Unisolable & Unduplicable, the recipe of freedom


The 2006 experimentation of 2D moving soft wall-orchestra in 3D space

Intro
C'est le Kubus à Berlin qui a motivé la création de cette musique.
Le Kubus est un espace cubique noir avec une hauteur suffisante pour produire une parfaite octophonie :
8 haut-parleurs pour une projection 3D de multiples trajectoires où
les auditeurs peuvent être placés à mi hauteur de telle façon à ce que
les trajectoires soient audibles aussi sous soi,
un peu comme avec l'espace de projection à l'Ircam à Paris,
mais dont l'élévation du public est impossible.

les parois orchestrales
orchestral moving walls
géométrie tridimensionnelle mouvante des
transformations de parois orchestrales dans l'air

Why U & U you & you the recipe? off freedom

unisolable & induplicable music

U and U recipe of Freedom: is a logical consequence of human beings collective organization:
|: Isolated and duplicated => absolute power possible; unique and together => absolute power impossible :|
Freedom is what everybody asks but nobody lives. The freedom is the result of what each human being wants to live.

 

A Concerto for any instrument (any objet as musical instrument), and 100 virtual musicians forming a wall orchestra of clones from the soloist instrument.
To identify the wall in space, each clone has something different that it could precisely be localized.
[An artificial musicians is an independent identity in opposite of a virtual musical instrument which is an obedient object.]

The virtual orchestra of 100 clones built as a wall, is a moving wall orchestra where each clone has its proper nonoctave pitch scale. This surface orchestra moves in the volume, tridimensional space creating different volumes shapes with 2D plane to attack the human soloist by deadening his original music. The soloist of the concerto is a human being made of sense and flesh. This concerto is a battle between the Human & the Machines. Who starts the hostilities? This is what the end of the concerto will reveal. Or the machine starts by envy of human kind being free, and how the envy was injected to artificial mind? Or the human starts feeling being captive by the machines and wish being free by creating hostilities with this concertatio. A pur projection of illusion. The music performed is a suspense.

This concerto is of course not a classical concerto form from XIXth century which is based on sonata form in three movements and built on tonal hierarchical pitch system. We will keep the idea of competition game like ancient athletes fight described by the old Latin word: concertatio, which become todays the opposite meaning: a dialogue to create an agreement. This competition game (with a winner?) being concerted is to listen to each other, being together to consult, to agree to act together: an opposition and a play to discrimination and aggression of hierarchical domination principle. A survival in hostile context of our own imagination.

The human soloist musician plays an objet as musical instrument where its vibrations are captured by contact microphone(s)

Music with an object as musical instrument: the archisonic lamp, I made 26 years ago, conciliates the dichotomy between instrumental and electronic music: the electronic timbre richness with poor access playing against the instrumental rich emotional playing with unique identifiable timbre, but today it doesn't matter. The next stage is to compose a virtual tridimensional orchestra of 100 clones coming from this objetct musical instrument. To clone the archisonic lamp in 100 virtual-individual-musicians to form a wall-orchestra (this orchestra was released in 2003 listenable in the album: Ti.me Has No Age). The archisonic lamp is composed with many instruments (more than one hundred) and each of them can be isolated on a specific nonoctave pitch scale to compose a multiscalar orchestra. With the help of machines like among others: computer samplers, scaler and spatialisators. The concerto purpose is to immerse the audience in the space of the fight game (up, down, left, right, front, behind) by more than hundred moving virtual independent invisible cloned musicians attacking the human musician. An interactive Battle Concerto between a real human soloist and 100 machines.

THE ORIGIN OF THIS UNISOLABLE & UNDUPLICABLE MUSIC
Freedom is the necessary ingredient for mankind to progress from its childhood. All aberrations created by human kind are experimentations of life to try to understand what is life. And to push up the limits of life of what is possible and what is not; process used by all human children. Like, to control human mass by few people: one of the funniest human game, because it repeats throughout centuries! Today, we are in the process to tame our doubles we try to create: the machines. The machines give sensations that mankind can’t: like here, a human orchestra cannot do it: flying through space with unheard mass scales playing. In this case, to be cloned and being conscientious of this state, generate revenge of life against the human responsible. But it is just a game, because the machines are not yet independent to decide by themselves. The strategy of the clones will be to clone the human soloist to become an unfree machine. Normal. This is a life activity that Men try to do to other Men! The story will not be linear: no one way composition.

