Posidònies i ones
Mar 23, 07:32 PM
Share
Subscribe
"The piece combines a field recording taken from UNESCO World Heritage sites with instrumentation that can be electronic or acoustic. Its aesthetics are based on the theme of the sampler: the sea and the waves. "Posidònies i ones." serves as the epilogue to a series of ten compositions grouped under the title:
"Hipervida. Book 1. Abans que jo, tots els éssers."
"One spring, we collected posidonia from the beaches of Mallorca. Back then, my young daughter still could not speak—she only laughed and babbled while playing, her feet in the water, among the waves and the posidonia.
"The only inheritance I have left from that day is the dried posidonia resting on my bookshelf, between John Cage’s books and a moudy orange.
"My daughter now speaks, and although she still laughs, she no longer plays as much. In a way, she is no longer the same. Though I must admit, I have also changed.
In an impermanent existence, the only thing that anchors us to ourselves and protects us from the waves of the infinite cycle of births and deaths is the inheritance found in objects that symbolize memory, like a dried posidonia far from the sea.
"Following the idea of waves as a representation of the balance between heritage and impermanence, "Posidònies i ones." is an algorithmic composition that can be performed by either a computer or human musicians.
"Microcomposition: Each instrument has the same possibilities (pitch and note duration within a measure), representing the drops of water that, when combined, form the ocean.
"Macrocomposition: The sonic dynamics of a wave are mimicked by gradually adding instruments and then removing them.
"The composition and the recording of the electronic version were created using the "Algorithmic Text Sequencer" uPIGr, an online editor and interpreter for the JavaScript programming language."
Deià beach waves reimagined by Miquel Parera & Gonzorobot.
———————
This sound is part of the Sonic Heritage project, exploring the sounds of the world’s most famous sights.
Find out more and explore the whole project: https://www.citiesandmemory.com/heritage
"Hipervida. Book 1. Abans que jo, tots els éssers."
"One spring, we collected posidonia from the beaches of Mallorca. Back then, my young daughter still could not speak—she only laughed and babbled while playing, her feet in the water, among the waves and the posidonia.
"The only inheritance I have left from that day is the dried posidonia resting on my bookshelf, between John Cage’s books and a moudy orange.
"My daughter now speaks, and although she still laughs, she no longer plays as much. In a way, she is no longer the same. Though I must admit, I have also changed.
In an impermanent existence, the only thing that anchors us to ourselves and protects us from the waves of the infinite cycle of births and deaths is the inheritance found in objects that symbolize memory, like a dried posidonia far from the sea.
"Following the idea of waves as a representation of the balance between heritage and impermanence, "Posidònies i ones." is an algorithmic composition that can be performed by either a computer or human musicians.
"Microcomposition: Each instrument has the same possibilities (pitch and note duration within a measure), representing the drops of water that, when combined, form the ocean.
"Macrocomposition: The sonic dynamics of a wave are mimicked by gradually adding instruments and then removing them.
"The composition and the recording of the electronic version were created using the "Algorithmic Text Sequencer" uPIGr, an online editor and interpreter for the JavaScript programming language."
Deià beach waves reimagined by Miquel Parera & Gonzorobot.
———————
This sound is part of the Sonic Heritage project, exploring the sounds of the world’s most famous sights.
Find out more and explore the whole project: https://www.citiesandmemory.com/heritage