Binarual recording of the New Order Performance . This recording is designed to be listened to on headphones to get the sense of the spatiality
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@theemblematicsoundscape
Binarual recording of the New Order Performance . This recording is designed to be listened to on headphones to get the sense of the spatiality
Performance of my Trial Presentation of Hydration in Week 9 . Overall the response seemed to be positive..People picked up on the themes of mimesis vs abstracted space, the idea of becoming a wave, the surrealism and the different textures of waves from the small infinitesimal droplets to the vastness of the ocean, I found it really fascinating that people were so drawn to the middle representational part of the work where I state time and place. It was like the language anchored the whole experience for them. Personally at this stage I still didn't quite think I had found the balance right In the space and was tending to go all in with the diffusion nor giving myself room to move in intensity and I noticed some people left as they couldn't handle the loudness and perhaps coarseness of some of the sounds. This is always a challenge for me in considering my audience as generally I actually really enjoy visceral intense and dirty (as in distorted sound ) and I tend to want this level of extremity in my work particularly when dealing with ideas around the fury of nature. For this work though ultimately the dynamics are really important at moments the sound needs to swell to a giant crescendo at other points a wanted it to be soft at distance and finding this balance takes PRACTICE I did practice the work pretty much at least every second day for about 2 months at SIAL and in RMIT Gallery but the interesting thing is the diffusion is a living thing for me in a constant state of flux that changes each time I perform it. Unfortunately in the time we had we coulndt work out how to get the ambisonic mic to record on 4 channels so I only had a two channel recording with that mic that I spatialized for documentation purposes and a recording with a Tascam hand held recorder. note to self get the ambisonic mic out one day and learn how to use it properly !!
Video and Binaural recording of my diffusion piece Mandorla performed RMIT black box theatre 7/10/2018 for Starlings Murmurations Spatial Sound Festival. Please…
Here is the Binaural recording and video of my third resolved sound work Mandorla. This is a twelve channel sound diffusion performed at RMIT in the Black Box Theatre as part of the Murmurations Spatial Sound Festival ,organized by the Starling Spatial Sound Collective I am a part off. Unfortunately, the metro tunnel construction works mean that there is a large drilling sound that somewhat ruins the ambience of my diffusion in the quiet sections but that’s the danger of live performance. Mandorla plays on the space between light and dark, chaos and order and circular movements between two orbiting bodies, as a metaphor for cosmic love . It also plays with withheld resolution, and build using ring modulation that circle back on them selves dissonance and harmony as a way of representing the light, dark and nervous tension of the experience of love . I was inspired by Jazz and Dream pop , Shoegaze. I wanted my project to touch on popular music styles as a way to create multichannel composition as its not explored that often and its sparse yet dense layers suit the organic nature of diffusion. Through my research, thinking about music as a pre-syntax language, I wanted to explore the possibilities of musical languages symbolic function so decided to make this third work in response to the outcomes of my research. It also gave me a chance to use guitar and instrumentation in new ways.
Final binaural render of Rose of Venus please listen in headphones here I added an extra lower saw-tooth wave and adjusted some of my automation between partials
Mandorla Duality - A0 poster print mixed media collage
This black and white print emphasis the light and dark the duality of the cosmos and of love the interlaced circle of yin and yang and the nature of corporeal existence.
MANDORLA MULTIVERSELarge A0 print , photography/painting abstraction I decided to slighty alter the artwork I used for the program of Murmurations so the image would be AO and it would have more of a sense of overlaid space like the virtual space in sound leading into the idea of a multiverse , multiple universes that exist out of the choices we make . The work also has spaces of black to represent the unmanifest unknown aspects of existence .
Rose of Venus
Large Format A0 poster print Data, Venus photo and vector drawing abstraction
Here i scaled back the same idea from the program of the trial presentation to just the Venus surface abstracted into green and pink the magically associated colors of Venus , The vector drawing of the Rose of Venus orbital path and a sample of the Vector Data I used to create the spatialization from the time period of the trial presentation to emphasize that what we are hearing is happening now. This print while being far more ambiguous that other presentations , with no text, hints at both the romantic and scientific fundaments of the Rose of Venus sound composition.
