SONIC FORMS

edited October 18 in Electronic
Brand new Dynamic Synthesis album is here:



Sonic environments for public and private spaces
Roland Kuit - KYMA

Dynamic synthesis is used to create information streams.
Lissajous orbits on van der Pol oscillator.
A system of parametric equations: {\displaystyle x=A\sin(at+\delta ),\quad y=B\sin(bt),} x=A\sin(at+\delta ),\quad y=B\sin(bt)
Design principles: balance, harmony, gradation, repetition, contrast, dominance.
Design elements: line, shape, size, direction, texture, hue/tone
This concept deals with how much information is needed in nano timbre / time to get meaning. The information comes from so-called transients. The duration varies between a small part of a period, from 1 usec to 3 or 4 milliseconds. The meaning of this 'articulation' is identity. This onset as impulse makes it possible to distinguish the identities of these sonic forms and transforming them to autonomous audio sculptures.

iTUNES  Amazon


Comments

  • A system of parametric equations: {\displaystyle x=A\sin(at+\delta ),\quad y=B\sin(bt),} x=A\sin(at+\delta ),\quad y=B\sin(bt)
    Oh ! . . . that one . . . got it :)
    (thank you)

  • > @Brighternow said:
    > A system of parametric equations: {\displaystyle x=A\sin(at+\delta ),\quad y=B\sin(bt),} x=A\sin(at+\delta ),\quad y=B\sin(bt)
    >
    > Oh ! . . . that one . . . got it :)
    >
    >
    > (thank you)

    Yep :smile:
  • Sounds good!
  • edited March 26
    Thanks. 
    (edit) And in the Middle East:
    https://play.anghami.com/song/49179513
  • edited March 29
    Full streaming, I suppose (16 tracks):

    - And posted about 8 hours ago (a 50 minutes, 6 tracks playlist):
    Music for peace installation in Korea.
    Roland Kuit - KYMA
  • Thanks Brighternow,

    Yes, SONIC FORMS 16 tracks.
    Also on 


    https://www.prostudiomasters.com/album/page/31963
  • edited September 9
    Atemporánea Festival 2019 Buenos Aires, Argentina - 9 t/m 14 September


    EVALUATING COMMITTEE Installations - Interdisciplinary Creations at Atemporánea Festival 2019

    Sarmiento 3401. Ciudad Autónoma de Buenos Aires. Argentina

    Atemporánea emerges at the “Astor Piazzolla” Conservatory of Music of Buenos Aires City, to
    centralize the production and interpretation of current music. It's open to musicians, composers,
    researchers and specialists in pedagogy from all over the country and abroad.
    The Festival is projected to favour the creation, audition and diffusion of multiple artistic
    tendencies, it also promotes new productions of various musical and sound art specialities, and
    interact with performers, composers, educators and researchers.
    The purpose of the different calls of works is to promote internationally the plurality of aesthetics
    and manifestations of contemporary acoustic, electroacoustic, mixed and interdisciplinary music
    through activities such as concerts, conferences, round tables, workshops and installations.
    Evaluations are in the catagories Eletroacoustic Works, Papers, Performers - Ensembles -
    Conductors, Acoustic Works, Mixed Media Works and Installations - Interdisciplinary Creations.
    Dutch composer - sonic artist Roland Emile Kuit had the honour to be asked to take seat in the
    evaluation committee Interdisciplinary Creations.

    Link

  • edited September 25
    Two of my creations will appear on this festival:

    The sound sculpture "SONIC FORMS" will be exhibited 14 September at the Hall del Entrada at the Conservatorio Superior de Música de la Ciudad de Buenos Aires "Astor Piazzolla. 

    SONIC FORMS - Roland Emile Kuit - Worldpremiere

    Sonic environments | Orbits for public and private spaces 

    In the tradition of Takehiha Kosugi and Alvin Lucier, Kuit needs to explore the fundamental physics of acoustics whereby the concept of time and space as a vital continuum is morphed with its surroundings. 

