chimescape - the return

cos personally I'm more of a Saverot's man

cos personally i'm more of a Savouret's man

creel to be?

Vorhaus is a feeling

https://www.facebook.com/BBCArchive/videos/1976-tomorrows-world-kaleidophon/330119940694376/

Omaggio a Marino Zuccheri

OmniCircus

Frank Garvey's OmniCircus from Vincent Tremblay on Vimeo.








"Frank Garvey is a radical all-around artist who dipped his fingers in painting, sculpting, songwriting, and theater. He is best known as the creator and director of the OmniCircus in San Francisco, the world's first robotic theater ensemble. Marxist philosophy, surreal dreamlike imagery, and a sweet-and-sour taste for the unfit (junk metal, the physically impaired, the socially marginal) have been fueling his creations since the 1980s. Garvey writes musical dramas that call for robotic and human actors, dancers, and singers. He leads the ensemble DeusMachina, also attached to the OmniCircus. 

"Garvey didn't study music. He grew up in Urbana, IL. His mother was a classical pianist, his father John Garvey a close collaborator of Harry Partch (he directed the premiere of The Bewitched). Partch's music (and his love of homemade instruments) had a strong influence on Garvey who later said he would do for metal what Partch did for wood. His formal training is in video (at the Art Institute of Chicago), computer animation, and applied sciences. Relocating to San Francisco in the '80s he slowly developed his artistic ideas and ideals. After a painting phase, he began to build lo-fi robots and founded the OmniCircus in 1988, staging small-scale shows at first. He managed to build a small following and an exaggerated reputation as a mad scientist (he liked to take his creations for a walk). In 1995, he met engineers Aaron Edsinger, Jeff Weber, and Carl Pisaturo. They helped build what is known as the OmniCircus Robotic Red Light District, a collection of perverted, twisted robots, surreal personifications of Mankind's deepest sins and fears. Some media attention of a controversial nature brought his work to a wider audience. The production House of the Deafman, backed by a cocktail of post-industrial rock and world music, garnered excellent reviews. In 1999 Garvey moved to Pittsburgh where he founded the Center for Robotic and Synthetic Performance (CRSP) at the Carnegie Mellon University where he now teaches."

they brought you the future (well not really)

would be interesting maybe to play these against Chrome's early releases



same coast, same Hendrix obsession, not dissimilar drugs, lots of squealing lead and molten soloing

mouth music (Nyrodelia)

wow. just wow.

and i'm not even particularly a Laura lover.

Very much in the tradition of  "Omaggio a Jerry Lewis" by Richard Trythall and 

James Tenney "Collage #1 ("Blue Suede")"

back to Arne - some more of his mouth music, this time choral

mouth music (berberian sound studio)

mouth music (mal de fleurs)

Ruth White:

"To me, Baudelaire's poems are of such unique power that they always seem to rise above the level of the personal and sometimes existential nature of their content. In this composition, I have attempted to parallel the transcendental qualities of the poetry through electronic means.

For the words, I used my own voice as the generator of the original sound to be altered or "dehumanized." This seemed practical since my experiments with the medium were too time consuming to have been easily accomplished with a collaborator.

To modulate my voice, I used a variety of techniques. Changes of timbre were achieved with filters. Tape speed changes were used to control pitch. Into the shape of some words, I injected sound waves and white noise, thus changing the quality of their sound but not the flow of their delivery. By adding reyerberation, I varied atmospheres and decreased or increased space illusions. To accent special words or phrases, I used controlled tape delays. Choruses were created by combining slight delays with multiple track recordings.

The musical settings around the voice were made with music concrète materials, a moog synthesizer, other electronic generators and conventional instruments, which were usually altered electronically.
In the translations, there was no attempt to rhyme the verse as in the original french poems. I tried only to keep the language as direct and simple as possible, for I always found that the dominating power of Baudelaire's ideas were in themselves of electrifying force."