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Archive for January 2014

On YouTube I found this video today on the Ondes Martenot: an electronic instrument of the 1920’s which preludes today’s synthesizer. It is most widely known for its use in pieces by French composer  Olivier Messiaen:

I actually own a high quality software emulation of the Ondes Martenot made by VSTi producers Sonic Couture and use it quite often due to it’s distinct sounds. One of the interesting things about the Ondes Martenot was the ribbon controller demonstrated by Jean Laurendeau in the video.

A similar ribbon controller in a modern plexiglas enclosure now made by Eowave is also part of my synth studio. Here the Blade Runner theme is played on a synthesizer using the Eowave ribbon as a controller:

So although the Ondes Martenot may be almost a century old and is not often used as an instrument on its own, it’s sounds and concepts are still alive today.

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‘Stillness’ is a film by Esther Kokmeijer, a series of cinematic landscapes, filmed in the Arctic and Antarctic. It is scored by Rutger Zuydervelt a.k.a. Machinefabriek.

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Reblogged from the midnightsiencefictionfeature blog. Interesting post on the concept of “visual music”.

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midnightsciencefictionfeature

<This is an excerpt from a text I wrote last week, about a theoretical exploration between Ikeda and Visual Music. This particular excerpt is a (very) short segment about defining the vast artistic expertise that can be called ‘Visual Music’>

In discussion of experimental and ‘absolute’ film[1] of the 1920s and 1930s, the broad term visual music began to take form. Even before then, scholars have noted that the ‘color organs’ of the nineteenth century could be a precursor to these moving abstractions, without narrative but accompanied by music.[2]
                The term visual music can be considered a form of art in which the combination of moving imagery and sound establishes a temporal architecture in a way similar to absolute music[3], according to Diego Garro.[4] It can be defined as a historical reference and at the same time as a label for contemporary…

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The basic idea of Unnamed Soundsculpture by Berlin based generative design studio Onformative is creating a moving sound sculpture from the recorded motion data of a real person.

Onformative asked Laura Keil, a Berlin based dancer to interpret a musical piece – Kreukeltape of Machinefabriek  – as closely as possible with the movement of her own body. She was recorded by three depth cameras, in which the intersection of the images was later put together to a three-dimensional volume. The dancer moves to a noise field which can create new versions of the video, each offering a different composition of the recorded performance.

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