Gregory Taylor

 exhibition on and off--more specifically, I've been thinking not about the large installation, or even the calligraphy lesson, but rather the large ink paintings whose "brushstrokes", on closer inspection, turn out to be calligraphic narratives or comments on the image itself.

I suppose that kind of recursion of imagery should have put me in mind of various granular techniques. But instead, I was thinking along the lines transducing images into audio again. But this time, I was thinking about various recordings of that kind of work.

 work on the translation of images and ideograms into audio (you can find an example of his interesting in the translation of image into something else 

, although this seems less connected to rendering Kanji). But these are not the first, though. That honor belongs to the 

, an optomechanical synthesizer / sound machine designed in the 1930s and built by Russian space scientists in the 1950s. There's only one of `em in the world: 

. There are a rather limited number of recordings of the instrument. The major one comes from 

. You can find a review and some ANS info 

. Stanislaw Kreitchi, one of the composers associated with the instrument, authored 

this article about composing for the instrument

. He's also got another recording of work out on Electroshock, 

But what reminded me to mention this to you is the appearance of yet 

). If you're expecting either the more visceral stuff that Coil's been producing of late or the kind of rigor or the machine in the hands of the compsers like Denisov or Schnittke or Gubaidulina (whose works appear on the Electroshock compilation), you'll probably be disappointed. This is really more the kind of work that (at sufficiently low playback levels) we'd think of as lowercase stuff--four hours worth of minimal, high-frequency drone. From the Coil catalog, I'd say that, say, "Time Machine" comes closest. And it's pricey, too. Overall, if you're not a Coil completist, I'd opt for the Electroshock compilation (that's Volume IV of their electroacoustic music series). As of this writing 

I've been thinking about the Xu Bing exhibition on and off--more specifically, I've been thinking not about the large installation, or even the calligraphy lesson, but rather the large ink paintings whose "brushstrokes", on closer inspection, turn out to be calligraphic narratives or comments on the image itself.

I suppose that kind of recursion of imagery should have put me in mind of various granular techniques. But instead, I was thinking along the lines transducing images into audio again. But this time, I was thinking about various recordings of that kind of work.


Of course, there's Xenakis' UPIC system, and Yasunao Tone's work on the translation of images and ideograms into audio (you can find an example of his interesting in the translation of image into something else here, although this seems less connected to rendering Kanji). But these are not the first, though. That honor belongs to the ANS synthesizer, an optomechanical synthesizer / sound machine designed in the 1930s and built by Russian space scientists in the 1950s. There's only one of `em in the world: this is it. There are a rather limited number of recordings of the instrument. The major one comes from Artemiy Artemeyev's label Electroshock. You can find a review and some ANS info here. Stanislaw Kreitchi, one of the composers associated with the instrument, authored this article about composing for the instrument. He's also got another recording of work out on Electroshock, Ansiana.

But what reminded me to mention this to you is the appearance of yet another ANS project, this time by Coil (augmented by Thighpaulsandra and Ivan Pavlov/CoH). If you're expecting either the more visceral stuff that Coil's been producing of late or the kind of rigor or the machine in the hands of the compsers like Denisov or Schnittke or Gubaidulina (whose works appear on the Electroshock compilation), you'll probably be disappointed. This is really more the kind of work that (at sufficiently low playback levels) we'd think of as lowercase stuff--four hours worth of minimal, high-frequency drone. From the Coil catalog, I'd say that, say, "Time Machine" comes closest. And it's pricey, too. Overall, if you're not a Coil completist, I'd opt for the Electroshock compilation (that's Volume IV of their electroacoustic music series). As of this writing Eurock seems to still have some.

I've been thinking about the Xu Bing exhibition on and off--more specifically, I've been thinking not about the large installation, or even the calligraphy lesson, but rather the large ink paintings whose "brushstrokes", on closer inspection, turn out to be calligraphic narratives or comments on the image itself. 

how-would-xu-bing-sound-part-2

Gregory, I have been working directly with Xu Bing on the sound of his projects since 1999! Sorry, there is no website, but yes, it's all about the granularity!

How would Xu Bing sound? (part 2)