Sphere Eversion with Freedom Hardware (A Perplexing Guide to Coppice’s Newly Cemented Dedication to Freedom)

“Content”

Abstract Elastic Triangle

I. Curtain (Graffiti Music)
II. Screen (Grayed-out Music)
III. Perspective Tube (Superficial Music)
IV. Headset (Post-Industrial Device Music)
V. Fake Air Storage

Concrete Epitaph for Browsers
Suggested Order
Peripheral Objects
Further Information

Abstract Elastic Triangle

  1. The problem with freedom: everything is obsolete!
  2. An undefined perspective navigates through transitions and spaces, while a translucent object of electromagnetic music circulates.
  3. A brick hod puzzle box surfaces to hold ground over which missing figures hover. These form scenes from kinds of light through kinds of devices.

I. Curtain (Graffiti Music)

“Sensual music for a folding world in which songs are directions to look.”

Games of Impossible Objects & Binary Clocks in preparation for virtual worlds in real spaces.

Preamble to Newly Cemented Dedication to FreedomPreamble To Newly Cemented Dedication to Freedom (Aposiopèse, BE, 2016)

II. Screen (Grayed-out Music)

Transparent digital applications seek to get to the real by bravely denying the fact of mediation; digital hypermedia seek the real by multiplying mediation so as to create a feeling of fullness, a satiety of experience, which can be taken as reality. (Jay David Bolter and Richard Grusin, Remediation)

Open On Occluding Devices
A frozen flame in slight decay
Clear image sought by calcified vision
Clear vision seeks calcified images
To play with fake fire
(A glowing center that is not a screen)

Self-images calcify an opaque fiction.

The promise: color saturation, ruptures in hypermediacy and transparency.

Open On Occluded Conditions
A molten image of songs, falsehood, and deflection
Superficial Music cast from a missing mold
Convolution Effects that falsify spaces and devices
Falsified perceptual compression artifacts from Spectral Processors

Open On Occluded ConditionsOpen On Occluded Conditions (untitled folder, RU, 2017)

III. Perspective Tube (Superficial Music)

The vehicle becomes a bubble, the dashboard a console, and the landscape all around unfolds as a television screen […] the astronaut in his bubble, existing in a state of weightlessness which compels the individual to remain in perpetual orbital flight and to maintain sufficient speed in zero gravity to avoid crashing into his planet of origin. (Jean Baudrillard, The Ecstasy of Communication)

Concrete Core Tempering: a psycho-geography of place.

Or:

Music for driverless dream cars on their self-driven way to the junkyard (its windshield screens movies that no one watches)

Frequently Asked Questions:

Are dreams reversible? A dream of a clearing in the woods may be re-dreamt combusting.

A self-watching movie? A psycho-geography of Chicago.

Dream Ignition? A slow-moving story slow burning a memory.

Fuel? “Real music in virtual spaces and unreal music in very real dream spaces.”

Combustion? In visual effects and post-production, chroma key green (an alternative to chroma key blue) stands as a color-to-be-made-transparent and replaced with other content. Chroma key green and a green flame can be brought into direct visual contact by igniting copper sulfate (blue crystals) close to a green screen.

Exhaust? An occluding escape.

Synopsis for Light Pollution Timer PVC: A sounding alarm for the unintended interference against health and sleep patterns, nocturnal plants and animals, the perceived brightness of stars and the memory of night.

A rendering of Björn Hellström’s semantic point of view on the metabolic effect in that the sounds within it are “impersonal (which produce a feeling of euphoria,) whereas the sounds in regard to [the] ubiquity effect are anonymous (which produces a feeling of malaise.)”

Green FlameGreen Flame (caduc., CA, 2018)

IV. Headset (Post-Industrial Device Music)

The universe is itself incomplete, and blessed with blurs of etcetera (faces, license plates, and other sensitive items.) (John Durham Peters, The Marvelous Clouds: Toward a Philosophy of Elemental Media)

Isn’t XYZ a strong enough password? “Today we remember something: a chiral object of memory.”

