The Art of a Scientist exhibit closed last weekend. If you did not get a chance to hear/see my collaboration with Hasan Abbas, MD-Ph.D candidate, Duke University and the Shared Materials Implimentation Facility (SMIF), Duke University – here it is! The video plays twice and the whole thing lasts only a little over two minutes. For more on the concepts underlying the soundscapes, go here-> https://wp.me/p5yJTY-zm after listening.
The Art of a Scientist is an annual exhibit curated by Duke University graduate students who are interested in promoting dialogue between art and science. STEM graduate students submit images from their scientific research to the AoS Committee. I answered a call for artists to work with the project, and was paired with a graduate medical student who submitted a video.
The video is of the vascular system of a mouse hind leg. It begins with a view of the murine vascular tree branching out in red. We see the side of the leg rotating, then it tilts and rotates around, and disappears. An angled plane (that resembles a microscope slide) moves from bottom left of screen to top right of screen, to reveal the leg with the soft tissue enclosing the vascular system. The image rotates, then the layers melt away as the leg disappears. Then the image reverses and the layers swirl back together. The image stops before the layers finish, rotates a half turn and is complete.
The video is a collaboration between Hasan Abbas, an MD/PhD student, and the Shared Materials Instrumentation Facilities at Duke University. The mouse leg visualization can be used to model healthy and diseased cardiovascular systems. When I asked Hasan what he heard while creating the video, he said, “scholarship”, “elegance” and “discovery”. I love this as a jumping off point for a soundscape – “elegant discovery”.
And then there is the mouse! My first thought while curating samples for this project was to “give voice to the mouse”. Modern medical research is built on the backs of mice, so it seems right to honor and acknowledge their participation. I found hours of recordings of mice squeaks and scratches. Another element I wanted to capture was the branching of the vascular structure at the beginning of the video. So the creak and cracking of a large body of ice was layered into the sound bed. These sounds were synthesized into a liquidy flowing underbed (suggestive of bloodflow) over which orchestral voices swell in wonder. This piece is called O Men and Mice.
Hasan Abbas and I had several email correspondences. I sent him my first soundscape and he gave wonderfully useful feedback. In all of his correspondence, Hasan spoke with keen interest about the technology used to create the video. The method is called diceCT and the technology is a micro-CT scanner. Hasan referred to the technology as “a thousand tiny X-ray” images stitched together to create the detailed 3D image of the mouse hind leg. This made me wonder how 1000 Tiny X-rays might sound. So a second soundscape was born.
For this piece, while the primary idea is the sound of 1000 tiny x-rays, I also wanted to convey a sense of excitement and pride in an amazing technological accomplishment. diceCT is a new way of seeing living matter that could reveal hidden organic structures or systems. Drum rolls, claps and cymbal crashes are iconic sounds of triumph, so these were used as the sound source. In the video, when the tilted slide-like plane moves from bottom left to top right, the full leg emerges, and there is a feeling of a “great reveal”. This feeling is emphasized by a drum roll and cymbal splash into a moment of silence in the soundscape. For the sound of thousands of X-ray images being taken, granular synthesis was applied to the drum sounds as they built up in dense layers. Interestingly, granular processing does a similar thing to audio as the diceCT method does to matter. Hasan provided me with a video that was slower in pace for this piece. The layers of the whole leg system as they swirl away and return are so beautiful and perfectly fitted together, I wanted it to take more time.
The Art of a Scientist will open Saturday April 6 at the Golden Belt Grand Gallery (800 Taylor St. Durham) and will run through June 23, 2019.
My quest to synthesonize Ableton Live has taken an exciting new turn. Last Sunday, we discovered that by micing The Bells at the Central Park School Soundgarden, I can run that sound through Ableton and into the various synth modules and FX racks I am building. What happens is that the Abeju Synth Modules and FX Racks capture most of the harmonics that arise from Eleanor’s bell playing. The harmonics can be shaped by envelopes and attenuation and, of course, granular synthesis. My goal is to gradually shape the bell harmonics into a watery stream sound. This will be part of the soundscape for The Place ReSounds of Water (TPRSW) on April 14th at 4pm for SITES Season 2018-19.