Rose of Venus Poster
Medium , Collage of Venus orbit vector drawing, Data and poetry AO poster Print
This large format print shows the Venus orbital path Some information from the data set and a small amount of text explaining some of the poetical metaphors Because currently in the time of our final presentation Venus is in its retrograde period which can be heard as the sound bending in the middle of the Rose of Venus Sound Work and be seen as the petal of the Rose in the Orbit drawings. I wanted this representation to lean more to the scientific presentation but with a hint at the romanticism of the previous works. This could act as an album cover or poster introducing the work
5th partial raised by 5 of the fundamental in rose of venus
this is the quieter pure tone of a sine wave as opposed to the gritty saw tooth that creates more odd harmonics. i started the composition with sawtooth waves
using phase and delays to create a melancholic but relaxed melody influenced by the style of dream pop
Example of the Vector Data I used to create the spatialization for rose of Venus
All work and no play make Lisa a dull girl. As I had no data extraction I had to copy this and the STO manually by hand, cut and pasting from my computer, over 4000 data points it took 6 hours a day everyday for about 4 weeks it was like a leap of faith in a magical ritual because at this point i didnt even know if its was going to work and I had a lot of problems including not being able to bounce out more that 1 gb files in Nebula. So in the end only realized the first petal of the patch or the first synodic period of about 2 years of the 8 years of rose of Venus
https://ssd.jpl.nasa.gov/horizons.cgi
Here I'm playing with speed and introducing different partials into patch as the patch is increased in speed the orbit has an actual musical refrain
Rose of Venus I’m Playing round with the different settings on Max MSP rose Of Venus patch to demonstrate how the sound changes when you add different partials and speed or slow the sound
Demonstration of Venus STO patch in Max MSP
This is a screenshot video of me demonstrating my Venus STO page by introducing different partials and changing the speed of the partial. I chose 1 sec= 1 day as the time scaling to create a long form drone.Faster speed create melody which I want to experiment with in further iterations.. The Fundamental frequenciey starts at the inaudible 1 hz and goes up to around 170 hz still very much in the bass region to create interest I scaled up multiple waves at different ratios related to the orbit this creates interesting in from the interactions of the partials . I also created a phase modulation from the eccentricity of Venus ’orbit 0.0067 which makes the sounds modulate against each other I also created saw-tooth partials to create a grittier sound and this helped create a glissando rather that the stepping in the patch from just the sine tones . apologies for the glitchy audio . See audio examples for better audio
Trial Presentation
Setting up Ambisonics requires exact calibration of speakers . Setting up an 8 channel installation in 3 hours was no easy feat , That much cabling requires attention to detail to make sure its safe and also looks neat. Id never setup an install this big with just myself and Josh so ( with some help from Keith) it was a huge challenge and the reverb in the space changed the work massively. When I listened things were flying everywhere so the spatialization was lost but already I had decided the main interest was in the psychoacoustic effects of the partials playing of each other in space. The feedback I got from Emily was she imagined a cosmic rose unfolding and from Fion that she was caught up in my love affair. When revealing this work was made as a sonification people stated that being clear about that from the get go would have changed how they perceived the work. Some people found the program which i created to somewhat resemble a wedding invitation distracting.
The poetical descriptions in the program above are all derived from descriptions of Venus from classical mythology which I compiled into a poem. The last more ‘personal’ description is a quote from Apuleius The Golden Ass describing the Judgment of Paris a competition between the Goddesses Athena, Hera and Aphrodite as to who was the fairest goddess. Paris of Troy was chosen to judge the competition and heralded Aprodite (Venus) the winner after she bribed him with the promise of Helen, the most beautiful women in the world as wife. Helen was already married to King Menelaus of Sparta and her subsequent abduction triggered the Trojan War the tale itself a lesson in the dangers of beauty and desire
The ratios refer and relationship between Earth and Venus orbit. Venus goes into its retrograde motion and forms a conjunction with earth 5 times in 8 Earth Years. Each time it loops through this conjunction it steps 3 loops ahead of its previous position. Every 8 Earth Years = 13 Venusian Years. The ratio of 5:3 is the equivalent of a major 6th and 8:5 is a minor 6th. 13:8 is not a standard western musical ratio and is heard as dissonance to the Western trained ear.
