Here is a 8 minute excerpt from dejacusse’ hour long broadcast on Thursday afternoon July 30 from 2:48 pm to 3:45 pm. (cause I eschew ideas of “perfection”, and all her followers and gatekeepers.) Today we featured Theta Waves (frequencies divisible by 5 and 8) at 200hz and under at 108 bpm. These Sine waves were then set off in relation to each other, and filtered through flangers, resonators, delays, reverbs and frequency filters within Ableton Live. The idea is to unfold harmonics from these interactions, and enfold them back on themselves. Some pretty cool stuff emerges- not for everyone, but if you feel the resonance, that is the best! Thanks for listening if you do!
David Byrne’s record label Luaka Bop released one of my favorite albums – Cuisine Non-Stop – which featured popular local bands from all around the country of France. The album is a delightful pastiche of people lovingly creating their music wherever they find themselves! I felt a kinship with this merry band of troubadours, and thought it would be so wonderful to be included in such a sampling.
In January 2020, I saw an advertisement on Facebook from Chapel Hill Library and Community Arts and Culture seeking album submissions for a curated collection of music by local artists. The requirements for submission were residence in Orange and neighboring counties, and a published album. The submission process was pain free and user friendly. I submitted dejacusse’ album Audiorigami:Meditations on The Fold (released 11/11/18) and wished her the very best!
A month in Florida, a Coronavirus lockdown and a National Water Dance later, an email arrives telling me that Audiorigami would be included in the inaugural Tracks Music Library. I am thrilled and encouraged by this development! Although it may not be Luaka Bop, this fits my work perfectly! “The grass roots of the grass roots” as one friend said! Tracks Music Library was launched June 9, 2020 with 80 albums to stream and plans to grow the library by 25 albums a year. You can listen at tracksmusiclibrary.org.
Tracks Music Library is the result of Chapel Hill Library staff meeting the Rabble Musicat staff at a library conference several years ago. Rabble is a private company with a mission to equip libraries with the very best software for presenting media to the world, which is a primary mission of libraries. Rabble believes libraries are “forces for good” and wants them to have access to excellent media resources! (I think they are quite successful, and I will tell you why later.) Musicat is a facet of Rabble that focuses on curating local music into library collections. These local music libraries have been established in Nashville, Seattle, Salt Lake City and Austin to name a few, and now Chapel Hill. Here is a link to more on Rabble Musicat: https://musicat.co/libraries
Melissa Bartoletta, Communications Coordinator for Chapel Hill Community Arts and Culture, said of this first round:
We received 176 submissions in our first open call for submissions. We were thrilled by that number as well as by the quality and diversity of the work submitted. Because our first year of this project was funded through a grant from the State Library, we were able to invite 80 artists into the collection.
Melissa emphasized that Chapel Hill Library and Community Arts and Culture have made a committment to grow the library with an annual call for submissions, continued funding and staying responsive to the ever-changing Triangle music scene. One of the ways they will stay responsive is by calling on folks from the local music scene to curate the collection. This year’s curators were Lois DeLoatch, Kevin “Kaze” Thomas, Elinor Walker, Bill Smith, Kat Harding, Glenn Boothe, Steve Weiss, and Steve Wright. The curators come to music from a wide range of perspectives, but all listen “with an ear for quality, diversity and connection” to the local music community.
While the on-line library is free for music listeners, all of the artists were paid a meaningful stipend for our work. I think of it as a kind of permanent license to stream purchased by the Chapel Hill Library. In addition, each artist has their own page with a PayPal donation button – if a listener is so moved they can donate to the artist. From my perspective it is a perfect platform. Part of this perfect platform is the media player created by Rabble. As I listened through each track on Audiorigami, I heard so much detail and depth, as if I was listening through headphones, but it was actually through iPad speakers at 75% amplitude. The quality of this listen really impressed me.
Go to Tracks Music Library and tune in. You can search by album, artist and genre. To get you started here is a playlist of Black and Brown artists featured in the Tracks Music Library: https://tracksmusiclibrary.org/featured/playlist-1591669567455
Periodically throughout the day, I focus awareness on the realization that one of the basic building blocks of the entire material world as we know it is– the oscillation. All of my personal and all of our shared experience is comprised of waveform oscillations modulating each other. This pattern driver of existence is active from the quantum to the cosmic scale and all stops in between, including the sliver we call “material reality”. Take a deep breath into THAT awareness! It has the capacity to expand “being” way beyond this mortal coil.