    In his lab, Kuit explored the behavior of orbiting Lissajous figures:

    Dynamic synthesis is used to create information streams on a van der Pol oscillator.

    A system of parametric equations: {\displaystyle x=A\sin(at+\delta ),\quad y=B\sin(bt),} x=A\sin(at+\delta ),\quad y=B\sin(bt) 

    Design principles: balance, harmony, gradation, repetition, contrast, dominance.

    Design elements: line, shape, size, direction, texture, hue/tone 

    A mutual relationship exists between the elements and their structure. The structure provides the elements with their specific, perhaps changing, meaning in nano timbre/ time.

    This information comes from so-called transients whereby the duration varies between a small part of a period, from 1 usec to 3 or 4 milliseconds.

    'Articulation' functioning as identity.

    This onset as impulse makes it possible to distinguish the identities of these sonic forms and transforming them to autonomous audio sculptures.

    The structure works as a context.

    The elements determine which structural measures they can be subjected to in order for their identity to be enhanced, for their meaning to be differentiated and extended.

    Roland Emile Kuit - KYMA


    "BRUSH" - Roland Emile Kuit 4 chnl fixed media

    For Tomas Rajlich

    Sala Sympónica at the Conservatorio Superior de Música de la Ciudad de Buenos Aires "Astor Piazzolla. 

    From pianissimo-bowed micro pitched wood sounds to seeded noise cells, to an elaborated crescendo ending in a broad fortissimo textural cluster: The Kyma system extends the string sounds with spectral holds.

    This work was world premiered at Museum Kampa - The Jan and Meda Mládek Foundation Prague Tomas Rajlich Zcela abstraktní retrospektiva 2017.

    FAMA Quartet:

    David Danel, – violin
    Roman Hranička – violin,
    Ondřej Martinovský – viola
    Balázs Adorján – violoncello 

    Roland Emile Kuit – Kyma




  • Festival Atemporánea, Buenos Aires, Argentina, 2019 Part I

    Interviews with and music of the composers in order of appearance:
    1/ Night Study 2 – Felipe Otondo
    2/ LOTE 1 – Giambastiani /Castellanos *
    3/ LOTE 2 – Giambastiani / Castellanos *
    4/ Alma de las Orquestas – Pablo Di Liscia
    5/ Vocalisense – Pablo Di Liscia

    Felipe Otondo.

    Studied acoustics in Chile where he started composing and performing music for experimental theater and ran several performance projects with actors and musicians. In 1999 he moved to Denmark to undertake post-graduate studies in sound perception at Aalborg University focusing on spatial sound and timbre perception. He studied composition at the Carl Nielsen Academy with Anders Brødsgaard where he composed and performed various compositions and took part in several interdisciplinary projects with visual artists. For several years he worked as a research fellow at the Acoustic Technology unit of the Danish Technical University in projects exploring the directional characteristics of musical instruments for room auralizations in collaboration with the musical acoustics team at IRCAM.

    In 2005 he pursued his composition studies at the University of York in England with Ambrose Field and Roger Marsh focusing on electroacoustic composition and music theatre. His works have been performed in festivals and events in more than 30 countries across Europe, Asia and the Americas and received, among others, the first prize at the 2008 Citta di Udine International Composition Competition, the first prize at the 2012 Radio France International Quartz prize, the first prize at the 2013 Musica Nova competition in Prague and the first prize at the 2016 Citta di Udine International Composition Competition in Udine, Italy. He also collaborated with Neil Sorrell in the music for the BAFTA-award winning radio play The Glass Man commissioned by BBC radio 4. His research work has been published in various peer-reviewed journals like Organised Sound, Computer Music Journal, Acta Acustica and the Journal of Music, Technology and Education.

    Felipe is currently a Senior Lecturer at the Universidad Austral in Chile, where he is developing a pilot research project exploring creative applications of spatial sound in contemporary dance funded by the Chilean National Commission for Scientific Research and Technology (CONICYT). His research interests involve critical listening, field recordings, spatial sound, electronic music and interdisciplinary collaborations. His music is released by the British label Sargasso.

    http://www.otondo.net/

    * Duo FRVSNT.