Unfortunately i found that no one recognized the references and some people had a problem with the romantic associations, Ultimately this seemed to reflects an overall cultural bias towards femininity that i had thought about highlighting in my initial idea of how to stage my installation. I would have items related to the feminine archetype , a pink lamp, roses, heart shaped clock , pictures of Rita Hayworth known as the love goddess from a German program i had of the film .A copy of Nancy Sinatra’s Fridays Child sheet music ( Friday is Associated with Venus is magical correspondence.) Venus Verticordia by Dante Gabriel Rossetti and Erte’s Venus Aphrodite all in pink frames . This installation would sit in the adjunct room to 2.4.2
The idea would be a shrine to the arcane feminine. While I support feminist principles generally ‘feminine’ is seen as archaic, trivial, consumerist and wholly derided by essentially patriarchal norms. I have a massive problem with this and as a sound artist a male dominated industry I constantly feel pressure to masculinize my identity to be taken seriously. Rose of Venus is a celebration of femininity using the traditionally male domains of sound, computer programming, numbers ( though actually men took over computer science ). In the final presentation I decided to just scale down to he program and a statue of Botticelli’s Venus a heart clock and Rose Quartz. Noticeably it was the women in the audience that responded to these references more keenly.
Legend of Ishtar in the Underworld
A legend from ancient Mesopotamia about Ishtar/Venus showing some of the darker and jealous aspects of the Archetype
DESCENT OF THE GODDESS ISHTAR INTO THE LOWER WORLD
[From The Civilization of Babylonia and Assyria, M. Jastrow, 1915]
To the land of no return, the land of darkness,
Ishtar, the daughter of Sin directed her thought,
Directed her thought, Ishtar, the daughter of Sin,
To the house of shadows, the dwelling, of Irkalla,
To the house without exit for him who enters therein,
To the road, whence there is no turning,
To the house without light for him who enters therein,
The place where dust is their nourishment, clay their food.'
They have no light, in darkness they dwell.
Clothed like birds, with wings as garments,
Over door and bolt, dust has gathered.
Ishtar on arriving at the gate of the land of no return,
To the gatekeeper thus addressed herself:
"Gatekeeper, ho, open thy gate!
Open thy gate that I may enter!
If thou openest not the gate to let me enter,
I will break the door, I will wrench the lock,
I will smash the door-posts, I will force the doors.
I will bring up the dead to eat the living.
And the dead will outnumber the living."
The gatekeeper opened his mouth and spoke,
Spoke to the lady Ishtar:
"Desist, O lady, do not destroy it.
I will go and announce thy name to my queen Ereshkigal."
The gatekeeper entered and spoke to Ereshkigal:
"Ho! here is thy sister, Ishtar ...
Hostility of the great powers ...
When Ereshkigal heard this,
As when one hews down a tamarisk she trembled,
As when one cuts a reed, she shook:
"What has moved her heart [seat of the intellect] what has stirred her liver [seat of the emotions]?
Ho there, does this one wish to dwell with me?
To eat clay as food, to drink dust as wine?
I weep for the men who have left their wives.
I weep for the wives torn from the embrace of their husbands;
For the little ones cut off before their time.
Go, gatekeeper, open thy gate for her,
Deal with her according to the ancient decree."
The gatekeeper went and opened his gate to her:
Enter, O lady, let Cuthah greet thee.
Let the palace of the land of no return rejoice at thy presence!
He bade her enter the first gate, which he opened wide, and took the large crown off her head:
"Why, O gatekeeper, dost thou remove the large crown off my head?"
"Enter, O lady, such are the decrees of Ereshkigal."
The second gate he bade her enter, opening it wide, and removed her earrings:
"Why, O gatekeeper, dost thou remove my earrings?"
"Enter, O lady, for such are the decrees of Ereshkigal."
The third gate he bade her enter, opened it wide, and removed her necklace:
"Why, O gatekeeper, dost thou remove my necklace? "
"Enter, O lady, for such are the decrees of Ereshkigal."
The fourth gate he bade her enter, opened it wide, and removed the ornaments of her breast:
"Why, O gatekeeper, dost thou remove the ornaments of my breast? "
"Enter, O lady, for such are the decrees of Ereshkigal."
The fifth gate he bade her enter, opened it wide, and removed the girdle of her body studded with birthstones.
"Why, O gatekeeper, dost thou remove the girdle of my body, studded with birth-stones?"
"Enter, O lady, for such are the decrees of Ereshkigal."
The sixth gate, he bade her enter, opened it wide, and removed the spangles off her hands and feet.
"Why, O gatekeeper, dost thou remove the spangles off my hands and feet?"