THE DEMONSTRATION OF THIS WALL-ORCHESTRA BATTLE
This wall orchestra will suddenly appear and disappear, on left, then on top, then behind, then on bottom, etc., we have 6! paths possible i.e. 720 paths. This wall-orchestra will move continuously too, playing with speed: speed up or slow down unexpectedly. Then this wall-orchestra, this straight surface, will distort like a soft sheet of material in contrary slow winds, moving these 100 virtual-musicians through our 3D space of 1.000.000 points, creating moving shapes. Some of the constituting virtual-musicians-points will independently move themselves, like a mischievous disobedience. Because each virtual-musician-point is independent in its character; it has a unique scale that no other one has, every virtual-musician-point is a stranger, a foreign, an alien to the others: they have no common element: an illusory difference. This wall-orchestra will play with a human soloist, a multi-instrument soloist, with stranger instruments. The virtual orchestra will battle to isolate and duplicate the soloist, like them, which are clones of one instrument: the archisonic lamp. A concerto battle for freedom. Wall-orchestra will fight to imprison the free soloist like school confines creativity in a straitjacket of convention. Will they complete their work? Destroy freedom like nowadays?

WEAPON CONSEQUENCE: 5 TYPE EXAMPLES
Several “weapons” composition-processes will be created for the music battle: a game.
1. When a sound is moving through tridimensional space: it changes, in the necessary threshold of tolerance to recognize its identity, beyond that it looses it. One of the weapons in this piece will be based on lost or kept illusory identity by clones: a globalized morphophonic schizophonia created by the soloist.
2. As soon as a sound passes through a medium (canal) it is necessarily distorted (ear is also a medium): filtered, distorted to saturation (signal overdose), and noise added. Another weapon of this music will be to destroy the sound according to which medium it will pass though, like mines in a field. Distortion and saturation change the character of the sound but not its nature; it remains identifiable to an appreciable limit, and beyond it disappears in an unidentifiable mass of differences.
3. Sound doesn't exist, just in our brain in response to small pressure fluctuations in the air. We've got a translator that works in a range of ratio 1000 approx. beyond there is no translation. Inaudible sound = untranslatable air pressure, one calls infrasonic and ultrasonic vibrations. The weapon here will make the wave untranslatable to a sound but felt on body pressure.
4. The machines sound thief make that the soloist cannot play his part, because his part is stolen by the recorder. (Recorded music is recorded music not unrecorded music?)
5. Sound gets parasite on: by using strength bell-shape filter in a complex spectrum you will emphasize partials forming an independent composition of chords from its sound spectrum.WEAPON CONSEQUENCE TYPE EXAMPLES Several “weapons” composition-processes will be created for the music battle: a game.

COMPOSITION OF THE VIRTUAL ORCHESTRA (NOMENCLATURE OF 100 CLONES) ON THE MATRIX-SURFACE
By Archisonic Lamp clone families: we will distinguish families by their sound and determine how many families are in hundred people concentration soft wall?)
λ. Bowed instruments: springs, strings |nylon, steel, copper|, stem |screw, bamboo|, rubber band, lampshade bell, BY fan blade, bows, wood bow, screw stem, superball, rubber, chains, finger pad,
θ. Percussion instruments: lampshade bell, springs, strings, stem BY stone, felt, leather, plastic, rubber,
δ. Plucked instruments: springs, rubber band, strings, spring-strings, stem,
β. Others uncategorised instruments: rubbed, handled, rolling, vibrated,

THE WALL - ORCHESTRA – MATRIX is organized by families of instruments
A family is a group of similitude sticking together or not. The geophony of the orchestra will be mobile, with emigrant families. The distance between them will be elastic, according to the flying surface shape, and the space attraction places driven by war strategy which is to take advantage (under domination or annihilation) his enemy.

schéma de localisation des 100 clones de l'orchestre mural 2D we can easily understand the start localized points of each virtual musician of the orchestra in a simple square. Also how the lines between points can change size to modify this square in infinite shape, like a swarm of flying birds staying attached between them in 2D plane.

