National Water Dance – NOT Cancelled

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.

Covid-19 DNA Remix

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.

Covid 19 Remix Eric Drass

The Dance of Ego and Consciousness

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 I was 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, amd 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 relied on 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!”

The Place ReSounds of Water

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!

Riding and Playing the en/Harmonic Waves

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!

Monthly Human Origami Jam

Glenna Batson is back in town and we have started a monthly Human Origami Jam at ADF Studios on Broad Street in Durham. Join us this Friday, February 15th for an exploration guided by the foldings of cells – the building blocks of nature. While Glenna guides you through a macroscopic to microscopic sense of the cell, dejacusse will sculpt sonic forms in the atmosphere of the room. The soundscape will swath you in harmonics, whispers, bounce and back to the ambient sound of the room. Sound as water is my theme, and since cells are mostly made of water…

Human Origami Jam

TODAY! Friday February 15th

4:30 pm to 6:30 pm

ADF Studios Broad St. Durham NC

Donations accepted

I would love to see you there!!

Modular synthesizing in Ableton Live

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