"Enter, O lady, for thus are the decrees of Ereiihkigal."
The seventh gate he bade her enter, opened it wide, and removed her loin-cloth.
"Why, O gatekeeper, dost thou remove my loin-cloth ?"
"Enter, O lady, for such are the decrees of Ereshkigal."
Now when Ishtar had gone down into the land of no return,
Ereshkigal saw her and was angered at her presence.
Ishtar, without reflection, threw herself at her [in a rage].
Ereshkigal opened her mouth and spoke,
To Namtar, her messenger, she addressed herself:
"Go Namtar, imprison her in my palace.
Send against her sixty disease, to punish Ishtar.
Eye-disease against her eyes,
Disease of the side against her side,
Foot-disease against her foot,
Heart-disease against her heart,
Head-disease against her head,
Against her whole being, against her entire body."
After the lady Ishtar had gone down into the land of no return,
The bull did not mount the cow, the ass approached not the she-ass,
To the maid in the street, no man drew near
The man slept in his apartment,
The maid slept by herself.
[The second half of the poem, the reverse of the tablet, continues is follows:]
The countenance of Papsukal, the messenger of the great gods, fell, his face was troubled.
In mourning garb he was clothed, in soiled garments clad.
Shamash [the sun-god] went to Sin [the moon-god], his father, weeping,
In the presence of Ea, the King, he went with flowing tears.
"Ishtar has descended into the earth and has not come up. The bull does not mount the cow, the ass does not approach the she-ass.
The man does not approach the maid in the street,
The man sleeps in his apartment,
The maid sleeps by herself."
Ea, in the wisdom of his heart, formed a being,
He formed Asu-shu-namir the eunuch.
Go, Asu-shu-namir, to the land of no return direct thy face!
The seven gates of the land without return be opened before thee,
May Eresbkigal at sight of thee rejoice!
After her heart has been assuaged, her liver quieted,
Invoke against her the name of the great gods,
Raise thy head direct thy attention to the khalziku skin.
"Come, lady, let them give me the khalziku skin, that I may drink water out of it."
When Ereshkigal heard this, she struck her side, bit her finger,
Thou hast expressed a wish that can not be granted.
Go, Asu-sbu-iaamir, I curse thee with a great curse,
The sweepings of the gutters of the city be thy food,
The drains of the city be thy drink,
The shadow of the wall be thy abode,
The thresholds be thy dwelling-place;
Drunkard and sot strike thy cheek!"
Ereshkigal opened her mouth and spoke,
To Namtar, her messenger, she addressed herself.
"Go, Namtar, knock at the strong palace,
Strike the threshold of precious stones,
Bring out the Anunnaki, seat them on golden thrones.
Sprinkle Ishtar with the waters of life and take her out of my presence.
Namtar went, knocked at the strong palace,
Tapped on the threshold of precious stones.
He brought out the Anunnaki and placed them on golden thrones,
He sprinkled Ishtar with the waters of life and took hold of her.
Through the first gate he led her out and returned to her her loin-cloth.
Through the second gate he led her out and returned to her the spangles of her hands and feet
Through the third gate he led her out and returned to her the girdle of her body, studded with birth-stones.
Through the fourth gate he led her out and returned to her the ornaments of her breast.
Through the fifth gate he led her out and returned to her her necklace.
Through the sixth gate he led her out and returned her earrings.
Through the seventh gate he led her out and returned to her the large crown for her head.
[The following lines are in the form of an address -apparently to some one who has sought release for a dear one from the portals of the lower world.]
"If she (Ishtar) will not grant thee her release,
To Tammuz, the lover of her youth,
Pour out pure waters, pour out fine oil;
With a festival garment deck him that he may play on the flute of lapis lazuli,
That the votaries may cheer his liver. [his spirit]
Belili [sister of Tammuz] had gathered the treasure,
With precious stones filled her bosom.
When Belili heard the lament of her brother, she dropped her treasure,
She scattered the precious stones before her,
"Oh, my only brother, do not let me perish!
On the day when Tammuz plays for me on the flute of lapis lazuli, playing it for me with the porphyry ring.
Together with him, play ye for me, ye weepers and lamenting women!
That the dead may rise up and inhale the incense."
http://www.sacred-texts.com/ane/ishtar.htm
Final binaural render of Rose of Venus please listen in headphones here I added an extra lower sawtooth wave and adjusted some of my automation between partials