Signal sources, harmonics, filters, amplifiers, attenuaters, etc. all shape the place we call home. This is not a static activity, although we are obsessed with nailing it down and calling it stable. To be fair, our egoic phase needs the illusion of constancy cocreated by our corporeal senses + time. It is scary to allow in all the buzzy sensations of the multitudes of oscillations interacting within and through us moment to moment. It can shake and crack the hard linear shell of “Reality” we impose on this extremely fluid existence. But once, some cracks and crevices soften the shell, we can tune in and ride the dyhedrals of the great structured chaos out of which life arises, our true and only home. All the necessary tools are available to us:
Focused awareness in the now.
Deep listening (way deeper than ear listening).
Adaptability to a looser, less bound-up, more centered and flexible way of being in the world.
And, most importantly, forgiveness.
Sound, due to its oscillating nature, impacts the structure and movement of material reality. So do flapping butterfly wings. So do thoughts and emotions fully felt and released or shoved away and blamed on others. So do bombs and bullets. So do words of harm and ridicule. So do love and compassion. So does forgiveness. Each moment we choose a platform (or it chooses us) and then we actively modulate our consciousnesses into existence, as we ourselves are modulated by all the struck and jostling oscillations.
What a world! What a world!
TODAY, April 18th, iBoD is taking Durham to the National Water Dance! At 4 pm today, Jody Cassell will dance with the trees, the breeze, the sunlight and the water to iBoD’s Carnatic Water Music. The original plan was to create a watery container of sound, projections and flora through which Jody Cassell would lead the movement. Several other dancers including some of Jody’s young dance students were excited to perform this event at PS 137 in downtown Durham. Well, you know what happened! With so many cancellations, NWD leaders decided to go ahead with the dance as a streaming event. We will have Jody dancing to iBoD’s Carnatic Water Music at 4 pm this Saturday on Instagram Live from the safety of her home.
Here is some background on National Water Dance drom their website:
National Water Dance is a catalyst that encourages ongoing engagement between dance and the environment. Beginning in 2011 as a statewide project in Florida, it now boasts 65 locations across the United States—in 2018 including Puerto Rico for the first time. With each event National Water Dance recommits itself to the effort of increasing purposeful awareness to drive action on environmental issues, specifically climate change. Supporting the work of participants beyond our bi-annual event, National Water Dance spreads the word on the environmental issues they are tackling through monthly newsletters and social media. Our goal is to realize the power of dance as an engine of social change.
In the spirit of this mission, Jody suggests, through her movement choices, elements of this “engine” that are not as visible as issues. Stillness, slowness, wonder, and (dare we say it!) JOY in being right here and right now and moving! The soundscape Carnatic Water Music articulates and ensounds a few of the ways that water can move! To hear the entire piece go to Bandcamp/dejacusse.
As this large group of dancers in 65 locations across the country create a wave of healing energy directed toward Earth and Water, your attention will amplify the energy beyond all possibilities.
Join us for a five minute healing prayer on Instagram (@movinggrace) or through the National Water Dance Website. If you cannot join us at 4, please bear witness to the dance on Instagram TV. Now, more than ever, it is important to mind what we ourselves are giving our precious time and attention to!
Amplify the healing wave!
My curiosity about sound is completely engaged by exploring modular synthesis. So far my understanding is often inarticulate and mystified! But thanks to Suzanne Ciani, True Cuckoo, Andrew Huang, Ultrabillions, Hark Madley, Lisa Belladonna, Caterina Barbieri, Moogfest, Bram Bos, and Kim Bjorn’s book Patch and Tweak, I am evolving a different way of creating soundscapes and perceiving the world. This is the stuff of life! Waveforms modulating waveforms, waveforms shaping waveforms, waveforms reflecting, refracting and bouncing around and through us. Energetic matter begins and ends on a wave.
I am focusing my Artists Residency here at home on improving my mixing skills and building a sounding board. The mixing skills are put to the test making the recording of Carnatic Water Music that iBoD will release in the next week. As I mixed this recording I received helpful suggestions from tutorials by Jason Moss, HarkMadley, Mathew Weiss. These skills are a forever work in progress. As for the sounding board, there are currently three main ingredients: Elektron:Model Samples as main sequencer providing beats/patterns and midi triggers to the Behringer Neutron. Audio out from both of these units into Audio Tracks in Ableton Live. Ableton will provide drones, loops, and AAC/EG clips which can process audio from either unit. I can do Master recordings in Ableton as well.