    Luciano Giambastiani makes use of clarinets in different registers to provide a sound world that is based on the broad spectrum of instrumental techniques associated with contemporary music, passing through materials defined by pitch, multiphonics, keyed percussion and the classic rough sonorities of the frullatos.

    Rodrigo Castellanos contributes the electroacoustics through digital processing, where the aural richness is not always easy to explain, but certain techniques may be recognized, such as sampling and transposition of the sound captured by the computer, synthesis, delay and reverb among others, all in real time.

    Luciano Giambastiani (1978): Luciano is an interdisciplinary artist, musician and Argentine composer from the province of Jujuy. He is trained as a clarinetist and composer at the ESM de Jujuy, Argentine Catholic University and Manuel de Falla Conservatory. As a composer and interpreter specialized in the avant-garde contemporary repertoire, Luciano has performed premieres and first auditions of numerous works both in Argentina and abroad. He received among other awards: Ibermúsicas. New Languages ​​in Argentine Music, Juan Carlos Paz – National Endowment for the Arts, TRINAC Fundación Encuentros, Destellos, in addition to support and scholarships from Germina.Cciones, Ibermúsicas, CMMAS, LIPM, Music and Technology Foundation, Experimentation Center of Colon Theater, Atlantic Center for the Arts, National Endowment for the Arts, Ministry of Culture of the Presidency of the Nation, among other institutions. Since 2005 he works as a teacher and has participated in different festivals, meetings, seminars and conferences both in Argentina and abroad.

    https://soundcloud.com/lucianogiambastiani

    Rodrigo Castellanos (1977): Rogrigo is a Mexican musician and composer based in Chile, studied at the Higher School of Music (INBA) Mexico and a Master in Arts and Composition at the University of Chile. His artistic and aesthetic interests are focused on contemporary music and computer-aided music. Several of his works have been presented in the main festivals of contemporary music, electroacoustic and sound art in South America, to name a few: AI-Maako, Sonoimage, Tsonami Argentina, Tsonami Valparaíso, among others. In Mexico and Europe, premieres at CMMAS and the Phonos Foundation stand out. He has been a fellow of FONCA Mexico, FONDART Chile, CONACYT of Mexico, ENM-IIE UNAM Mexico, CONICYT of Chile, University of Chile, Secretariat of Culture of Mexico City, University of Valparaíso, CMMAS, among other institutions. Since 2003 he works as a teacher and workshop worker, and since 2011 Rodrigo attends the chair of guitar and improvisation at the Casona Academy of Arts in Florida.

    http://www.rodrigocastellanos.com

    Oscar Pablo Di Liscia.
    Composer and Researcher born in 1955 at Santa Rosa (La Pampa, Argentina). Doctor in Humanities and Arts at Universidad Nacional de Rosario. Was Director of the Program in Electronic Composition of Universidad Nacional de Quilmes (Argentina). At present is Professor of Universidad Nacional de Quilmes, (Buenos Aires, Argentina) and of Universidad Nacional del Arte (Buenos Aires, Argentina). His compositions were awarded by national and international societies and performed at Cuba, USA, France, Spain, Chile, Holland, etc. He has published papers on aesthetics and techniques of new music and technologies, as well as developed software for Digital Signal Processing, Musical Analysis and Composition. His main areas of research are: Digital Signal Processing (especially Sound Spatialisation and Spectral Analysis of Digital Sound), Electronic Composition and Computer Music. He is at present Director of the Research Program “Temporal Systems and Spatial Synthesis in Sonic Art”

    http://musica.unq.edu.ar/ProyectoSintesis.php

    Thanks to the Conservatorio Superior de Música de la Ciudad de Buenos Aires “Astor Piazzolla, Dirección General de Enseñanza Artística, Prof. Sandra Elizabeth González, Santiago Laporta, Federico Iguera and many more making this possible.

