TRAMPELFÂD BLACKBOX 4 Live 5 /2025

Tonhalle Hannover 23.05,2025

FULL VIDEO BLACKBOX 4

PINK NOISE COMPOSER

Concept April 2025  https://ibb.co/zTFfshSb

 

 Aleatoric Structure Music

(automatically translated)

Coincidence again - positive "loss of control"

In the past few months - or rather 1.5 years - I have been working more with random block ideas.What is it about? You need a series of recordings in advance - I only ever had 2-3 with a length of3-10 minutes. The respective tracks are created by a clearly structured randomness of a computer or a noise generator generates impulses that have a speed of up to 70 bmp and are A-rhythmic, i.e. without repetition or looping tones are generated, modulated and filters and envelopes are changed. From the two tracks which are always produced in a timely manner  during the final cut, the track parts are superimposed, removed or slowed down. This means that only when cutting does this consciously occur listening instead of .The precise limitation of the random sound generation is important and makes a composition possible at all.

The question: "...what does chance do to the chosen tone?" and what do I do with the result?  So a distanced, almost purely analytical method to "find meaning", so to speak. Due to the temporal separation and the your own "disempowerment" as an individual "instrument player" is where the electronic component really comes into play...yes in general, this is the domain of this instrumental family (...if you want to call synthesizers or computers instruments at all..)

It is particularly important that the principle remains simple and simple - so the main focus is on sound control and cutting of the trace material generated, which should also be greatly reduced in manageable quantities - so max 5 tracks. Some variations are of course allowed - mono/stero lane changes and extreme speed changes are always possible and even a desirable goal.The idea comes from the visual arts...I had the idea of ​​not throwing away bad drawings but cutting them up  and re-arranged, stick it on and paint over it.

This approach is also so simple that it can always be used as a by-product, ideally for “recycling leftovers”. When I get stuck, I cut everything up and make something new out of the pieces. But it always comes back to haunt me a shift in values, the positive reinterpretation of the term "loss of control" into passive serendipity as a means of composition and thus moving away from a clear overestimation of the transience of the moment...we always have that anyway. It's not The "happy coincidence" is: the distance from the stranger, the desperate act - the emergency solution that we pay homage to. During these experiments I have often noticed that the finished result only “reveals” itself after some time.

Part Two:

The powerlessness of chance 

It's strange but the search for creative freedom often comes from a false starting point  pre-printed. We think that crossing boundaries is an effective means of gaining new knowledge and every structure created in this way can be a path to new music. There are no limits of music but the boundaries in our thinking and that usually remains rigid and influences our new thinking,just like our old one. We don't need new border crossings, we should have borders as a formative factor question element. What is a composition? What are the specifications? Why does music have to be repeatable and therefore preserveable?be . Is fidelity to musical works even possible over time? Where is the potential, why new? Do we even have the power to recognize something new? Is new things always visible to everyone? Are freedoms?that we don't know to even question, lose, notice?

An example from electronic music:

A musician's self-disempowerment begins when he surrenders all musical parameters to chance and only his own cutting the length represents the decisive intervention. What is produced in terms of pitch and length is in the hands of one, two or more random generators that independently modulate and produce sound events. You can now deal with the result and examine what has been created like a stone find on the beach. That's what I do in this moment with my mood of the day I bring a special perspective to the beach and something catches my eye there today what would have been overlooked by me yesterday shows that perception is also influenced by chance.

Even thoseConscious search for a certain form is influenced by many parameters and is never completely in our "power".

So what do we lose if what we are essentially concerned with is not in our power to be brought about?Can we know in advance that what we do today will be treated as a “great new discovery” tomorrow?  No

and that is where its potential lies. It is the distance that is really important - yesterday what I invented as new was missing

I haven't yet because it wasn't there yet. Today my invention has changed my perspective and when I think about it to save time, I even change an era. But that doesn't mean that anyone else will ever notice. It is my personal biography and only my private era!

How can something that is not in my control be influenced by me - only through my perspective. I simply can overlook it or hide it from my perception - and our brain does that all the time anyway.

That's what makes us capable of surviving. In the end, short and long-term memories are the big judges of our perspective anyway

on the value of our experiences. But that means: Beauty is in the eye of the beholder. This old rule is complete great. I am only as innovative as my inner limitations allow. I can expand my perception potentialThat's the only thing that opens access...so it's much more important than what I do or have done.

 Blank Canvas 8/2024

(automatically translated)

When we have realized something, after a while we are often no longer aware of what we were at the beginning So before the idea that we then implemented there was already something - I call it the blank canvas.
So there was already a space of possibility in which we generated our ideas at the beginning but itself was without any meaning - it was certainly not a vessel that had no content whatsoever nor any other qualities. So “pure emptiness”. At least that's how I imagine it. At the beginning before the beginning of time there was probably a place like this - without any measure.
But why is this room so sterile and why do we put our delicate rough concepts of an idea there?into it? Because viewing is possible there and only there and no rules apply there everything is possible there. Interestingly, we all have this blank canvas that we tend to forget and close which some people never get to. Creativity is a mystery and that is where its power lies?
Certainly not. I think it's exactly the same - creativity is something completely mundane and as simple as uncreativity.It's easy for us to have an idea and reject it - if ideas were automatically valuable, this would be much more difficult for us.I think for this reason the place - the white screen - is so unspectacular that we often simply forget it.Why drag something into consciousness that exists in the background without any quality of its own? Because, and I am convinced, how we deal with our own discipline or way of working has a lot to do with it.
At the beginning I can always reinvent myself and make every mistake I make anew without all the experiences and prejudices make new differently. And fail again at the old cliff, and ... find new solutions to the same question lies the power of the white canvas.

 

 Laser Experiments with Modular Synthesizer 2024

 

 

 

Aleatoric electronic " comprovization "

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