Even though I want a modular system, I will work with what I have now, and learn, and be ready when my modular system appears. (Make Noise modules are the ones that I want- doo doo do do)
The Model Samples and I are getting on fairly well. I am learning the architecture of the menus, watching people perform with it to see what key combos they use, and setting up some patterns. The samples available “in the box” are very cool and I am curating my own samples as well. Every sound is potential material so it is daunting.
The past few days, I experimented with some patch ideas in the Behringer Neutron. I have gotten alot of growling out of the synth, but no sound that I liked. There is one simple patch I use: the Sample and Hold into Delay Time. When the Delay Mix knob is raised and the S&H knob is turned up, there are lots of odd, random pitch artifacts that I enjoy hearing. Today I patched the Osc Mix into a Mult, then ran Mult 1 to the OD(overdrive)IN, and Mult 2 to Pulse Width 2. Tuned the oscillators to consonant pitches. Slowly turning the Osc Mix Knob opens a whole realm of timbres. When the OM knob was all the way to one side the tone could be made clear and bell-like. With the Oscillator shapes in the square or tone mod shape, the Pulse Width knob seems to act as a filter.The Mod Depth and Envelope Depth can be brought in. This is where I am not sure what is happening – there are changes in the timbre of the tone from the synth. And what exactly is depth? There is alot to play with depending on where the Osc Mix dial is tuned in.
The third part of this is creating Audio Animation Clips/Envelope Generators within Ableton. Envelopes shape the amplitude and modulate the pitch of the sound. Audio Animation allows the Envelope parameters to move over time. Here is the post on how audio animation can be created in Ableton: https://wp.me/p5yJTY-vL I use filters to sculpt out harmonics and add texture to the sound of the Model Samples or the Neutron. So far, I am experimenting with banks of filters to sculpt out or boost particular harmonics then perform a finer tuning with some EQ. I am listening for a diverse sonic spread, then tuning it in, then spreading, and finally fine tuning.
The adventure continues!!
With all of the rescheduling of public events local, national and global, there is one event that will go on next month. National Water Dance 2020 will happen as scheduled on April 18th 2020 at 4 pm EST. This biannual movement choir in honor and healing of water will take place across the country all at the same time and streaming across the web. This announcement came from NWD last week:
WE ARE STILL DANCING! Wherever you are on April 18 at 4:00PM EST, alone or self-quarantining or with a small group in an open space, we will begin with the shared gesture and end with the shared gesture and your personal movement will fill in the middle.
We are fortunate to be living in the digital age – as we are asked to observe *“physical distancing,” we are able to close that distance by linking together through social media.
This challenge is forcing us to re-evaluate what we are doing and how we are doing it. Let’s find that deeper meaning in our dance, whether in a group or alone. We can dance wherever we are and livestream it on Instagram and Facebook.
More than ever the world needs our hope and energy. Let’s move forward together and flood the social media networks with our dances on April 18th.
My crew at the idiosyncratic Beats of Dejacusse (iBoD) had big plans to create a watery like container at PS 137 with live plants and flowers by Lee Moore Crawford, and space for movers and viewers. Now we have constrained as we must, so will feature Jody Cassell as Durham’s National Water Dancer streaming live from her home. Jody will move to a recording of Carnatic Water Music, which will be released by iBoD on Bandcamp in April a week before the event. We will keep you posted as to how to link to the performance and pre-order the digital EP.
Mark your calendars for Durham’s National Water Dance April 18th at 4 pm.
In the midst of everything going viral all around us, my friend @abstracta.audio pointed me toward Eric Drass’ sonification of the DNA sequence of the Corona virus. The National Institute of Health has released the transcript of the sequence, which can be found on their website https://www.ncbi.nlm.nih.gov/nuccore/MN908947.3 Eric, who makes all kinda wild art at Shardcore.com, assigned note combinations to each letter of the genome sequence (ATCG in various iterations) and you can listen to it (and upload the midi file) here: http://www.shardcore.org/shardpress2019/2020/02/28/the-sounds-of-covid-19/
I am fascinated by his process and hope he will give me an idea of how he did it. I am very interested in using notes/pitches/frequencies to sound out data. Eric created a 16 note scale. The top four notes and the bottom four notes are the same notes one octave apart. The eight notes in the middle do not repeat. Each measure of the midi file has 4 beats, the first beat has 2-3 notes stacked, then these notes repeat singularly over the 2,3,4 beats. How this relates to the DNA sequence I have not figured out.
