fourim 9

Seb - boundaries/milkcrates Works on the basis of two principles - contextualisation (taking things out of one context and using them in another). - limitations (maximum output, minimum input). The first composition Seb played us consisted of an 11 millisecond sample of sound. Using samples and a Max patch he turned this into 20 minutes worth of music. As incredible as this is, I can't seem to find any value for this style of composition beyond the gimmicky, it always has a similar sound - spacious, too alien to be pleasurable. Then Seb spoke at length about his milkcrate project. Sound hackers gather in a specified location for a 24 hour music making stint using only materials they can fit inside a milkcrate. (This fitting nicely with his ethos of context and limits). I find it interesting that, given the capacity to make sound with no limitations, people create limitations for themselves... Darren Curtis - IS MAKING MONEY FROM SOUND/COMPOSITION GOOD GRIEF we should bring him back for the career management class! This guy is the mastermind behind the 'Music of the Spheres' Fringe event. He actually created this experience to investigate the effect of sound on the brain/people in environments. So, very intriguing, cymatics - wave phenomena (galaxy patterns). Sound has an effect on sand, stuff, surely water, and so probably us. The question is how? Well, Darren doesn't quite have the conclusion to that yet but he outlined how he made his composition based on scientific findings (space makes music, F#, A and C# in fact). These frequencies can be found as standing waves in pyramids too (and there is a pyramid in Mexico where, if you stand at the base in a certain spot and clap, the echo returns as a bird call. REALLY COOL STUFF).