dddddwsa

[dddddwsa]

so this lead to the generation of other pieces of music below that I was working on after I finished this set up.

Tried composing for multiple of them but to also work solo, in some kind of quad/works by itself kind of work, but turned out rly quite, idk imma try a different approach of making separate things for each speaker

[dddddwsa]

this was after the updated max patch trying to compose for multiple speakers so they could hypothetically function as a single work as a single speaker or interface in some capacity, I think mb this will be less worked through then what I would want it to. 4

Tried composing for multiple of them but to also work solo, in some kind of quad/works by itself kind of work, but turned out rly quite, idk imma try a different approach of making separate things for each speaker

[dddddwsa]

But  also in the aesthetic of the object I think maybe it’s a lil too clean, but I guess that will allow it to be disguised pretty well or hiden in some capacity that is ultimately a pretty good thing imo, if I want them to not arouse suspission.

But yeah re the composition, I want it to sound less made by a human, so one is unsure if they are hearing it, if it is mental/tinnitus, electronics in the room or a work of art.

After actually putting it together, I think there needs to be less movement jn the piece of music to make it less obviously a deliberate sound in situ

[dddddwsa]

I think further doing this was vvv interesting esp in terms of exposing myself to the sound of a long period of time and feeling the effects of the sound on me it was quite interesting and to a degree pretty good ground to work w in, or i think further it was interesting to realize the full effect how sound could physically/mentally fuck with me and change my understand of effects/affect of perception. etc.

more control

I wanted to b able to make medlodies etc, in hig frequencey, so I made a max for live device, to do this…..

While also looking at what i WOULD clasifuy as lazyb approaches to generative synthesis, lol.

But this was still 2 simple or well, it had not adsr so I needed 2 add tht.

tHIS WAS still interesting in terms of expanding or directly placing a 12tet measurement onto 15-20khtz as the tonality of anything was abstracted. Which I think is intersting, but further I think it’s interesting as an approach to composing within these elements, or I think that it make the possibilities of differing combinations of notes and their effects.

Further I think the idea of composing melodies for something that is almost explicitly designed to annoy or provide discomfort is fkn hilarious, or the realisation of this is like  some kind of stupid (yet good) joke. A kind of situation in which one doesn’t even rly realize the point of it, as why compose a melody when it is already infuriating if that’s the intent, but i think the melody offers a possibility of just not caring or an impartiality that I am interested in as a kind of continuation of duchamp’s idea of the ready made as aesthetic indifference.

[dddddwsa]

Tried composing for multiple of them but to also work solo, in some kind of quad/works by itself kind of work, but turned out rly quite, idk imma try a different approach of making separate things for each speaker

[dddddwsa]

differing approach to sound genertion

[dddddwsa]

After actually putting it together, I think there needs to be less movement jn the piece of music to make it less obviously a deliberate sound in situ

[dddddwsa]

this was basically in the spirit of reworking pop melodies as a continuation of some of the work I had presented in the first presentation, but into the extremly high frequencies, I think this repositioning and detournment of the pop melodies is ultimatly a funny use of them cause admittedly i realy like bad a boujee which was the song the melody was taken from, but i think that in repositioning it as an infuriating sound a humorous transfer of purpose occurs,

[dddddwsa]

It’s actually making me nauseous//giving me a headache

A dirrect quote from my house mate while I was working on this  project while while she was in the shower, she as I wanted wasnt sure if she was hearing these sounds or had ‘lost it’and was not, i think this kind of knowing/not knowing intersection is pre interesting, particualrlly in regards to hypothetically/eventally placing variations of this in public. further in taking to another friend about just hearing a high pitched noise in his  place of work and no one else noticing it (due to age) I think that being unsure of oneself and if the sound exists is an interesting idea, also further in not being able to know where the sound  itself came from, so if it’s at a volume where one might presume it’s just electric hum, or a power board or something else. I think this idea or ntion of knowing/not knowing and doubting oneself and ones’ perception will then influence the composition process, in terms of wanting it to not be so obviously a melody, or wanting it to seem like it could just b a result of something else, like still an annoying and infuriating sound but something that was maybe not deliberately produced.

[dddddwsa]

more control

I wanted to b able to make medlodies etc, in hig frequencey, so I made a max for live device, to do this.....

While also looking at what i WOULD clasifuy as lazyb approaches to generative synthesis, lol.

But this was still 2 simple or well, it had not adsr so I needed 2 add tht.

tHIS WAS still interesting in terms of expanding or directly placing a 12tet measurement onto 15-20khtz as the tonality of anything was abstracted. Which I think is intersting, but further I think it’s interesting as an approach to composing within these elements, or I think that it make the possibilities of differing combinations of notes and their effects.

Further I think the idea of composing melodies for something that is almost explicitly designed to annoy or provide discomfort is fkn hilarious, or the realisation of this is like  some kind of stupid (yet good) joke. A kind of situation in which one doesn't even rly realize the point of it, as why compose a melody when it is already infuriating if that’s the intent, but i think the melody offers a possibility of just not caring or an impartiality that I am interested in as a kind of continuation of duchamp’s idea of the ready made as aesthetic indifference.

[dddddwsa]

sonic weapon

nt sure how to best achieve this i ended up, making a simple max patch to have some frequencies in the high spectrum just to look at the effects etc.

And it was actually pre interesting, in terms of realising the tangible effects of frequencies on oneself, or strange in noticing the effect of high frequencies, particularlly once they are gone, or the capacity to which one begins to not notice it, then only to feel vvv weird  once it’s removed.

this was like an interesting starting point, as i think interms of sound artists working w in sound, too little consideration is given to the capacity for sound to function as a weapon, or even a tourture device. While this  as a meme or in a theatrial way is very common in noise music, the noise terrorist etc, dealing maybe with the actual ramifications is less less common.

Just knowing that the melb police have at least one lrad (https://en.wikipedia.org/wiki/Long_Range_Acoustic_Device) is pretty wack, in realising at the right protest, we as sound students/practitioners have our work turned upon us, to the degree of loosing hearing forever (lol).

I think in some ways extreme music  also functions as some kind of study for the creation of weaponary, even the joke of nin in guantanemo (the joke being nin, just as a posture of extremity). this I think is particularlly interesting in terms of in some expanded capacity are not most of us maybe studying for the development of new weapons, so then i guess in my position I wanted to skip that and make the weapon, to maintain some capacity of control over what I do and am weaponising.

Lastly I think this work is interesting in terms of aknowledging a complicity with capitalism/the state particularly in regards to sound (for us as students of sound), is interesting and not confronted as much as it should be, so hopefully in some capacity this project addresses that.