When the windclocks start spewing their pulse-trains and the data we can derive from them, we can (ab)use the datastream for creating electronic music and more specifically live performance.
An obvious example is using the TIK-clocks instead of the standard clock in our programs and programming languages. This is only the tip of the iceberg though, we can use the data to do all kinds of modulation, time mangling and the like.
SIR is an integrated electronic music instrument conceived specifically for performance. It combines a control surface with an integrated computer and a SuperCollider engine that takes care of sound generation while staying open for extensions. It frees electronic musicians from the burden of personal computing, by making a specialized device that keeps the flexibility of computer music.
The integration of TIK-protocols and data will be part of the standard modules on the device, making it a performable clock-aggregator.
The device is currently being developed but we are not in prototype stage yet. Any contributors would be very welcome.
You can contact us over the clocks-list.
SIR can be the hub for all the concepts added to this section.
Syncing everybody up during a music performance is often a dull process and can lead to boring straight rhythm beatfests. It's an often-used technique in more experimental music to skew and mangle the clock to create more interesting effects. But our windtime is not regular, it's not an even-paced march to clock callibration.
If we take the same non-linear clock as the basis for our performance, there will be a non-linear slightly chaotic time backbone that glues the performers together. Syncing will sound better this way.
Granular_synthesis is a one of the classical synthesis techniques. It takes an atomic perspective to construct sounds out of tiny particles or grains. The warping of time that is central to this technique seems naturally suited to the idea of WindClocks.
This application written in MAX/Msp is a sound design tool which uses granular re-synthesis. It’s capable of creating wonderful out of this world sounds even from snippets of a recording of your grandma’s snoring.
With different clock-sources coming in, the parallel co-existence of different time signatures, tempi and rhythms can be an interesting feat.
This little application was inspired by Brian Eno’s Music for Airports. Once you start it up you can decide tempo of the synths, filters, delay,midi transposition and the volume envelope of the synths.
What you can’t decide is midi values for the synths and the filters, the waveform of the synths and when to play noise. Those are chosen by algorithms. So just set your values and let it take you to space!