Human Origami Soundscape Dec 7 2018

Today at 3 pm, Glenna Batson will lead an exploration of folds and resistances. In her words:

What happens when awareness meets a curved line, a folding surface, a deepening crevice within the body’s interior and the surround? Is the quality of this first contact fixed or free? Is the conversation open or resistant? Is there a clear beginning and ending? It’s at this junction between folding and unfolding where new possibilities for negotiation arise – where a boundary can become more porous and transparent. In this session, movers will uncover the rub of resistance within themselves and open the conversation to new movement possibilities.

The soundscape for today’s playshop will be a piece from Audiorigami (Meditations on the Fold) interspersed with modular synthesis play in formless to form and back again. The Audiorigami track is called 11th Harmonic and consists of overlapping 11th harmonic intervals. This harmonic at extremely high frequencies has been shown to break up tumor cells! The Law of Octave allows us to bring the high frequency into the audible range, and benefit from the entangled resonance with the higher frequencies.

11th Harmonic is a kind of smudge soundscape. It has the capacity to clear stuck energy in a space, in a body, so is perfect for the suggested intentions Glenna has put forth. This piece has five or six movements, and the parts are layered in and shimmered over each other. This is an example of how I have created audiorigami to this point. Now there is new direction in the form of Ripplemaker – even the name suggests the Fold!

Ripplemaker is an iOs semi-modular synthesizer. Synthesizers play electrical signals or control voltages. These voltage-based signals are shaped by waveforms, oscillators, envelopes, filters and effects into sound sculptures. Modular synthesizers can illustrate the journey from the formless into form in amazingly beautiful ways! And the journey is accomplished through folds. The basic structure of this sound material is the waveform, and each waveform highlights the harmonic overtones in different ways. The waveshape is then propogated, expanded, attenuated, filtered, timbrally-morphed through oscillators, envelopes and filters. The journey is amazing and intense, so each mod synth excursion will be followed by a bit of room resonance and breath. Then 11th Harmonic will return.

Very excited to give this voice today at 3pm at ADF Studios. Please come and play with us!

Bandcamp CD Release: Audiorigami (Meditations on the Fold)

Human Origami is an ongoing movement/sound project to which I contribute along with Glenna Batson and Susan Sentler. On our website, http://humanorigami.com, you can explore who we are and all the ways we are playing with folds. This project was inspired by a seed idea from 20th Century French philosopher Gilles Delueze’ The Fold. In this treatise on the Baroque period, Delueze asserts that the smallest unit of matter is not the point, but the fold. He describes the fold as a unit of oscillation, along with the point and the wave. My interest is the intersection between sound and movement within and throughout the fold.

For the past several years, Glenna and I have offered a series of workshops where folds were investigated in depth and breadth. I have written about these experiments in three blog posts linked here: (https://wp.me/p5yJTY-c9) (https://wp.me/p5yJTY-cy) (https://wp.me/p5yJTY-gi) Now it is time to manifest what I have learned.

After much experimentation and reflection, a number of ways to find and create folds in sound became apparent. After all, sound is oscillating air, so the very form of sound involves folds. From there:

Rising and falling, overlapping, and reaching back (all actions associated with folds) can be orchestrated musically. One technique used to create “reaching back” is to feature overtone harmonics. By this I mean, playing the interval notes to a fundamental tone in the octave in which they naturally occur in the harmonic overtone series. For example, the first harmonic in a series is the octave above the fundamental. In the second octave above the fundamental, we hear a fifth then the next octave tone. In the third octave we hear the third, fifth and flatted seventh. The fourth octave layers in the second and the raised fourth and the sixth. Normally when these intervals are played over one or two octaves they are heard as scales and chords. Articulating them in their natural harmonic series “home” octave creates a harmonic reach over multiple octaves, and a fold back in reference to the fundamental tone.

Other techniques for more concrete renderings of folds are melodic lines that reach out from and come back to a fundamental tone. On the page, one can see how the melodies move up and down notationally. Percussive sounds are used to define the edges of a fold. A formal quality of folds is repetition. For example, two types of audio folds are 1. an echo, where the sound comes back on itself like two halves of a folded sheet, and 2. a spiral, where the feeling of the sonic movement is a perpetual reaching towards the fold, but never completing it.  Folds require a doubling back that is repetitive and ever shifting.

With these gestures in mind, here are the track notes for Audiorigami (Meditations on the Fold):

First Folds is in two parts and accompanies Glenna’s meditations on the primal unfolding of body from spine in utero. It begins with the sound of heartbeat and rushing blood. Then waves of lovely tones intermingle, slightly muted, rising up and down in a short, repetitive theme that will return in later sections. The piece begins in a still, enfolded place and moves out into form.(12:53)

First Folds Part Two begins with the percussive edges of folds then leads into an emphasis on harmonics -melodic and dissonant. The earlier theme returns to intermingle with alternative themes, all weaving into the fabric of sound as we expand out into extremeties and beyond into ethereal fields. The fold, as articulated oscillation, travels far beyond our corporeal realms. (10:03)

11th Harmonic stretches over four octaves of harmonic overtones. This piece was based on some experiments that demonstrated a particular harmonic interval that could break up stuck cells (i.e. tumors). And while the interval used in the experiments is out of the audible range, the Law of Octave allows the interval to be reduced into the range of human hearing. The primary tonal relationship is rendered as a fundamental frequency and its fifth in the fourth octave above the fundamental. My experience is that this piece is capable of stirring things up on multiple levels. It uses the fundamental to 11th harmonic interval as its basic fold, then builds from there. I played with propagation dynamics in the final mix as a way to move the soundscape closer in and further from the listener. (11:00) An 11/11 wink- I did not plan 11 minutes. I noticed it after the fact.