    Produced by:


  • Festival Atemporánea, Buenos Aires, Argentina, 2019 Part 2

    Music of the composers in order of appearance:

    1/ Tea Trip – Dante Tanzi. 00:14:39.
    2/ Estalactitas – Pablo Freiberg. 00:03:30.
    3/ Cinco danzas para un automata inmovil – Ricardo de Armas. 00:07:20.
    4/ BRUSH – Roland Emile Kuit. 00:14:21.
    5/ Revelaciones del ensueno de un mate – Pablo Freiberg. 00:07:36.
    6/ Precedencia – Mariano Pineiro. 00:07:11.
    7/ SONIC FORM Nr. 5. 00:02.20.

    Dante Tanzi (1951), graduated in Philosophy from Milan University and went on to study composition, electroacoustic music, musical informatics and musical analysis. Since 1985 he has been working at L.I.M., the Musical Informatics Laboratory of the Computer Science Department, University of Milan as audio and MIDI technical coordinator. Besides taking an active part in the many cultural and artistic initiatives of the laboratory, he has participated in research projects on the development of s/w tools for musical and multimedia performance and pilot projects for the recuperation of musical heritages. This variety of experiences has led him to explore the intersections between Humanities and Musical Informatics, while investigating the relationships between compositional activity and scientific experimentation. This investigation, in turn, has been influenced by a general reflection on the changes in the communicative processes brought about by digital technologies. The Institution Founded and directed by Goffredo Haus, the Musical Informatics Laboratory (L.I.M.) came into existence in The L.I.M. has carried out research projects for IEEE Computer Society of Washington, for the National Italian Research Council (CNR), and developed projects for the Scala Theatre of Milan and Bolshoi Theatre of Moscow. The research conducted at L.I.M. primarily concerns the study of methodologies for the analysis, the formal description and the synthesis of musical processes, and the development of s/w tools for multimedia performances.
    1981 University degree in Philosophy. Graduated with first class honors After harmony, studied electroacoustics music at CEDME, Milan, and musical informatics at EMIT, Milan Studied musical analysis and counterpoint at Sesto San Giovanni Civic Music School Studied musical analysis and composition techniques at Milan Civic Music School, Contemporary Music Section Participated in Gyorgy Ligeti s composition masterclass at the international Academy of Music in Novara (Italy) Studied Electronic Music at Como Conservatory. Competence in musical programs: Computer music programs: Programming languages for live electronics: Others programs: Csound, Kyma. Max, Kyma Sound Forge, ProTools, Cubase, Cool Edit, Audacity, Finale. Sound Laundry, Renovator, Noise Reduction Participation in L.I.M. projects Three-year CNR project entitled Intelligent musical workstation, with the objective to supply a tool to strengthen the individual productivity of the composer, musician publisher, musicologist, etc Three-year research project entitled Software tools for musical and multimedia performance. The aim of the study was to design innovative software tools for musical and multimedia performance, based on audio and video elaboration systems. During this period the problems linked to the implementation of automatic functions for the manipulation of musical texts were studied Three-year research project entitled Software tools for the analysis/synthesis of musical and multimedia processes. Aim of the study: to design, create and test innovative software tools for the analysis/synthesis of musical and multimedia processes based on systems of automatic elaboration of video and audio signals.

    About Tea Trip:
    Many years ago Dante Tanzi was for some days in Salerno, south Italy, with friends musicians who were having rehearsals. One day, while they were around a table drinking a tea, the singer (who was from Senegal) started to sing a song imitating the Senegal women when they call each other. Some of these moments were recorded; some fragments are scattered in the piece. (First Performance on acousmonium Motus: August 22, 2013, – Festival Futura, Crest, France).

    Pablo Martín Freiberg.

