Showing posts with label new thesis. Show all posts
Showing posts with label new thesis. Show all posts
Tuesday, February 13, 2007
Precedents/Inspiration.
The Moog Cookbook- Blackhole Sun
Made up of Brian Reitzell and Roger Joseph Manning Jr., these two synthesizer afficionados(who bought tons of analog equipment when they became really unpopular in the early 90s) made two albums of "Switched-On" covers of 90s rock music based upon the Switched-On Bach template. Within the band photos and album cover designs one can find heaps of 1960s and 70s retro-futurism. In fact, it was my very first album of electronic music(bought in 6th Grade)!
Discovering Electronic Music, Part 1
This documentary from 1983 conveys the precise aesthetic that I want to achieve with this project. It also perpetuates the idea of the synthesizer being able to replicate any sound that is put in front of the programmer.
Another documentary of this nature is the BBC Radiophonic Workshop documentary Alchemists of Sound.
Momus - Little Red Songbook
In this album, Momus plays up the sheer incongruity between the sounds and the subject matter of synthesized classical reinterpretations into an entire style- Analog Baroque.
Finally, here are some examples of the music of Wendy Carlos herself:
Wendy Carlos/J.S. Bach-Brandenburg Concerto #3 in G Major, 1st movt.
Wendy Carlos/J.S. Bach-Sinfonia To Canata #29
Wendy Carlos/J.S. Bach-Two-Part Invention in B-Flat Major
This list will continue to grow in the coming weeks.
Monday, February 12, 2007
"The past is the present, the future is mine."
Originally, my thesis was as follows: through MIDI, a building would be converted into a musical instrument of sorts in which voluntarily-RFID-tagged denizens would travel through its floors, triggering MIDI notes mapped over the building that would be recorded into a MOD file with each instrument being the respective volunteer's vocal waveform.
The resultant file would be distributed throughout the internet, and its listeners would be encouraged to modify the file as they saw fit, posting the modifications on their own websites. This entire process was originally a metaphor for the current state of personal information--heavily volatile, easily stolen, voluntarily available. At the same time it tried to highlight the positive aspects of such a state; our "personal information" can also include our "personally generated information"--information that can be used in ways that we would have never fathomed, whether that be through something as high-concept as a mashup or as low-brow as a silly picture of a cat with a silly caption.
However, I found a variety of difficulties with the project: the concept seemed too tacked-on, the project itself too expensive and the scale way too ambitious for my abilities at this point(I still need to work through my smaller ideas first and become more accustomed to my hardware to the point that I'm not completely overwhelmed).
Additionally, when scrapping the concept in favor of straight experimental composition, I couldn't help but shake the fact that I'm working on technology for the sake of working on technology; there was nothing holding it up outside of a shaky elevator pitch and a "gee-whiz" factor.
Finally, I simply wasn't passionate enough. I confused "passion" for "too easy" and threw it out alongside my tacked-on concept.
As such, I decided to scrap this thesis until future notice. I might start it up again in the future when I have better technical abilities, conceptual backing and monetary funding.
What will be my next thesis idea, you ask?
My new thesis idea is heavily inspired by the work of Wendy Carlos, particularly her 1968 album Switched On Bach, in which she reworks a collection of Bach compositions for the Moog modular synthesizer. In the album every single instrument used in Bach's original recordings is reinterpreted by Wendy Carlos with the filters, noise generators and oscillators of a synthesizer, usually with interestingly incongruous results. This album, which spawned a collection of spin-offs and copycats(including, interestingly enough, Switched On Bacharach), somehow ended up staying in the American top 40 for more than a year and placed the synthesizer into the consciousness of the public for years to come.
I intend to create a Switched-On series of my own, entitled Switched-On Everything, in which I attempt to reinterpret most everything using a collection of synthesis methods available only in the 1970s. These synthesized sounds will then be juxtaposed with their real-life visual counterparts in a multi-channel video installation.
The albums will be divided into four different categories:Sounds, Concepts, Interviews and Music.
Sounds will be just that: in the vein of sound effect record collections, I will reinterpret a variety of real-life sound effects into the language of the synthesizer in such categories as "Transportation", "Commerce", "Explosions" and "Nature".
Concepts is similarly self-explanatory, yet also very nebulous. The ideas that I plan to "Switch On" include such controversial topics as Evolution, The End of History, The Clash of Civilizations and String Theory.
Interviews will be a series of famous interviews either processed through a vocoder or spoken by an old speech synthesizer(most likely by a variety of Speak-n'-Spells).
Music will be the most faithful to the original switched-on concept, in which I create over-the-top analogue covers of previously acoustic music. However, the choices of music will be more unconventional, with such candidates being Alvin Lucier's I Am Sitting In A Room and John Cage's 4'33"(that will not involve silence in any way).