When iBoD first started playing with The Bells, I recorded and analyzed their harmonic content. These bells are former compressed air tanks with the bottoms cut off, so the metal is not pure, it is some kind of alloy. This translates to lots of harmonic AND enharmonic content! A pure metal would render more pure harmonics. These pure harmonics are pretty, often beautiful, but my ear grows tired of the stasis of it all. The idea of purity in all of its forms is an illusion that leads to much misunderstanding and anguish in the world. Think about what striving for purity has given us: genocides, fascism, chronic autoimmune diseases, disconnection from and attempts to conquer nature, diminished empathy, and on and on. It is my prayer that riding and faithfully playing All the en/harmonic waveforms will encourage evolutionary growth. That is what I am going for!
TPRSW is my first attempt to sync up with the National Water Dance. My timing is off as this is not the year for National Water Dance, however I am hoping this will kickoff some interest for 2020. The idea for TPRSW is to give prolonged loving attention to water in the form of sound, light and the liquid itself. The soundscape will consist of Eleanor Mills playing The Bells, dejacusse aka Jude Casseday capturing and playing the en/harmonic waves from The Bells and morphing them into a watery feeling soundbed. Then Susanne Romey will play Native American flute over that for a while, then we start the wave again. The movers will pour water from vessel to vessel. An altar of flowers may be built. The whole thing is a mystery.
Our location at the Soundgarden at Central Park School gets full afternoon sun, so the visuals might include sparkles and shimmers of water. We could be lit up! If it is overcast, the air will be moist and the sounds of water will carry more clearly. If it threatens rain on Sunday, we will do it on Saturday instead! Or, perhaps, we will figure something else out and perform as it rains.
Whatever we do will be in praise of water!
Even though I have worked intimately with Ableton Live DAW (Digital Audio Workstation) for over eight years, I KNOW I have only scratched the surface of its capabilities. In the last few years, I have come to think of Ableton Live as my “instrument”, my medium, what I create with. What an incredibly rich and mysterious instrument it is! Now I am enamored of modular synthesis, striving to be come engaged with modular synthesis, particularly Eurorack modules. I love the knobs and sliders, and the patch cables just put me over the top. Modular synthesis is like sonic legos, a form of prayer, and a particular patterning of vibrations that matter. I want to plaaayyyy!!
This is the 2019 plan: spend time researching, listening to and playing modular units. I am learning about how modulars work by playing with the Ripplemaker ios app on iPad. Ripplemaker is a semi modular synthesizer which means that some of the signal routing is already patched together. Ripplemaker contains five modules, an LFO and amplifier/mixer, so it is a good basic learning tool. In addition I am studying the book Patch and Tweak which just came out a few months ago. It is a comprehensive survey of modular synthesis from the basics, to the gear, to the practitioners. I bought the book because it contains an interview with a performer whose work I admire tremendously, Caterina Barbieri. The book is a treasure trove of information that I am studying every day. The write ups about all the major brands and models of Eurorack synth modules is amazing. While Patch and Tweak could pass as a coffee table book, it is a bible to me. While doing all of this, I will save the money to buy my first modular synth unit. This could happen at Moogfest, or sooner depending on the progress of research and saving.
As for now, I have invested alot of time and money in Ableton Live and my computer set up, which is essentially a soft synth – I just need to configure it as such. Up to this point, I have treated Ableton as a composition tool/recording studio for the most part. I have been performing with Ableton and learning how to use the control surfaces (Novation LaumchPro and AKAI Key 25) to create soundscapes in real time. Now I want to configure and play Ableton more like a synth. This new approach will mean I have to deeply learn all the audio effects in Ableton, and other external plugins. I can configure the control surfaces to function as synth controls by mapping the parameters I want to sculpt with to the knobs and sliders of the control surfaces. The rest is signal routing.