    Pablo M. Freiberg was born in Buenos Aires, Argentina, in 1974. He studied at the Universidad Nacional de las Artes (UNA) from Argentina, where he obtained the Music Professor Degree (guitar); the Musical Arts Degree (composition); and the College Professor Degree.
He studied also composition with F. Maglia, G. Pozzati and M. Calzón. He is currently teaching at the UNA and A. Piazzolla Conservatory, and he is completing his doctorate at the UNA, specializing in psychoacoustics and psychology of music applied to the electroacoustic music composition.
Freiberg’s music won awards and received distinctions given by “Buenos Aires City Government” (Argentina), “Fondo Nacional de las Artes” (Argentina), “Queen Elisabeth International Music Competition” (Belgium), “Fundación Encuentros” (Argentina), “Fundación Música y tecnología” (Argentina), “Federación Argentina de Música Electroacústica (Argentina)”, “Fundación Telefónica” (Argentina), “International composition competition Città di Udine” (Italy) and “Casa de las américas” (Cuba).
Finally, Freiberg is founder of the Electroacoustic Ensemble (2014) —project of electroacoustic writing research, sound design and musical interpretation— and the Psychoacoustics and Psychology of music laboratory (2019), in the Department of Music and Sound Arts, of the National University of the Arts (Argentina).

    http://pablofreiberg.com.ar/

    About the music:
    Estalactitas (Stalactites) – 2002.
    This piece, created in 2002, can be understood as a rhythm-based study. It is composed of eight sounds of different processed percussion instruments, organized in order to respond to the formal scheme «A-B-A´».
    Revelaciones del ensueño de un mate (Revelations of the dream of a mate) – 2008
    Revelations of the dream of a mate, is elaborated from mate´s sounds.
    The mate is a South-American infusion prepared by steeping dry leaves of yerba mate in hot water. Drinking mate in a hollow gourd with a metal straw is a social practice in Argentina. The flavor of brewed yerba mate is strongly vegetal and herbal.
    At the beginning, when you start drinking, it plays a noisy and long sound ―similar, but not equal, to the white noise―. After that, when you finish drinking, you can hear little sounds formed by short bubbles, which have determined pitches. Only those two types of sounds, were chosen to compose the present piece.
    Revelations of the dream of a mate has a «A-B-A´-B´-coda» structure.
    Some parts of the piece were written on paper ―like instrumental music― in order to get counterpoints that you can hear as clear notes or as filtered sounds.

    Ricardo de Armas. (1957).
    The musical work of Ricardo de Armas is based on different kinds of procedures like intervention, appropriation, citation, and redefinition.
    He is a composer, sound artist and at the same time he is cellist of the Symphonic Orchestra in Bahía Blanca since 1988. He got honourable mentions in the National Electroacoustic Music Competition of the Argentinian Music Council (2005), the International Competition“Leonor Hirsch”, Argentina(2008), the Bourges Competition in France (2009) and was finalist in the Electroacoustic Miniatures Competition in Spain. In 2010 he got an honourable mention in the Prix Ton Bruynel, in Holland. In 2012 he won first prize in the National Competition of Electroacoustic Music in the Argentinian Music Council. In 2015 he was appointed in the SIME, at the University of Lille, in France. He was also appointed in the “Destellos” Competition. In 2016 he got second prize in the “Sonom Festival” in Mexico. His works have been chosen and programmed in important festivals and events like: Futura Festival, France. Taukay Festival, Italy. Vide Musi Festival, Brazil. Studio 300 Digital Art and Music Festival, USA. “Primavera en La Habana” Festival, Cuba. “La Escucha errante”, Somel Group, Gracia Territori, Zeppelin and “Ciclo de Música Contemporánea de Badajoz”, Spain. “Visiones Sonoras” Festival, Mexico. Aimaako Festival, “Universidad Católica” Festival, y Tsonami Festival, Chile. “Festival de la Imagen”, Colombia. Sweet Thunder Listening Room, USA. Frozen Island, Sweden. “Festival Sonoimágenes”, “Bahía Actual”, “Encuentro Damus IUNA”, “Grupo Corat” , “Semana de la Música Electroacústica”, “Noviembre electrónico” and “Argentina suena”, Argentina. International Computer Music Conference, USA. Muslab, Mexico. FILE, Brazil. Festival Materia Intermedia, Italy. Evimus, Germany Sound art exposition, in the residence of the argentinian ambassador in UK.
    In 2018, as composer and cellist he took part in the first symphonic and acousmatic concert in Argentina with the participation of the Symphonic Orchestra in Bahía Blanca. The “Club Universitario” gave him a special mention in recognition of his contribution to art and culture in Bahía Blanca and the area.2
    Many of his acousmatic pieces have been edited by CMMAS, “Centro Mexicano para la Música y las Artes Sonoras”, the RED ASLA ,”Red de Arte Sonoro Latinoamericano”, the “Ministerio de Gestión cultural de la Provincia de Buenos Aires”, “Cultural Municipal of Bahía Blanca and the “Universidad Nacional Tres de Febrero”
    In the cultural area Ricardo de Armas has created and coordinated meetings, events, electroacoustic music festivals, experimental music, sound art, multimedia and other activities which start from the sound and expand to other aesthetic aspects. He is the creator and organizer of “Bahía[in]sonora festival and cicle. He took part of the jury in the ICMC 2012 (Ljubljana, Slovenia), the “Universidad Nacional de Lanús”, the “Conservatorio Provincial de Bahía Blanca”, “Universidad Nacional del Sur”, “Museo de Arte Contemporáneo de Bahía Blanca”, FISA 2013 and SIME 2016, University of Lille, France.
    In 2013 his article “DiIRECT SMS, un software para análisis, transformación y síntesis por modelado espectral del sonido” was published by the “En el Límite” magazine of art and technology, of the CEPSA, Universidad Nacional de Lanús.
    http://www.ricardodearmas.mibvc.com.ar/

