building a warm canopy remnants & artifacts

“each of us is a puzzle creature; to himself, to herself”

-madeline gins

on the nature of sound:

stimulus moves space.

sensory membranes - record spacial movement.               /begin translation process:

         - process and decode neural firing.

/translation point a.

/physical to electric impulse

        - connect to neural network.

connections of connections, form to data

/b. traveling neural pathways

to register change, particulate matter must be affected in a medium.

ideas are built around a stimulus receptor. we can’t hear all sound, we can’t see all light.

capture choices in temporal forms. time, requires a stillness

/translation errors occur when two or more systems exchange

the doors are spring loaded.

   the ball bounces off the backboard.

when the door opens, politeness asks one to step

forward, present a concept that defines an important

development with efficiency, efficacy and clarity.

when building a warm canopy the reality is often different and affected.

/begin translation:                                   first robotically,             automatonically.

set a stage with sonic undertones

change registered around a bundle of wires stretched along a baseboard.

/begin programmed transcription:        vibration to electric current.

down chain to varied resistance, attuned and attenuated aurally. strum a little, turn some knobs to present

FIGURE A: noise via folk instrumentation

stringed instruments like guitar have a long history with humanity, they're often some of the most accessible /baseline acoustic models ranging from 30-50 USD and thus often the most practical to start any sort of sonic relationship. i started playing guitar /slammer bass, my first, not the first i played, L-handed 79.99 USD somewhere between 10 and 12 simply because it was around. when my brother was on a high school summer euro-trip, he left behind an acoustic that i may have been exclusively forbidden to touch.

as my familiarity with guitars expands a linguistic relationship develops. ideas and emotions are transcribed to fret positions and rhythms. as time passes it’s become easier to carry ideas of significant change with new influences /termed musicality by many--the extension of self into a musical instrument, where one communicates through and not merely with. intuition and experimentation merge in studio sessions where i sit with a guitar, a chain of effects and build noise moments.

FIGURE A.  is used to expand an existing relationship with a tool and discover bits of identity /both history’s and my own. through it--the borders of my ability, the restrictions of tone and timbre, /my tendency toward denial.

looped into the system, FIGURE A. becomes an undercurrent by which a warm canopy can be stretched. structural supports are amassed in remnants of folk traditions and stern approaches that bounce around the idea of groove and feel

/begin conceptual (perhaps neural firing):   “then” groupings of neural firings

/coalesce into     concept

to motor movements transcribed using refined sonic elements

idea to sound to change to idea to sound to change ad. infinitum.

as translation occurs artifacts arise,

/spun into the nether by the act of translation.

FIGURE B. textual translation element, digital transcription recorded in analog

a recording of a recording of a translation of a translation of a transcription of transcription. et al of et al. a recording of a transcription of a recording of a translation of a randomization of a transcription of a translation of recording of information of randomized data of a translation of et al. of et al.

search engines rule our lives. information is ever present and omnipotent, /all-seeing. it is near infinite and sprawling. with such mass it is nearly impossible to categorize, so i dive into randomization and categorization occurs automatically as association and context arises through temporal placement. we love stories. every element places itself in a timeline, expresses a detail, a data set.

my wikipedia chain trickles through floodplains and tributaries, information seeks out gravitational pathways to be and to be projected through compressions of muscles around the neck and mouth. recorded in more of the same: electric pulse to magnetic impulse to vibration to ad infinitum /or just twice in this case. goosespeak takes flight as seemingly irrelevant data is cross-analyzed and contextualized ad hoc.

/ad hominem gaslighting

the truth is: there’s an eeriness to physical recording. to physically affect through tape recording and playback. all sorts of minutiae are recontextualized. misrepresented, exaggerated or at times ignored completely.

FIGURE C. digital production loops

there, to find it verbose, is the ghost of symbolic memory; the way one speaks without speaking and refuses to say what should.  a pattern beloved as a writer and hated in reading--the intentional denial of substance or simulation--isolates and connects in one blow.

where guitar was my birth into the world of music-making, digital production has been a coming-of-age--a continual path to discovery of musical traditions  /though often originating in the windings of a soundwave or the some-odd joyous pairings of waves; stacked and manipulated.

a primary difference in utilizing digital tech is that a constantly developing tool group. i first learned essential compositional processes through fruityloops on my brothers home made computer and spent years tinkering with VST oscillators, filters and beat-slicers /1999-2005. then i grew up a bit, moved into professional level programs with more control, more nuances /2005-2014 but when my computer died i had to start fresh in many ways. now i bounce between devices, applications, programs and assemble moments of each.

everything is always limited. nothing rarely works. these days, i find little use for regular time signature. my favorites are false patterns, repetitive elements that are constantly in flux /though still generally systematic. a friend turned me onto patterning, which i use to manipulate samples and set them in rhythms with deconstructed time-sigs. through an assemblage: a drone develops, given life through irreverent subdivision or counter-intuition.

FIGURE D. live mix, artifact render

a warm canopy is drawn over the ephemeral. patterns emerge in the real.

the final touch is bringing the thing into the real. crossing all the pathways and exchanges. listening to yourself and what you have said in the past. commenting, reminiscing. i often get lost in the labyrinthian world of mixing, forgetting what came from where

/thus requiring regular and continual             /lists

/diagrams

/recall

the world of the artifact is consumed /and continually consumable as a desire to cultivate temporal elements produces a forge of mixed and mismatched data. in the space of sound, a disproved hypothesis debuts as a jarring and discordant synthesis, raising smokescreen battlements around the listener. all bullshit.

so what. this fascination is with translation errors, with flawed communication. skeleton forums built from pebble irritants.

your dielectric miscues leave me wondering what artifice you lay a name against.

when you close the door, or pass it by, you leave behind the fact that you’ve made a ghost, from ephemera and resonance, change.

human. beings

are always old, ugly and dying to be touched

and dying to be touched