
\nPAMPIN, Juan
\nSOUND_FILE(S):
\nxxxx
\nTITLE\/YEAR:
\nA-Line, Part I (2011)
\nDURATION:
\n26\u201951\u201d
\nNOTES:
\nMade from field recordings made on Buenos Aires’ oldest subway route, which opened in 1913. Some of the original trains are still in use.
\nBIO:
\nJuan Pampin (b. Buenos Aires, 1967) is Associate Professor of composition at University of Washington and founding faculty member of the Center for Digital Arts and Experimental Media (DXARTS) for which he currently serves as Associate Director. Pampin received an MA in Composition from Conservatoire National Sup\u00e9rieur de Musique de Lyon, France and a DMA in Composition from Stanford University, where he studied with composer Jonathan Harvey. Juan Pampin’s works explore the territory articulated by the concepts of space, memory, and material, using algorithmic composition and signal processing tools of his own development. Juan Pampin’s music compositions, including works for instrumental, digital, and mixed media, have been performed around the world by world-class soloists and ensembles.
\nWEB:
\nwww.pampin.org\/<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Special thanks to the DXARTS group and Joseph Anderson for their contribution of three full playlists of work in b-format. wiki.dxarts.washington.edu\/groups\/general\/<\/a> PLAYLIST: DXARTS A DURATION: 69\u201916\u201d NAME: ANDERSON, Joseph SOUND_FILE(S): DXARTS_A01_anderson_kyai_44k_24b.wav TITLE\/YEAR:Kyai Pranaja (1998) DURATION:19\u201941\u201d NOTES: Kyai Pranaja translates into English as something like \u201cfrom the heart\u201d or \u201cfrom the interior\u201d. The suspension of moments, manifestations of veiled harmonies, the shifting of masses, these are born from the inner spaces.. Read More<\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[3],"tags":[],"acf":[],"_links":{"self":[{"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/posts\/274"}],"collection":[{"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/comments?post=274"}],"version-history":[{"count":4,"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/posts\/274\/revisions"}],"predecessor-version":[{"id":278,"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/posts\/274\/revisions\/278"}],"wp:attachment":[{"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/media?parent=274"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/categories?post=274"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/gap-in-air\/wp-json\/wp\/v2\/tags?post=274"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}