Images of the Week: Brian Eno’s Latest, Trope

The latest iPhone app by Brian Eno and his programming partner, Peter Chilvers, is Trope, a tactile music-making engine. Strokes of the finger create the lines and other visuals (five options total) seen below, each of which effect a different compositional element in one of 12 “moods.” The moods are named “Sodalis,” “Orenia,” and the like — that’s three more moods than in Bloom, the previous iPhone app developed by the duo.

If you have iTunes installed on your computer, you can learn more at apple.com. More coverage at synthtopia.com. (Thanks to Brian Scott, of boondesign.com, who first drew my attention to it.)

Quote of the Week The Cacophony of Mice

This is artist Gail Wight, in response to a question at a talk she gave Thursday night, September 24, at Stanford University. A member of the audience asked whether her Rodentia pieces, in which hair-trigger mechanisms allow mice to play sounds, often en masse, had been thought of as compositions by music critics. (That’s a rough paraphrase of the question.) She answered:

    “It’s definitely just cacophony, which fits comfortably in contemporary music.”

Later on, Wight talked about electricity’s potential for being emotive, by which she may have been referencing how simple mechanisms, like the light emitted in some of her works with butterflies, suggest life, and how the growth of slime molds are given drama and allure in her color-rich, time-lapse videos.

More on Wight, who is currently the artist in residence at the San Francisco Center for the Book, at stanford.edu. Images of her Rodentia Chamber Music at flickr.com.

Past Week at Twitter.com/Disquiet

  • The Informant! easily has more melody than do all other Steven Soderbergh films combined. Marvin Hamlisch will get many many awards. #
  • Weekend agenda: maybe Godwaffle Noise, Domizil, and ICST here in San Francisco. … Last night: great Gail Wight talk down at Stanford. #
  • Each generation manages to enjoy what the previous generation hated. Girl Talk's genius is enjoying so much of it simultaneously. #
  • Love working on an alley, and in a city, where in the morning I can hear the cry of a tamale dealer and the rattle of her cart. Tasty, too. #
  • Confirming suggestion by @boondesign that Gentleman Losers make a great soundtrack for the small office. #
  • Top searches on Disquiet.com are always interesting. Today the top 5 were "dubstep," "beta cloud," "static," "moca," and "Buddha Machine." #
  • Tonight: ramen. #
  • Afternoon sounds: muffled conversation, printer whir, typing, creaking chairs, dishes in sink, footsteps, paper crumpling. #
  • FM3/Throbbing Gristle device Gristleism is live: http://www.gristleism.com + Phillipe Starck iPhone app mix: http://radio.soundwalk.com/ #
  • Input appreciated on Disquiet.com site-design upgrade. Great participation thus far going on here: http://is.gd/3zZRa #
  • RIP, Art Ferrante (b. 1921), of film/TV piano duo Ferrante & Teicher: http://is.gd/3y3B1 #

Industrious Noise by Myo (MP3)

Ever been caught in an auto body shop for a long afternoon, having accidentally left behind your iPod at home, and then been drawn in, unexpectedly, by the industrial chamber music of power tools and exhaust pipes, interspersed with the occasional bout of locker-room humor and cursing? That is what a May 2009 performance by Myo (aka Cory O’Brien) sounds likes, minus the macho wordplay (MP3). The tactile association is not misplaced. O’Brien’s music-making toolbox focuses on contact mics on polycarbonate sheets, all played through computerized feedback networks. The result is a sound space redolent with torque, noises being turned, twisted, contorted, and it’s a credit to O’Brien’s programming that his computerized filters never lose touch with the physicality of his source material. Check out this nearly 12-minute live track, recorded at the Velvet Lounge in Washington, DC:

[audio:http://www.myosound.com/joust/myo-live_5-09-09.mp3|titles=”Live at Velvet Lound – 5/09/09″|artists=Myo]

More at myosound.com.

The Katamari Damacy of Drones (MP3)

There’s no need for a Zen koan about grounded and ungrounded wires. We know full well that an ungrounded wire will make a sound — a sound not unlike the earthy drone with which Geronymakis chose to open his recent release, Hupnos, on the Dark Winter label. It’s a heavy, warm drone, very much the sort of sound that suggests a parade of diesel trucks far off in the distance, or a hovering spacecraft just overhead, or a neighbor’s oddly noisy refrigerator all too close by. And like that refrigerator, the initial Hupnos drone brings with it, over time, an added level of detail and intensity. The detail is the internal character, the sounds within the sound, that makes itself clear during the drone’s extended duration.

Note the way it seems to linger a little to the right of the stereo spectrum, the way it seems to cycle counterclockwise, the way its pulse is oblong and throaty. And in time — this single-track release is only minutes under an hour in length — additional elements join in, sonic particulate (ringing tones, nearly subsonic voices, infinitesimal percussives) attached to the drone like objects in an audio version of Katamari Damacy (MP3).

[audio:http://www.darkwinter.com/dw061/dw061-Geronymakis-01-Hupnos.mp3|titles=”Hupnos”|artists=Geronymakis]

More details at darkwinter.com. Visit Geronymakis at geronymakis.nl.