Ableton Live is so robust and complex that the signal routing possibilities are numerous. Audio effects can be placed on tracks, within tracks routed together through a group submix, within a clip, within send/return tracks, on the Master track. Then within the larger set, tracks can be routed to and through each other using the in/out sub menu embedded in each track. So, with this in mind, how can I create control voltages, oscillators, slopes, envelopes, LFOs, Noise, and other modulators and configure them and play with them within Abelton Live?
The journey begins…
*photo of basic Auto Filter from Ableton Live Manual
Reading deeply into sound, physics, chemistry, and nuerobiology, it becomes clear that lived experience is comprised of waveforms modulating each other. These waveforms weave around and through us. The waves are different frequencies and different amplitudes, they have different shapes and resonances AND they interact with each other, all of which creates various densities of matter. As extreme examples, there is a diamond and a thought. These extremes define the boundaries of material experience – the hatd shell of the matrix we exist within. There is more beyond these boundaries, and the more seems to be the field of conciousness.*
With this as a basic understanding, it is my intention to mind the oscillations, particularly those that eminate from my human being/my earth suit/the event horizon of my world. The waveforms I conjur come into phase relationships with themselves and with the waveforms of other human beings as we event our common reality/the hard-shell matrix. This is an amazing realization! This realization sheds light on a major question I have danced with in my life:
How can I be more loving? So much of my living is spent seeking love from “the world”. That was my quest for the first half of my living experience. While it does hurt so good, I finally realized the question is framed in an unhelpful way. So I am moving from how can I get more love, to how can I be more loving?
My most important practice for exploring this question is awareness and presence in the moment. We have been listening to Eckhart Tolle go on and on about this. He works very hard to articulate awareness/presence in all the ways that might possibly bounce around (or cut through) the mind. Listening to ET, I am aware of the trinity of self, egoic mind and conciousness all walking into a bar. (It is a good practice for them to stick together, although the bar was probably egoic mind’s idea.) These three are waveforms of their own, and their interactions eminate into manifest world! These two thought-fields (waveforms of matter and awareness through being) intersect at my heart.
One definition of oscillation (from physics) is
regular variation in magnitude or position around a central point
This aptly describes the interplay of these two planes intersecting through me at heart center. I feel this most intensely when I am sounding harmonics through a space. Especially using modular synthesis – with all the operators, envelopes, slopes, attenuations, triggers, gates and frequencies- to create actual sonic forms in space. At present I play with Ripplemaker ios app from Bram Bos. It is great to learn on. Ableton can function as a synthesizer. This is my focus at present- to configure Ableton into a synthesizer. (I am deeply desiring a modular system, but must go slowly due to funds. So work with what you have!)
This first week of 2019 – a new year (marking earth’s intersecting oscillations with the sun, moon and stars) brings some interesting mantras –
Listen more deeply, mind the oscillations, propagate harmonic vibrations, learn to play with forms, depersonalize the whole thing! The WoW
Alrighty then!!…on with the emanations!
*These books have informed my thinking about all this:
Long, Manya J. The Psyche as Interaction (Electromagnetic Patterns of Conscious Energy)
Lanza, Dr. Robert Biocentrism and Beyond Biocentrism
One of the pages attached to this blog is my Artist’s Statement. I believe in intention and evolution, so this statement is a living document for me. I reflect and revise the statement as soundscapes guide me through the world. Last July, I had the opportunity to expand my understanding of a Pauline Oliveros quote that is an integral part of my statement. I thank my dear friend, Theresa Carilli, for helping me clarify what I am saying! (Photo of Pauline Oliveros from media.hyperreal.org)
Pauline Oliveros, pioneering electronic musician and Mother of Deep Listening, defines a soundscape as
“All of the waveforms faithfully transmitted to our audio cortex and its mechanisms.”