    Roland Emile Kuit. (1959).

    Composer – sonic art, music theorist, author and lecturer in the field of sound design, electroacoustic music composition and audio art. His output spans composition through sonic art, sound-architectural installations, collaboration with experimental artists, designers and scientists and acousmatic performances.
    Research and sound design include: Kyma – Pacarana, Buchla 200, Max/MSP, SCOPE SDK6 Xite, Modular IV, Xite-1, Clavia NMG2 & Nord Modular, KLC MS-20, Interactive Sonic Spaces, Fortran IV, Voltage-control studio (BEA 5) Institute of Sonology, ARP2600.
    Trained by Gottfried Michael Koenig, Jaap Vink, Werner Kaegi, Paul Berg, Frits Weiland and Stan Tempelaars at the Institute of Sonology Utrecht. Kuit uses algorithmic and stochastic approaches in which specific decisions are included. Kuit composed for modular synthesizer systems, computer and acoustic instruments in collaboration with electronic means and expansion of sound and sound directions. Emerging the overlaps between research, music, sound art and space. This present day, Kuit is researching chaotic systems and the creation and definition of sound at atomic levels. Kuit is considered a pioneer of the art form generally referred to as “sound installation” and taught this at the Vrije Academie Den Haag in the 90’s. Kuit introduced audio art to the installation area, a metamorphosis from the traditional speaker boxes into ‘sonic spaces’.
    Lectures: concepts, composition, sonic art and sound design at the TUMO Center for Creative Technologies Yerevan, De Montfort University, School of Computing, Napier University, EMS Stockholm, Lindbladstudion Göteborg, Sonus Factory Rome, Center for Electronic Music Amsterdam, SAE Rotterdam, Conservatory Groningen, the University for media London, Vrije Academie Den Haag, Klanklaboratorium, Koorenhuis Den Haag, Instituut voor Sonologie Utrecht.
    Honors/memberships: Evaluating Committee Installations – Interdisciplinary Creations at Atemporánea Festival Buenos Aires Argentina 2019, International Contemporary Art Exhibition Yerevan Armenia 2018, NASA’s OSIRUS REx mission to Bennu 2016, Associate Member Art Research Center/A.R.C.Group, Nomination Art Basel Miami 2015 collectors opening, Society for Electro Acoustic Music in Sweden (SEAMS), VEMS Stockholm, Composers Circle, New York City Electroacoustic Music Society (NYCEMS), Electronic Music Foundation(EMF), Société des musiciens Extraordinaires(SME).
    Roland Kuit has performed/exhibited on important festivals, galleries and musea in Europe, United States of America and Eurasia. Collaborated in different disciplines with artists: Tomas Rajlich-paintings, Marcel Prins-sculptures, Karin Schomaker-visuals, Masumi Nagasawa-harp, Mischa Kuball-light and the FAMA Quartet. Featured composer at Donemus Publishing House of Dutch Contemporary Classical Music.
    http://www.rolandkuit.com/

