Vinyl Sequencer + STEIM, NL


My week residency at STEIM has rekindled interest in a project that originated out of a conversation after my talk Generating a Language/Documenting a Performance at the Science Gallery, Trinity College Dublin. The conversation was with Ivan Twohig, a Dublin-based artist, who suggested other ways of dealing with the Radius Music data in a more physical format. Vinyl records came up – the idea of music being translated out of rotation obviously held a strong connection with the original project.

Audio from Damaged Media
This week I have decided to work a bit more on how this project might work, and construct a demo version for an upcoming exhibition. Preliminarily, the work involves damaging vinyl records by piercing holes in the record – as the record rotates, the light off the LEDs passes through the holes and stimulates the Light-Dependent-Resistors, which in turn are connected to a series of analog oscillators. In this way, the holes in the vinyl are triggers for a particular sound, and a composition is an infinite sample/loop etched into the materiality of the vinyl. The act of composing becomes difficult as there is no exact vocabulary available. Each note becomes a violent action against the fetishised vinyl record.
The work is also partially inspired by the sound experiments of Markus Popp, who sampled damaged cd-glitches to make the classic 94-Diskont (and all his other records as Oval/Microstoria etc).


One Response to “Vinyl Sequencer + STEIM, NL”

  1. 1 STEIM Project Blog » Blog Archive » A Vinyl Sequencer: Music Composition and Damaged Media

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