(x or y, z) axis of 100 virtual musicians 2D coordinates (according to the Spatial Processor SP1 from Anadi Martel coordinates)

(01;99) (11;99) (22;99) (33;99) (44;99) (55;99) (66;99) (77;99) (88;99) (99;99)
(01;88) (11;88) (22;88) (33;88) (44;88) (55;88) (66;88) (77;88) (88;88) (99;88)
(01;77) (11;77) (22;77) (33;77) (44;77) (55;77) (66;77) (77;77) (88;77) (99;77)
(01;66) (11;66) (22;66) (33;66) (44;66) (55;66) (66;66) (77;66) (88;66) (99;66)
(01;55) (11;55) (22;55) (33;55) (44;55) (55;55) (66;55) (77;55) (88;55) (99;55)
(01;44) (11;44) (22;44) (33;44) (44;44) (55;44) (66;44) (77;44) (88;44) (99;44)
(01;33) (11;33) (22;33) (33;33) (44;33) (55;33) (66;33) (77;33) (88;33) (99;33)
(01;22) (11;22) (22;22) (33;22) (44;22) (55;22) (66;22) (77;22) (88;22) (99;22)
(01;11) (11;11) (22;11) (33;11) (44;11) (55;11) (66;11) (77;11) (88;11) (99;11)
(01;01) (11;01) (22;01) (33;01) (44;01) (55;01) (66;01) (77;01) (88;01) (99;01)

MOVING THE ORCHESTRA-SURFACE IN A VOLUME WITH 100 POINTS-VIRTUAL-MUSICIANS
This surface of localized wall-clone-orchestra moves in the tridimensional concert place, to form different shapes, like moving shoal fish, or mass of birds flying in one in the sky (a 3D moving cloud of flying starlings (étourneaux)), controlled by geometrical functions like: z = √y ∙ x² ∙ n where n = (-1 ; +1) gives a kind of flying wings. Or the surface of Boy: ∑ = μ[P(R²)]. Etc., I need to test all these moving shapes for a projection of 100 trajectories of 100 virtual-musicians-points into 1.000.000 points of the cube. Localized with x, y, z axis with their 100 numbers coordinates from 01 to 99, where 50 is the middle of the cube.

1.000.000 coordinates in 3D space to shape the flying mass of 100 virtual musicians:

cube 3D coordinatescube with 1 million coordinates

 

MULTI PITCH SCALING & NONOCTAVE HARMONY in
U & U, the recipe of Freedom

 

SHADOW-SKY-MULTISCALAR-COMPOSITION-SYSTEM
All scales in the infinite are integrated in the Multiscalar System Field. More than the classic polytonality (where one mode is used in its different transpositions of its own scale's degrees), the multiscalar music gets all the scales known and unknown for its use. A space full of different metric axis where sounds hooks on freely. You build chords without the gravity of the fundamental and its octave but with the multidimensional field of infinite number of intervals where no one is similar: their intersection is empty between them and of course the curiosity pushes up to use unheard intervals. For example: scalarfield²9 is twenty nine scales axis field where sounds bound on freely on one or more. With hooking on more than one scale, you are in the state of permanent metabol, a permanent throw of transformations. If the scales are moving independently, it means that there is several tuning forks gliding on not fixed frequencies: a diapason's polyphony which is supposed to slide the scales to other destinations. Like our Universe this scalarspace has different located field-forces where it happens a certain type of attractions, I explore these unknowns... The research of infinite unheard intervals. Each scalar is a clock with regular frequency of a unique interval of time. Each interval is a ratio between two proportional frequencies. A usual clock is cyclical, and we will try to build non cyclical clocks not to come back to the beginning of time. To do that we bound the space of time to localize which non cyclical clock will sound appropriate for us. Unfortunately we still need to bind the space to localize our bounds between our uncyclical clocks of sounds sensations, which is the multiscalarfield. One of the property of that pitches network is: the false note (in the process of rejection) does not exist any more.

Todays, we are in the space of nonoctave pitches field where the dimension is 53 and give the nonoctave scalarfield53.

APPLICATION OF THE SHADOW-SKY MULTISCALAR COMPOSITION THEORY
Our purpose is to create a multidimensional field of unknown intervals to form different scales for each virtual musician. We will focus on non cyclical (asymmetrical redundant) scales which have any common interval and pitch among them (the 12-tone scale will be banished too). We will build 100 modes with their transpositions to personalize the illusory character of these 100 clones. Most of the Archisonic Lamp’s sounds have inharmonic spectrum, which gives an additional difficulty to have a precise pitch detection: more complex is the spectrum less you recognize the pitch or the interval. We work from simplest to very complex sound to test each scale according to each virtual musician with its specific range where it sounds. Then we apply the sliding-tuning-forks-contrapoint, like moving axis in 100 dimensions space of time (we work with frequencies), to create bridges between scales on common pitch to provoke an exchange metabol (morphing) between virtual musician’s scale owner (the schizoscale process).

