A Humble Non cooperative movement Towards
chaos Covid-19.
Creating merely sonic boulevards, machines,
synthesizing only poetry relentlessly amidst
whirlpools of Jittery fears of contamination,
pyres in the open.
(Remdesivir! Remdesivir!!
A Raga is ploughs)
Where do we take poetry for a stroll in a
lockdown?
Quickly! - Gold!
What was poetry hiding really?
something like Glycerin
Why acid?
the compartments are Fuming into one massive
Wailing stoopa
Why did it take so long (8+hrs)?!
We were trying to catch one breath.
When even as little a change in bioacoustics from air to under-water, changes the human hearing process from air conduction to bone conduction, allowing humans to access a range of upto 2,00,000 hz (as opposed to the hearing range on air - 20hz to 20,000hz). Then, if biospheres are seen as extensions of ourselves, as sensory placeholders, so elastic that the minutest change in chemical compositions thereby changes ourselves, how else might we hear? how else could we dream?
Med Dew Dims is an 8-hour-long radio(phonic) transmission/dream which aurally speculates bioacoustic atmospheres of worlds not quite like the ones we currently inhabit. During the transmission, digitally granularized translations of poems are virtually gushed into streams of consciousnesses of 8 separate elements, for an hour each. Each element represented virtually by a Max4Live device morphs these grains according to its own chemical configurations
Our broadcast – ‘med dew dims’ (MDD), happens to us as a non-cooperative movement
towards the scarcities imposed upon by ensuing (mis)managements. A movement to
be able to attain a sense of timesthesia/timelessness in our practice through the pandemic.
In the midst of overwhelming panic and crisis, MDD grows as an act of watering the basic instincts of sonic translations in a backdrop of incapable whispers of ‘not being able to help’. Calculating intuitively varying imprints of granular sonic presence through thick and thin - of a set
of mediums designed digitally as audio devices. Places of imagined sites, virtuallly dreaming. As the attributes to these mediums and elements, entitle, or identify a conscious listening, vantage and a mutual hum. We try to create an intuitive co-humming which learns to return home before a masochist/fascist contamination, and includes
heartily musical prescriptions from across a cultural diversity of Indian Ragas.
We translate into sounds, what objects could potently host with almost a cosmic
ease. In a techno/electro-acoustic world, is it also possible to accommodate all their
predetermined conditions and properties and still be able to stay composed, in
composition?
A Collaboration with Glycerine.
A collaboration with Gold.
More Mediums consenting to collaborate and
their interactive postdated symbolism
{Bromine – Upbeat, and mean
disagreements of smells}
{Mercury – Madam Curie’s Soul}
{Glycerin – Only Service. Keep coming,
please!}
{Gold – You say it!}
{Olive Oil – You.}
{Iron – Remember just Cold}
{Alcohol – Yum}
{Sulfuric Acid – Inedible fumes and stains’ in
motion}
Persuaded Poets in a voluntary
translatory collaboration
Gi Hyeong Do
Gertrude Stein
Sophia Parnok
Marina Tsvetaeva
Etel Adnan
Med Dew Dims comes with 8 opensource Max For Live
audio devices, where we have
tried to find some middle ground within the limitations
of our sonic sphere, and come up with associations
(utilizing ultra-sonic flow meter readings) of translating-
the speed of sound in these mediums into the BPM of
the audio, the specific gravity into separate ranges of
pitch morphing, Kinematic Viscosity into delay (which
range from 7 seconds to 7 minutes), a separate delay
based on the speed of sound again, and the Velocity
change of sound with temperature, into two simple
oscillator knobs with built in amplitude synthesis (the
ratio of which is based on velocity change) to create a
sense of movement.
We prolonged the rue of literary translation of poems, only to translate them further
into audio grains. These audio grains were run through many channels of different
granular synthesizers, setting the parameters of Buffer size, Grain length and
Division, Playhead Glide, Playrate, Grain Positions, Overlaps, Probabilities of Gaps,
Wobbling, and Filters, in accordance with the dynamics and nature of the mediums;
such as their sound speed, sound attenuation, weight, specific gravity, amalgamation,
surface tension, temperature, viscosity and vapor pressure.
We are also attempting to understand how the experience of bromine is different
from that of mercury from that of glycerin, from that of sulfuric acid and so on - through an aural lens allied with poetry’s presence. The composition consists of primarily three parts intermingling with each other. First being a granular treatment of poetry, the gushing of M4L devices for better interactive imagination within the medium, and lastly a relentlessly analog approach at live playing within a digital environment.
The compositions find themselves in different Indian Ragas such as Todi, Bihaag, and
Malkauns, while languages actively cast sonic shadows on the project including
Hindi, English, Maithili, Urdu, and Spanish.
The devices offer the user to water humble yearnings of inquiry as sonic experiences, and to leave aesthetic choices upon the device/medium to make in a long-form environment resting digital hurriedness.
M4L Devices available for download -