Anyway, my remix begins in the middle of the midi file. There are five voices assigned to voice the midi notes. Percussion, pizzicato strings, and some other odds and ends of sonic dross. I slowed the bpm way down to 100. The piece sounds mincing, impish, serious and ominous in places. AND, you want it to end before it actually does!
Have a listen – it runs a bit over 6 minutes.
I love how life, when allowed, unfolds in diverse and beautiful ways. The Culture of the Human Organism (COTHO), which we all create together, was/is formed by the interplay of humans doing and humans being. We, individually, have the ability to DO busy worker bees and to BE still, vast awake beings. Doing and Being are the yin/yang of living. They exist on a continuum, like a cross-fader mixing two signals, and we move the fader around by focusing our conscious awareness.
The DO is about identity, achievement, leadership, playing well with others. The DO is fitting into and identifying with the material realm/the world/COTHO. The DOer seizes the day and makes a life, The DOer gets things done, gets rewarded, and so gets more things done, often achieves some level of what we call “greatness” or, at the very least, strives for greatness. DOers think, plan, coordinate. They are busy doing and making the world. Egoic mind, beliefs, values, thoughts, stories and meaning are parts of this realm.
This realm manifests COTHO! The Organism is rich, and in constant motion. It seems to be expanding just as the Universe seems to be expanding. The Organism is The World. Ever since we were kicked out of the Garden, COTHO has been making The World in an image of the Garden. And with so many individual shattered segments DOing The World right now, the primary direction seems to be “more”, “further”, “faster”.
The BE is about shedding worldly identities, expanding consciousness and being fully in the present moment. All there is is NOW! (la- la lalala) BEing is still, alert and attentive. BEing exists in a state of timelessness. BEing finds the world mostly humorous, and a little sad. BEing allows everything that is enfolded in the present moment to be!
Newborn babies have a tremendous. capacity for BEing. Adults recognize this energy in babies. This is why we love them so much, love being with them- they are awash in being, thinking no thoughts. Babies are pure presence. Alas, too soon, babies become ensnared in human doing. My highest wish for every child is that they protect, develop and cherish their BEing, and not let conciousness become obliterated by the push to identify and the exaggerated need to belong.
I have struggled with this all my life. Since I was very young, I felt slightly out of touch with 3D reality or The World. “Just wait till you get out in the real world!” said many adults I encountered. I was never sure what “real world” they were referring to. So I tried to find this “real world”. I looked for it in my parents, teachers and other signifigant adults, in school and church, in communities, close friends, colleagues, in educational degrees and lesbian feminist identities. I looked (and found) what felt the most real to me in intimate relationships: lovers, dear friends and co-creators – those people with whom you stay up all night, dancing around the fear of/desire to completely open and merge with another. I really felt I found the real world there, but it turns out, there is more! With each decade, great swaths of many Worlds revealed themselves to me and the journey has been heartfelt and mostly joyful – even when suffering, I give myself over to it and enjoy the whole experience immensely.
Luckily, many people have cared for, connected and collaborated with me over these years. I love all of those beautiful people, and I have not always made it easy for them. The sense of myself was small and huge at the same time, always bouncing between these extremes. I had faith in consciousness even as I distrusted it. I let my egoic identity make me small and mean at times. This still happens, but the voice of consciousness is clearer, and ego can be lovingly attenuated to allow that still, clear voice to come through. Today, as I sit in this beautiful present moment, I give thanks to all who were right there with me in all those wonderful Nows of the past.
As Holly Near sings -“The past has brought me brilliantly to here!”
Sunday May 19th was a gorgeously breezy afternoon when Susanne Romey fluttered and howled on the Native American flute while Eleanor Mills pulled rich sounds from The Bells, and Lee Moore Crawford blessed and balanced the water, while Jody Cassell moved and was moved by internal and external energies. dejacusse added a little shimmer to the bell harmonics and witnessed this most beautiful rendering of love.
Big thanks to Jim Kellough for sound smudging the space, to Linda Carmichael for the video capture, and Central Park School for allowing us to celebrate at The Bells.
Stay tuned next year for National Water Dance 2020 Durham NC!