With this statement, Oliveros calls out all the limitations that we place on inclusiveness, and issues a challenge to both sound artist and listener. This is not an acoustically contained melody in a particular key with carefully cultivated supporting orchestrations. This is not about money, commodity, mastery of instrument, aesthetics, standards of excellence, competition or any other divisive concept decreed from the bully pulpit. This is “All of the waveforms…”, all of the frequencies in the sounding world. All of them! Oliveros envisions inclusiveness as “essential to the process of unlocking layer after layer of imagination, meaning and memory down to the cellular level of human experience.” Her vision offers the soundscape as antidote to patriarchal divide and conquer methodologies that are extremely loud in our current culture. As a sound artist, creating and performing soundscapes with a community of cohorts, it has become my devout intention to take up her challenge to transmit all of the waveforms to audio cortexes everywhere!! How is this to be done? As sound practitioners, how do we “faithfully” transmit all of the wave forms? And as audience members, how can we also “faithfully” receive all of the wave forms?
The challenge in her definition of soundscape is carefully packed in the words “all” and “faithfully”. These two words are intimately connected in this statement. They transform a physiological description into a guiding intention. “All” means striving for inclusion/no exclusions. In order to be “faithful”, one must be fully present. And a powerful path to inclusiveness AND presence for both sound artist and audience member lies in the practice of deep listening with reverent attention to the harmonics/enharmonics, melodies/noises, and rhythms/arrhythms that comprise each sonic moment.
As a presence-practicing soundscape artist, I explore this terrain and bring back markers for accessibility to anyone who wants to give audience to soundscapes.
For many first-time listeners, soundscapes may feel overwhelming and chaotic. Many reject giving audience to soundscapes for this reason. Soundscapes do not give much direction as to what to listen to, so one must listen INTO the soundscape. That is the first adjustment for the listener – stop, breathe, find a friendly line or voice and follow it. The line might be a long meandering phrase or a loop, percussion or melody, foreground or background, fast or slow, loud or soft. It takes a curious desire to hear WHAT? is going on IN THERE! to get past the boredom, fears and defensiveness that often arise when forms are changing in unexpected ways. When the hypercritical, judgemental mind lets go into curious, discerning mind, the listener will discover the pathway inside the soundscape.
Once inside the cave of sound, footholds are both secure and insecure. Like a bird lighting on a branch, the listener does not know if the center will hold, so deep listening provides the wings to move to another branch. We explore the fluid nature of “in time” and “in tune” as we settle into and are disrupted by the soundscape; blips and glitches, fits and starts, followed by a deeper sense of the flow of the scape beyond preconceived ideas of tempo and tonal center.
So soundscapes are these churning, swirling, floating containers, within which my cohorts and I add other voices and textures. I think of the soundscape as a beautiful being and we are the accessories. Another cohort observed that soundscapes are like patchwork quilts. We have a bunch of scraps of sounds and we weave them into a whole. Or the soundscape is an aquarium full of fish swimming and darting around.
The aquarium metaphor is a very helpful template for listening to a soundscape. When you watch an aquarium, your eye may follow one fish for a while until the fish passes another one which grabs your eye. Or one fish may make a sudden move that startles you and so you keep an eye on that fish. In this same way, your ear, if it is sufficiently relaxed and accepting, may hear into parts of the scape or moments of improvisation from the players. Sounds and voices come forward and recede, and your ear, brain and body follow along as you are drawn into this cornucopia of sound.
The cacaphony within a soundscape exists because of the mandate “all of the waveforms.” The soundscape is a dense pallette that moves and morphs through tonal and rhythmic relationships in actual time and in a particular space. Then, as my cohorts and I layer in more waveforms, we create a Nested Soundscape, a permanent recording of the sonic moment folding and unfolding through time and space. Each performance sets rippling frequencies into the atmosphere that are then time stamped onto a recording. Then we offer it to any and all listeners via Soundcloud. This is the transmission process I use at this time.
Adrift in a Sea of Birds is one example of a Nested Soundscape. There is much to hear here – starting with the soundscape itself, which is the catalyst for waveforms in the moment, then the players adding in more waveforms, then the sound of the birds outside the open windows and much more that I leave for you to discover. There are places of beauty and places of disconnect, all of which make up the sonic field of this moment. As players and listeners we honor all contributions to the rich universe of waveforms stirred up by the soundscape.