The scalarfield100 is the “U&U recipe” multiscalar-field. The projection of selected fundamental asymmetrical prime and odd intervals, in which we input the necessary filter of the minima and the maxima perceptible, build our scalarfield100 matrix.

 

What happened in the music?

The wall-orchestra suddenly appear and desappear, on left, then on top, then behind, then on bottom, etc., we have 6! pathes possible i.e. 720 pathes just by sticking the walls of the cube. The wall-orchestra moves continuously too, playing with speed: speed up or slow down unexpectedly. Then the wall-orchestra, this straight surface, will distort like a soft sheet of material in contrary slow winds, moving these 100 points-virtual-musicians through our 3D space, creating moving shapes. Some of constituting virtual-musicians-points will independently move oneselves, like a mischievous disobedience. Because each of virtual-musician-point is independant in its character; it has a unique scale that no other one has, every virtual-musician-point is a stranger, a foreing, an alien to each others: they have no common element, beyond being cloned. The wall-orchestra plays with a soloist, an object musical-instrument soloist, with stranger instruments: a battle to isolate and duplicate the soloist, like th clones of the wall-orchestra. which are clones of the soloist instrument. A concerto battle for freedom. The wall-orchestra will fight to imprison the free soloist like school confines creativity in a straitjacket of convention. Will they achive their work of destruction? To calculate the trajectories of the wall-orchestra, one of the mathematics tool would the k-means (en français : l'algorithme des nuées dynamiques).

...

 

Mathius Shadow-Sky,
Berlin, September 30, 2006

 

Conclusion

"Unisolable & Unduplicable, the Recipe of Freedom" was never achieved,
due to economical problems (drastic reduction of the budget) of the art center Tesla in Berlin.
The Kubus was a part of Tesla in Berlin. Carsten Seifferth and his team was laid off. Todays, the Kubus place is closed for public concert.
Todays, the machine which could realized a part of that spatial music is broken: the Spatial Processor 1 of Anadi Martel. Or obsolete like the hexaphonic Orfeusz which needs the obsolete Windows XP OS to work.
"Unisolable & Unduplicable, the Recipe of Freedom" was proposed at ircam in 2007, but Frank Madlener the actual director did not answered, even denied to answer. Also at the Exploratorium of San Francisco: no answer. Also denied by the Sonic Arts Research Centre (SARC governed by nerds from Ircam) at Queens University in Belfast. Nowadays, is it a common desire to achieve spatial music? It seems: no. Who's Next?

 

To achieve this music it is necessary to build up a team with a mathematician and a programmer together with the composer
with the minimum necessary tools, which is : 8 loudspeakers + amplification, mixing console, computers, sound cards: nothing really impossible.

 

 

dOwnlOad the 2006 pdf "Unisolable & Unduplicable, the Recipe of Freedom" presentation for its creation in the Kubus (2006 corrected in 2010)

 

En 2016, je me réjouis à l'éventuelle possibilité de réaliser cette musique (dans un institut étranger non censeur), car les conséquences (en attente depuis tellement longtemps) de cette réalisation porteraient la musique (réellement spatiale, pas « surround ») au niveau attendu depuis Edgar Varèse : 1 1/2 siècle d'attente (alors que les machines existent).

In 2016, I look forward to the potential opportunity to realize this music U & U the recipe of Freedom (in an uncensored foreign institute), because the consequences (waiting for so long) of this realization would bear music (really flying 3D space music, not "surround") at the expected level since Edgar Varèse: 1 1/2 century of waiting (while machines exist).

La technique du moirage (moi en rage) orchestral est une technique de transformation spatiale qui se développe dans U & U the Recipe of Freedom. L'orchestre en tant que surface molle volante s'infecte petit à petit (la transformation de la texture du tissu) pour intégrer le soliste rebelle : l'orchestre police qui « appréhende l'individu » désobéissant, eh oui, les politiques sont en guerre contre les artistes depuis 40 ans.

The Moire (me in rage) orchestral technique is a spatial transformation that is developed in the U & U Recipe of Freedom. The orchestra as flying soft surface festers gradually to integrate the rebel soloist in uniformed police orchestra to "apprehend the individual" disobedient, yes, politicians are in war against the artists since 40 years.

 

 

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