Michael Masaru Flora
01. grain (ver3) 02. Eun j6 03. nothing
Three audio works developed between 2016-2018. Although developed separately, these works exhibit an intersection between electroacoustic music, computer music, and sound art. The construction of these works has been guided by algorithmic and spectromorphological* composition techniques, while utilizing an array of digital synthesis and processing methods. In addition to aesthetic and narrative concerns, the sonic materials are designed to activate space and reframe the auditor's relationship to the listening environment. Playback is intended for loudspeakers.
*Smalley D. (1986) Spectro-morphology and Structuring Processes. In: Emmerson S. (eds) The Language of Electroacoustic Music. Palgrave Macmillan, London
Winter Makes Skulls Quick
01. I 02. II 03. III 04. IV
‘Winter makes skulls quick’ is a misheard phrase. What was actually said and in what context are long gone, but the phrase stuck with me (somehow relevant to winter life in Minnesota) as did the idea of activating new meanings out of such mishearings. What if I heard what I heard, and without missing a beat, continued on, not realizing that the effects of a perceptual error were taking me ever so slightly off course? Where might this mishearing lead? Maybe nowhere, or maybe my reality would be fundamentally changed. It seems unlikely, but these kinds of transformations must occur all the time and on all levels, even down to our most subtle intake of sensory information. Somewhere down the line it all gets sorted out. Familiar patterns, semantics and syntax help to realign us, but imagine if the errors were to spin out of control, and we crashed, melted down into perceptual grey goo, or simply came to live in a winter that makes skulls quick. Or - for all the practice we’ve already had in encountering systems that tilt drastically in and out of control, we’d probably be just fine, just fundamentally different.
-Pooch Karton, August, 2019.