The act of transmitting all of the waveforms is a practice that challenges me as a sound artist and a listener. It is an action of allowing that is counterpoint to the action of resistance. It is a form of Tai Chi, using energy to create not only new visions, but also little earthquakes in the status quo. The critical mind gets to take a vacation and let go into a listening field that includes all sound. A place where “sounds become interrelated rather than chaotic and meaningless–the field conveys forces (energy) from one sound to another.”
As an active and dedicated transmitter, it is my dream to assist human ears in evolving beyond the codification of common practice, popular music and the calcified ear brain, inviting listeners to open ears as they open eyes and take in a broad spectrum of colors, textures, movements. Learning to listen to soundscapes is an act of allowing that can lead to shifts in consciousness and in the corporeal world. As Oliveros sees it, this sort of listening practice “is the foundation for a radically transformed social matrix in which compassion and love are the core motivating principles guiding creative decision making and our actions in the world.”
Just for a while, disengage from the notions and expectations of prescribed and habitual forms and allow yourself to enjoy the dance of formlessness to form to formlessness. This simple action could awaken an entirely new sense of your self and your world!
Reference: All quotes from Pauline Oliveros in “Quantum Listening: From Practice to Theory (to Practice Practice)” Music Works Issue #76 (Spring 2000)
If you poke one of the hexagons in the top right corner of this page, you will find my ever-evolving artist’s statement. If you read my artist’s statement, you will see that one of the questions I am exploring in my sound work is:
How do I shape the audio experience in a roomful of people talking?
Some interesting developments around this question arose when we played at Open Eye Cafe last Saturday.
The intention when playing soundscapes is to massage the sonic space and to ultimately raise the vibration of all who are present. So far, the approach has been to create soundscapes with energetic movement that evolve slowly over time. Then Susanne and I add another layer of improvisational interaction. These interactions happen in the moment and serve to reinforce, contrast or re-shape the soundscape. I remix the soundscape as we go, creating more layers of sonic interplay.
This is what we brought to Open Eye on February 7, but I came home with so much more.
There was a moderate sized crowd there and people came and went during the three hours we played. I was very focused on the soundscape and Susanne, only giving the room a cursory amount of attention. The soundscape was a strong presence in the room as people chatted, ordered food, studied, etc. We played three soundscapes, each about 40 minutes to an hour. I had my Zoom recorder, and forgot to turn it on until the last soundscape, entitled The Space Between. And am I glad I did!
When I explained to Trudie the revelation I had after listening to the recording of this performance of The Space Between, she said, “You have been talking about that for months.” Ha! So true. But somehow it all came together when I heard it. This section of the soundscape is a soundpainting of a haiku by Basho:
Even in Kyoto
Hearing the cuckoo cry
I long for Kyoto
The recording begins with a wild cuckoo cry that is extended slightly by some voices of coffee shop patrons. Listen closely and you will hear a little “ohhhhhh” as the cuckoo cry ends. People in the room interacted with the soundscape almost seamlessly. They added an element of awe at the beautiful surprise of the cuckoo cry! So you will hear that moment right at the beginning, then the soundpainting of the haiku, and finally, the sound of heavy rain water accompanying the clanking of dishes and conversations taking place. Don’t try to hear the soundscape we are playing, instead listen to the whole recording as one soundscape that unfolds before your ears.
Listening to this recording made clear to me that the fullness of a soundscape is reached when interacting with activities in a space. Each space will be different acoustically, energetically,and the sounds in the space will be varied by type and quality. A new soundscape is generated with each performance in a particular space, creating a soundscape within a soundscape, or a “nested” soundscape. So now getting a good recording of each soundscape performance has become very important. (This must be why I have 3 mini-disc and 2 Zoom recorders.) Placing multiple recording devices around the space, will give me the raw material for creating the nested soundscape. This idea has me very excited thinking about the variety of venues and the types of soundscapes they might produce. (Photo Credit: Bill Romey)