    About the music:
    The world premiere of Tactile Utterance took place on 23 June 2017 in the Kampa Museum – The Jan and Meda Mládek Foundation in Prague (CZ) for the opening of a special Tomas Rajlich retrospective: Zcela abstraktní retrospektiva. Composed especially for the occasion, Kuit’s three part work Tactile Utterance, expresses 50 years of painting by Tomas Rajlich.
    Kuit’s recent research into new compositional methods, algorithms, and spectral music came together in this work. His aim was to capture the process of painting: how can we relate acrylate polymers on canvas to sound? BRUSH: using bowing without ‘tone’ as a metaphor for brushing a tangible thickness of color; pointing out the secants with very short percussive sounds on the string instruments as grid; dense multi-phonics as palet knifes — broadened textures smeared out and dissolving into light.
    Roland Emile Kuit – KYMA
    FAMA Quartet:
 DavidDanel, – violin
Roman Hranička – violin,
Ondřej Martinovský – viola
Balázs Adorján – violoncello.

    SONIC FORMS Nr. 5 
Sonic environments | Orbits for public and private spaces
    Exhibited at Hall the Entrada Conservatorio Superior de Música de la Ciudad de Buenos Aires “Astor Piazzolla”
    In the tradition of Takehiha Kosugi and Alvin Lucier, Kuit needs to explore the fundamental physics of acoustics whereby the concept of time and space as a vital continuum is morphed with its surroundings.
In his lab, Kuit explored the behavior of orbiting Lissajous figures:
Dynamic synthesis is used to create information streams on a van der Pol oscillator.
Design principles: balance, harmony, gradation, repetition, contrast, dominance.
Design elements: line, shape, size, direction, texture, hue/tone
A mutual relationship exists between the elements and their structure. The structure provides the elements with their specific, perhaps changing, meaning in nano timbre/ time. This information comes from so-called transients whereby the duration varies between a small part of a period, from 1 usec to 3 or 4 milliseconds.’Articulation’ functioning as identity. This onset as impulse makes it possible to distinguish the identities of these sonic forms and transforming them to autonomous audio sculptures. The structure works as a context. The elements determine which structural measures they can be subjected to in order for their identity to be enhanced, for their meaning to be differentiated and extended.

 Roland Emile Kuit – KYMA.

    Mariano Pineiro.

    Argentine pianist and composer Mariano Rodrigo Piñeiro was born in 1985 in Buenos Aires, where he currently lives. He specializes in electroacoustic and mixed music composition, and works as a music teacher. He has also done researches in music and psychoacoustics. Mariano studied piano at the Conservatory of Music of Gral. San Martin and is currently working in his thesis degree in Music and Sound Arts specializing in Composition with Electroacoustic Media at the National University of Arts, where he also participates as a researcher.

    Thanks to:
    Director General de Enseñanza Artística: Alejandro Casavalle Ale Casavalle, Directora del Conservaorio Superior de Música de la Ciudad de Buenos Aires “Astor Piazzolla”: Alicia de Couve, Programa organizado por Fede Iguera (Área de Comunicación)// Program organized by Fede Iguera (Communication Area), Dirección General de Enseñanza Artística, Prof. Sandra Elizabeth González, Santiago Laporta, Federico Iguera and many more making this possible.

    Produced by:

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