The Teub-System

 

 

"Shadow-Sky-Teub-System uses different types of short sounds varied by extreme speeds and space localization. Each sound has its own different pitch scales and time layers : a frequency scale is a clock

 

1. IMPACTS are played in four or height sliding rhythms' layers in 3D space movement. The layers' numbers depend on how many loudspeakers (between four to height) I get for the performance. With four loudspeakers I play four different time layers (four MIDI channels). Four same sounds gliding on their own time line with four independent tempo controllers. It generates very subtle rhythm in space. Sounds' impacts are stored in a sampler.
2. MONO DEEP IMPACT resynchronizes the sliding layers - if it slides out?
3. METALLIC SOUNDS are played in one layer rhythm in 3D space. The composition process is similar as impacts process but with independent rhythm.
4. MONO OR STEREO STRANGE LOOPS are trigged by MIDI controller and are moved in 3D space with the quadraphonic Döppler algorithm in the GRM Tools software.
5. SINE WAVES are divided in 2 instruments using different tempered scales rather than 12-tone:
  
a. BASS SINES work like IMPACTS and METALLIC SOUNDS, independently with deep melodic patterns divided in space localization. I play with psychoacoustic merge perception. Here the element of melody is added to the rhythm.
  
b. MEDIUM HIGH SLIDING ASYNCHRONOUS SPECTRUM CHORDS are based on continuous scales' interpolation [continuous stretching intervals] trigged by MIDI controller.
I compose in real time with tempered scales describe by the formula x power 1/y. Then I generate scales' modulations, modes, scales' interpolation, scales' polyphony, chords, intervals' stretching chords, reverse and inverse chords, range, speed of sliding, speed of moving in space, position in space, direction in space, on four or height loudspeakers. I wish to have one scale by MIDI channel, that is 16 different scales at the same time, with the possibility to change each scale in rhythm with the global and local tempi of music.
6. BREATH, WIND, EOLIAN SOUNDS are treated in the same way than STRANGE LOOPS but on a different quadraphonic Döppler rhythm and speed.
7. FOREIGN SOUNDS are generated through TG77 Yamaha synthesizer played independently. Foreign sounds are not controlled by the Teub System.
8. MY VOICE through FX boxes like: harmonizer, enhancer, and reverberation as far and near space simulator.
All sounds move continuously except the MONO DEEP IMPACT. Sounds' movement can be so fast that you cannot distinguish their localization. This is the play with sound speed."

 

 

APPROACH
"The Shadow-Sky-Teub-System is a live performing laboratory which experiments mental and body human being balance. A scientific understanding of vertigo provoked by extreme all merged sound features like tone, loudness, rhythm, and fast 3D space-moving-sound. The experience of tone consists to use extreme low and high sine sounds at the edge of our sound perception. At these extremities sound become a vibration and human perception cannot define sound identity, just a sensation of "massage-pressure" inside the head and the abdomen. Sine sound cannot have a room dimension as every complex sound located in space. Sine wave is perceived directly with no distance (if yes, it will become a un-sine sound because of its self-generated partials creating a spectrum feedback by sound reflection). In a midrange tone I experiment slide-tones clusters' [complex chords] interpolation using micro-intervals on predetermined and constantly changing scales build by help of math Ensemble Theory and the formula x power 1÷y. I mix scale building theory with spectrum building theory: an additive inharmonic synthesis as chords building. The experiment consists of perception capabilities of constantly moving chords in space and time. The loudness experience consists to work with suddenly very loud sounds rather than impacts distribute in space localization and manage rhythmically in it with sine sounds described above including ultra- and infra-sounds. Mixing these two kinds of sounds: impacts + sines, provoke a feeling of closed space and generate in sensitive people a kind of claustrophobia: the feeling lack of distances. In case of very fast 3D moving sounds, most of the people lose they own balance and at a certain speed begin to feel moving sounds inside their own body. In case of very loud low sinus it simulates a quasi earthquake: an unstable "splace" depending of rhythms generated. The architecture of resisting matters income in the process of matter rhythm's creation. At this time of experience I felt the necessity to "open a window!" a feeling of constant body pressure erases the possibility of imagination. This "window" is necessary and introduces continuously very quiet noise as breaths, winds, and eolians sound. That open this constant pressure space to a relaxing space-up escape.

I remarked at this point how each culture is mixed up with safety place psycho-acoustics sound perception and psychological mind representation. Escape is up or down, outside or inside that is depending of our "fear culture." This is also our perception of perceived Universe: can you escape through inside rather than outside? In our Western culture to escape through inside is to go through several dangers before to get our freedom. I was very surprise that introducing noise (a breath's sound is a noise) with sine waves and waves' impact creates a psychological feeling of mind liberation!"

 

+

 

"SUBLIMINAL QUADRAGRAPHIC PICTURES PROJECTION

Same as a sound, I use micrographic pictures of reproducible organs in a subliminal fast circular quadragraphic projection. There is more than 24 non continuous pictures per second projected on four big screens surrounding the public.

A silent work on body and brain balance toleration."

 

 

 

 

 

Shadow-Sky-Teub-System entrance page

There is

no more music

just an

anatomic of shocking waves.

GO

 

 

Les Arts de l'Etrange
Le Centre De La Bombe
mapping page