Why Switched-On Everything? I am forever fascinated by the trend in the 1960s and 70s of squeezing classical and pop standards from the past into the context and audial vocabulary of the analog synthesizer. Doing so created something very new yet very formulaic--something inherently sensible yet inherently absurd.
Additionally, the Switched-On series(both the sounds and the concept itself) espoused a certain futuristic sensibility that was so much more embellished and by futurists of the time and so much more technicolor than the bleak, grey future presented to us in the 21st Century. The very idea of the synthesizer--a culturally-neutral machine that could supposedly approximate the sound of literally anything--sounds very much in line with the convenient, magical, international future presented to society in the 50s and 60s. In this piece I want to explore the progression between this "perfect" future vision and our own dismal future vision by comedically exposing the absurdity of the former(accentuated by the juxtaposition of the reinterpretations with their visual analogues).
Finally, I love the analog synthesizer. Its sounds never fail to enthrall me, and I can spend hours simply fiddling around with one. Guitars pale in comparison to anything it can produce in my book.
The resultant file would be distributed throughout the internet, and its listeners would be encouraged to modify the file as they saw fit, posting the modifications on their own websites. This entire process was originally a metaphor for the current state of personal information--heavily volatile, easily stolen, voluntarily available. At the same time it tried to highlight the positive aspects of such a state; our "personal information" can also include our "personally generated information"--information that can be used in ways that we would have never fathomed, whether that be through something as high-concept as a mashup or as low-brow as a silly picture of a cat with a silly caption.
However, I found a variety of difficulties with the project: the concept seemed too tacked-on, the project itself too expensive and the scale way too ambitious for my abilities at this point(I still need to work through my smaller ideas first and become more accustomed to my hardware to the point that I'm not completely overwhelmed).
Additionally, when scrapping the concept in favor of straight experimental composition, I couldn't help but shake the fact that I'm working on technology for the sake of working on technology; there was nothing holding it up outside of a shaky elevator pitch and a "gee-whiz" factor.
Finally, I simply wasn't passionate enough. I confused "passion" for "too easy" and threw it out alongside my tacked-on concept.
As such, I decided to scrap this thesis until future notice. I might start it up again in the future when I have better technical abilities, conceptual backing and monetary funding.
What will be my next thesis idea, you ask?
My new thesis idea is heavily inspired by the work of Wendy Carlos, particularly her 1968 album Switched On Bach, in which she reworks a collection of Bach compositions for the Moog modular synthesizer. In the album every single instrument used in Bach's original recordings is reinterpreted by Wendy Carlos with the filters, noise generators and oscillators of a synthesizer, usually with interestingly incongruous results. This album, which spawned a collection of spin-offs and copycats(including, interestingly enough, Switched On Bacharach), somehow ended up staying in the American top 40 for more than a year and placed the synthesizer into the consciousness of the public for years to come.
I intend to create a Switched-On series of my own, entitled Switched-On Everything, in which I attempt to reinterpret most everything using a collection of synthesis methods available only in the 1970s. These synthesized sounds will then be juxtaposed with their real-life visual counterparts in a multi-channel video installation.
The albums will be divided into four different categories:Sounds, Concepts, Interviews and Music.
Sounds will be just that: in the vein of sound effect record collections, I will reinterpret a variety of real-life sound effects into the language of the synthesizer in such categories as "Transportation", "Commerce", "Explosions" and "Nature".
Concepts is similarly self-explanatory, yet also very nebulous. The ideas that I plan to "Switch On" include such controversial topics as Evolution, The End of History, The Clash of Civilizations and String Theory.
Interviews will be a series of famous interviews either processed through a vocoder or spoken by an old speech synthesizer(most likely by a variety of Speak-n'-Spells).
Music will be the most faithful to the original switched-on concept, in which I create over-the-top analogue covers of previously acoustic music. However, the choices of music will be more unconventional, with such candidates being Alvin Lucier's I Am Sitting In A Room and John Cage's 4'33"(that will not involve silence in any way).
Why Switched-On Everything? I am forever fascinated by the trend in the 1960s and 70s of squeezing classical and pop standards from the past into the context and audial vocabulary of the analog synthesizer. Doing so created something very new yet very formulaic--something inherently sensible yet inherently absurd.
Additionally, the Switched-On series(both the sounds and the concept itself) espoused a certain futuristic sensibility that was so much more embellished and by futurists of the time and so much more technicolor than the bleak, grey future presented to us in the 21st Century. The very idea of the synthesizer--a culturally-neutral machine that could supposedly approximate the sound of literally anything--sounds very much in line with the convenient, magical, international future presented to society in the 50s and 60s. In this piece I want to explore the progression between this "perfect" future vision and our own dismal future vision by comedically exposing the absurdity of the former(accentuated by the juxtaposition of the reinterpretations with their visual analogues).
Finally, I love the analog synthesizer. Its sounds never fail to enthrall me, and I can spend hours simply fiddling around with one. Guitars pale in comparison to anything it can produce in my book.
Subscribe to:
Posts (Atom)