Folding the Edges (5:15) and Accordion Breathing (6:13) were prompted by Glenna’s idea for a “squeeze box/accordion folds event.” From this I began exploring what makes an accordion fold? This type of fold follows geometric lines, has more symmetry and presents repetitively. Accordion folds have edges – in order to BE an accordion fold there must be two edges that fold away from each other. They hold their shape as they move. The smallest unit of an accordion fold is, interestingly, a tryptych. In these two pieces, there is a strong sense of expanding and contracting, of opening and closing, of breathing with accordion folds. Both soundscapes have edges, repetitive patterns, triad/triplet relationships and breathing space.

Floating Enfolded (10:18) and Floating Downstream (7:02) did not evolve from Human Origami workshops, but were added as part of an online class in Human Origami to be offered in March 2019.

Here is a link to the album:

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Listening to the Eclipse                   August 21, 2017

36.055 degrees N

78.918 degrees W

As the beauty-filled feminine Moon danced between the fire-filled Sun and our spaceship Earth, Trude and I opted to channel the energies of the moment into creative work. Listening to the Eclipse is a two hour soundscape created during the 2017 Solar Eclipse. The scape has a Prelude, silences, a dance of tones, the moon throwing shade, and a return. The Prelude to the Eclipse came first and emerged from the time of the first kiss of shadow to 30 minutes before the 92% totality most of NC received. The eclipse soundscape,  Sun Moon Earth Dance, occurred the 30 minutes before near totality, during near totality and the 30 minutes after.

The tonal relationships involved in an eclipse can be drawn from a variety of data. I used the tones derived by Hans Cousto in the book The Cosmic Octave. The Sun tone is B, the Earth tone is C#. The interval relation is a whole tone. A whole tone has the edginess of proximity and a certain consonance as well. The whole tone interval is like an honest, long-term, intimate relationship. The Moon is G# and is beautifully consonant with Earth’s C# as its fifth. The Moon and Earth are like soul-mates. So the Earth changes partners every twelve hours or so alternately dancing with soul-mate and spouse. Eclipses change the larger cosmic pattern amongst these three. The Moon gets to “cut-in” between the Earth and Sun Mid-day, mid-dance.

The scape is designed with orchestral voices of brass, strings, woodwinds,and bells along with solar winds, rattling bones and boiling water. I created and preset some loops of the primary intervals at play that I triggered while improvising on one of the midi instruments during the actual eclipse. Now, several days later, I am sculpting the piece. Using reverb, amplitude, crossfades, and panning, I place and move the source of each sound, creating sonic leaps and spins, and slow crossfades from one ear to the other. Here is where the story takes place – statements are made, pushed to the foreground or background, interruptions erupt, loud voices fade to whispers, laughter and great flair carry us into the future.

My intention with this practice was to listen closely in the moment and render the story of the eclipse as it occured through the sounds I chose. So the best way to listen to the recording  is through headphones, and with the sense that you are listening to a wordless podcast about the eclipse. There are characters speaking and moving about the sonic space. There are arguments, discussions, laughter and mystery. What story do you hear when you listen?

Here is what the August 2017 Eclipse sounded like to me-

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Playtime: 60 minutes

iBoD      August 6, 2017                Central Park School Soundgarden

The Central Park School Soundgarden is a lovely location for an iBoD soncert. Eleanor Mills is the resident bell player here most Sundays, and I am grateful that she shared her space and time with us. On the eve of my 65th complete Earth-go-round, and on this date when nuclear bombs were dropped on Nagasaki and Hiroshima over 70 years ago, I became aware that we were playing the moment toward a new horizon. As we let go of our self-conscious bindings, a dialogue happened! We played parallel at times, we played in interwoven layers, we listened for balance in our exchanges, and each of us overpowered at times as the ambient sounds of voices, passing cars, and motorcycle growlings intermixed with our sonic offerings.

Here are two soundscapes we played that evening. Scenes for a Dance Class is a soundscape developed to accompany an ADF class several years ago.  Five scenes at varying, adjustable tempi and time signatures. The energetic weight of each scene is different as well. This piece is a favorite of ours as you will hear. I love the exchange amongst us in the beginning where we make short overlapping statements. The last scene is called some kinda waltz, and features Suzanne’s lovely piano solo.