What did it sound like? Room tones oscillating.

Searching for something?

Which move does music direction? XYZ finds its way through RGB.

Light in the dark, suspended in architecture.

See-through stained glass. Daylight passes into the darkroom fortress, an internal viewer, a porous defense.

Inside: Head-turning songs turn headset spheres inside-out.
Outside: light-filters-to-be-entered are Surreal Air Fortress.

The air that keeps time is fictional, an accident, it has no intention of fixity.

Floating images come to light from a wet process.

Color keyed into the past in a darkroom and faded like sounds (an unremedied miscalibration.)

It’s dusty in the attic where a strobe light (consequence) and darkroom timer (reference) take each other’s places!

Drowned chain links correspond to aluminum diamonds as static compass needles, while a parenthetical question of air-as-time penetrated a water clock. The time soluble was not impulsive. It is now in pieces and on display.

How are chain-link fences made?

How are walls built?

How do flywheels store energy? 

Synopsis for Flood Blowing: A user’s off-screen soliloquy in the summer (of 2016.)

Medieval-style fortifications were largely made obsolete by the arrival of cannons in the 14th century battlefield. Fortifications in the age of black powder evolved into much lower structures with greater use of ditches and earth ramparts that would absorb and disperse the energy of cannon fire. Walls exposed to direct cannon fire were very vulnerable, so were sunk into ditches fronted by earth slopes. This placed a heavy emphasis on the geometry of the fortification to allow defensive cannonry interlocking fields of fire to cover all approaches to the lower and thus more vulnerable walls. (Michiko Phifer, A Handbook of Military Strategy and Tactics).

A prisoner paints a landscape on the wall of his cell showing a miniature train entering a tunnel. When his jailers come to get him, he asks them “politely to wait a moment to allow me to verify something in the little train in my picture. As usual, they started to laugh, because they considered me to be weak-minded. I made myself very tiny, entered into my picture and climbed into the little train, which started moving, then disappeared into the darkness of the tunnel. For a few seconds longer, a bit of flaky smoke could be seen coming out of the round hole. Then this smoke blew away, and with it the picture, and with the picture, my person.” (Hermann Hesse, Fontaine)

XYZXYZ (Falt, FR, 2018)

Surreal Air FortressSurreal Air Fortress (Entr'cte, BE, 2018)
 
► Flywheel (iDEAL Recordings, SE, 2018)

V. Fake Air Storage

Fake Air is a creation. It emerged in 2015 as a reflection of Coppice’s bellows-sourced study of air between 2009-2014.

Fake Air is a sound design. Its point of origin is physical modeling synthesis, a sound synthesis technique based on models of the sound-production mechanisms involved in musical instruments. Rather than imitating specific behaviors or natural environments, it renders broad sonic and musical properties of Coppice’s air-focused compositions as a keyboard-based “virtual aerophone”.

Fake Air is a harnessed image of disembodied phenomena and a physical modeling object, a paradox to physical modeling. It is active and dead.

Fake Air is under control. It exists in “real time”, in layers, devoid of effects or processing other than those constituent of its model. Illusion supports a concrete space.

Fake Air inquires into the relationship between sound and air, as a figure that simulates and reflects the medium it sounds in: fake air on air.

Fake Air is a forging of sound (a simulation of the air medium) and air (a transmission medium through which sound propagates). It may be listened to for a music’s origin (unvoiced energy) with an unknown destination.

Fake Air is a textural instrument. It imprints subtle dynamic changes in noise color, range, density, and diffusion.

Fake Air is abstract touch. Its pressure on the listener does not exceed that of subtle audition. Remembrances of the physically-oriented effects of air (meteorology on the senses) appear for the listener subjectively.

Fake Air is a projection to be completed by the listener. It encircles and invites memories of pressure, temperature, edges, moods, orifices, cavities, transparency.

Fake Air is an electronic sound and an acousmatic sound (an invisible sound source) – bound to the loudspeaker. Rather than illustrating external conditions (environmental, spatial), it filters internal causes (temperamental atmospherics, forecast, private barometrics.)

Fake Air has a limited purpose. It is pneumatic movement imagination with designed boundaries of no direction. It is superficial, an artificial appearance, and not an enhancement.

Fake Air nests within it fictional pressure, untraceable elements, and an impossible object that is never touched or brushed against. Its edges sound by means of an impossible interaction with a self-contradiction of no self.

Fake Air is in inseparable relationship to audio media. Recordings or collections of Fake Air disturbances form Fake Air Storage, which faces John Durham Peters’ distinction of obsolescence from disappearance or destruction as “the persistence of the thing in a straitened or muted role, not its vanishing.”

Fake Air points to the persistence of air as a container of sounds and listeners.

Does fake air brush over the epitaphs of songs?

Concrete Epitaph for Browsers

The modeling of an aging object in fictional decay carried with it substitution, virtuality, and error.

Suggested Order

The following playlist sequences the accretionary development of Coppice’s music for physical modeling synthesis between 2014–2018, beginning with the simple pairing, and gradually integrating convolution effects, actual and falsified perceptual compression artifacts, actual and simulated spaces and devices, field recording, Rhodes Bass Piano/Korg drawbar organ/Wurlitzer electric piano (and their emulators), as well as musical features like melodies, rhythms, voices and lyrics.

  • Solvent/Emulsion
  • Induction and Bifurcation
  • Flut (Tighter)
  • Sucked In
  • Memory on Fake Fire Screen (POV)
  • Lodge Message To Be
  • Burning Message/Message Burning
  • Inscription
  • Sweaters
  • Thought with Pollution at Simulation of Construction Site
  • Intercalary
  • Thought with Pollution at Simulation of Construction Site (Continued)
  • Disgusting Knot
  • Slimy Hideout
  • Burning Message/Message Burning (Embossed Emporium)
  • Is This The Spot?
  • Ground/Dense Day Cooling (Dorsal)
  • Country Road
  • Afterthought
  • Here
  • Cul-de-sacs
  • Ashdown (Slimy)
  • Fake Memories Object (Antecedent)
  • Coverage
  • Surveillance
  • The Wall
  • Wet Hologram
  • Dense Day Cooling (Ventral)
  • Emanations
  • Fake Memories Object (Descendant)
  • Flywheel
  • Exposure

Peripheral Objects

  1. Diamond Tread Aluminum Sheet
  2. Sphere Eversion (and Corrugation)
  3. Faraday’s Induction Coil
  4. Light Pollution
  5. Carcass (Projectile)
  6. Copper Sulfate
  7. Blueberry/Blueberries
  8. Remediation
  9. Middle Gray
  10. Dead Air

Further Information

  1. Coppice’s Glossary Reflection: Physical Modeling & Modular Synthesis 2014-2018
  2. Coppice PresentationsReleases, and Instruments related to Newly Cemented Dedication to Freedom
  3. Interviews with Paul Margree/We Need No Swords (2018) and Dan Mohr/Chicago Artist Resource (2016)
  4. Coppice’s studio in Summer 2017 through the eyes of NNN Cook
  5. Fake Fire Journal Entries #1, #2, and #3 for Bogong Village Sound Residency (2016)
  6. Mixed images (2014–2017)

Coppice thanks Pierre Judon, The Paver, Ryan Dunn, Josh Oberman, NNN Cook, Joseph Clayton Mills, Christian Schiefner, Kurt Liedwart, Allon Kaye, Mathieu Ruhlmann, Lise McKean, Jeff Kolar, Matt Baron, Alex Inglizian, Phil Peters, Peter Speer, and Lou Mallozzi.

All images, text, and music © Coppice/Future Vessel 2014–2018, except: top image by Nathan Keay and Coppice, XYZ cover image by Christian Schiefner, and quotations as attributed.