New Disquietude podcast episode: music by Lesley Flanigan, Dave Seidel, KMRU, Celia Hollander, and John Hooper; interview with Flanigan; commentary; short essay on reading waveforms. • Disquiet.com F.A.Q.Key Tags: #saw2for33third, #field-recording, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

Listening to art. Playing with audio. Sounding out technology. Composing in code. Rewinding the soundscape.

The Generative Patch as Fixed Recording

A live video by Flohr of Atlanta, Georgia

Like yesterday’s featured video, this video pushes the legibility of live filmed performance. Yesterday’s technically involved multiple live takes overlaid, each obscuring the others, and the ambient quality of it having less to do with any individual performance in the first place and more with the chance correlations that occurred as a result of the post-production act of accrual. Today’s video, by Flohr, is too murky and unidentifiable to ever be mistaken as a tutorial. And, of course, any modular synthesizer piece, such as this, that employs self-generating patches thus involves little if any human interaction. The hand comes down from above, the scale and surprise a bit like a Monty Python animation, a couple times, but by and large, this is really a live performance as fixed document — a patch playing out in realtime as something set in stone nonetheless, or in this case set in plastic and metal. The piece, “Spring Reverb Feedback Paths” by Flohr, is a shiny, rapidly cycling shimmer worth putting on repeat.

Flohr is Eric Flohr Reynolds of Atlanta, Georgia. More from him at soundcloud.com/flohr and ericflohrreynolds.bandcamp.com.

It’s the latest piece I’ve added to my ongoing YouTube playlist of fine “Ambient Performances.”

By Marc Weidenbaum

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  • about

  • Marc Weidenbaum founded the website Disquiet.com in 1996 at the intersection of sound, art, and technology, and since 2012 has moderated the Disquiet Junto, an active online community of weekly music/sonic projects. He has written for Nature, Boing Boing, The Wire, Pitchfork, and NewMusicBox, among other periodicals. He is the author of the 33 1⁄3 book on Aphex Twin’s classic album Selected Ambient Works Volume II. Read more about his sonic consultancy, teaching, sound art, and work in film, comics, and other media

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  • My book on Aphex Twin's landmark 1994 album, Selected Ambient Works Vol. II, was published as part of the 33 1/3 series, an imprint of Bloomsbury. It has been translated into Japanese (2019) and Spanish (2018).

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