Gone Won: Life is a Dream was created for the Won Buddhist Temple in Chapel Hill, NC. iBoD played this piece at our first public performance at the Won Buddhist Temple Bazaar in 2015. This soundscape is the setting for one of my favorite childhood teachings. The idea of “inclusion of all voices and vibrations as we move forward into the swirling vortex” informs the basic structure of the piece.

I appreciate Suzanne Romey, Eleanor Mills and Jim Kellough, who give their deep attention and sensitive playing in the moment to these soundscapes.

If you have read this far, and listened to our offerings, then you have experienced the best of my love and being. Your time and attention mean more to me than I can express and make me grateful beyond measure! I hope someday to hear back from you.

Upcoming Birthday Soncert – Sunday August 6th

Just before I retired, I threw a birthday party to celebrate my 60th Earth-go-round. The Pinhook was the venue and many wonderful people came and wrote haikus and played and danced. I fondly remember the bartender saying, “You have the nicest friends!” and I feel so grateful for that gift. I have been blessed to know so many wonderful people in my life. The party was my first live performance with Ableton and I was thrilled when people got up and danced. It felt like a launch into the next phase of my creativity-driven life.

Now, five years later, I will celebrate the 65th Earth-go-round with a soncert (sound concert) at the Central Park School Soundgarden with iBoD on Sunday, August 6th.  When we played there in May, we were without electricity, but we will be electrified!! Eleanor Mills will play the bells (as she does most every Sunday eve) and her harmonicas and melodica. Suzanne Romey will play recorder, toy piano and keyboards, while Jim Kellough will perform on the digital horn. I will play soundscapes and instruments through Ableton Live as well as the uke, NA Flute and psaltry. Our repertoire is more bouncy and less spacey this time around and we hope it makes you want to move and groove.

I am sure it will be a lovely evening. Cocoa Cinnamon is on the corner with delghtful treats.Bring your own chair or cushion or blanket. We are aiming to start between 7 and 7:15. Our first piece is a gathering groove with an easy sway to it. We will play Bandit for the first time! (See post – http://wp.me/p5yJTY-fp for more on Bandit) Several novelty soundscapes will, hopefully, amuse you.

iBoD will play for about an hour. We would so love to have you and your wide-open ears and hearts present with us!

Floating in a Silky Belly

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For about a year now, Aerial Silks Yoga has taken me to new psychological, physical and spiritual places. The silks offer the opportunity to surrender into a physical lightness akin to weightlessness. From there, the spine, the legs, the head, arms and joints can move in playful and unusual ways. I have experimented with backbends and headstands. By hitching the silks right under the hinge of the hips, then leaning forward into downward dog, I can then lift my legs off the floor, criss-cross them over my torso and look at the world upside down for a while. The shift in gravitational orientation and visual point of view are incredibly refreshing to my body and mind.

Shavasana takes on a whole new dimension lying inside the silks. They swaddle and hold you. They move gently with each inhalation and exhalation. They rock you tenderly. Occasionally at night before I drift off to sleep, I feel that rocking. Shavasana in the silks reminds me that I am held in love!

I provided a soundscape for one class last year.  Floating in a Silky Belly is a piece I created especially for Shavasana in the silks. The scale is C Phrygian with lots of accidental tone harmonics (black keys). Kay Gardner, a pioneer of harmonics and healing, in her course Music as Medicine, offers a template for aligning  harmonic tones with colors, chakras, emotions, etc. The tones in this piece form a container for feelings, appetites, insights and intuitions. They hold and move the energies of the belly and brow chakras. Here is one version of Floating in a Silky Belly.

Uplift Aerial Yoga Classes are offered at The Wellness Station with Lorraine Davis, Co-Director of TWS. Lorraine is a gentle, loving spirit with a deep awareness of spirit and body mechanics. Her classes mix strength and balance training with stretches and relaxation. She offers orientation classes periodically, and on-going classes on Monday and Friday afternoons. Contact Lorraine and see if Aerial UpLift Yoga is for you. It has been a total gift for me! Here is a link to their website: http://www.thewellnessstation.co

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PROMPTS: Imperative       September 3, 2016

When Justin Tornow sent out the prompt for this event, my first thought was “What is truly imperative?” A voice answered back, “Breath, heartbeat, conciousness. All the rest is human construct.”

“WoW” said I.

Last night at the new location of The Carrack Gallery, a group of humans got together to express what we feel is imperative. Grief, love, work, vulnerability and self-awareness were the primary constructs illuminated in dance and words. As always, it was a provocative and enlightening evening of artistic work.

ibod(indiosyncratic beats of dejacusse) responded to the prompt with a piece that entertained the idea of imperative as a sense of urgency in the form of emergency sirens. The audience sat in the middle of the room and closed their eyes to make their ears bigger. Jim Kellough and Eleanor Mills circled the group with their iterations of sirens, while I played loops of siren intervals including the keyboard sounds that Suzanne Romey usually plays (she is out of town this weekend.) I invited the audience to vocalize sirens if they wished.

Here is The Sound of Sirens, soundscape nested at The Carrack Gallery: