Chernobyl Map I (Vector)

[whyterabbyt]

Part of a series utilising different scores derived from Google Earth photographs of the area surrounding Chernobyl.

chernobyl map I (vector)

12Mb large, 8 mins long.

[vurt]

12Mb large, 8 mins long.

pah!

always happy to see a new one from you, listening now to the cold stark intro, will return after immersion...

[shamann]

scores derived from Google Earth photographs of the area surrounding Chernobyl.

Do tell.

[Jazzyspoon]

Nice machine-ambience noise track. Flows well and sounds well recorded on my monitors. Almost sounds like a digeridoo in the distance. Would like to know a little more about your process. Interesting muse.
peace
Jazzyspoon

[whyterabbyt]

Do tell.

im doing an msc, and my main focus is on the notional idea that the score of certain kinds of abstract composition can be drawn as a map of the possible events in the piece.

this piece comes from a literal application of that idea, transliterating a specific aerial photograph of the area into different scores by looking at different 'sets' of the visual data; this one is derived from the vectors created by roads, streams, valleys et.c.

Once I'd created a score from the map, it was all performed live (in about 20-25 separate passes) in a single MAX/MSP instrument I built which only generated 50Hz tones. The vectors were coloured in specific groups, and each colour related to new modifications of the basic instrument, adding more drift and chaos to the basic sound. There's a little bit of mini Kaoss Pad on the most chaotic lines as well. There's some postprocessing, but very little of it is 'dynamic', its all static effects.

The map in itself was of interest because, from left to right, the landcsape changed from large tracts of field and forest, thru to an obvious built-up area, then an absolute chaos of what seemed to be twisted rivers and valleys. As a metaphor for the supposed 'safety test' of April 25th 1986, it seemed quite apt. The fact that certain of the roads around the fields area effectively formed an arrowhead which 'points' at the urban area and the wild landscape beyond it was just one more reason to use it. The composition itself is based around that same development, from fairly static, drifting electrical noise, into something unchecked and out of control. I still have a fascination for mains hums and crackles, and the instrument I built was also a sort of homage to an installation piece I saw recently called 'Chord of the Fifth Force' by Barry Weisblat, and an older piece of mine, called 'Static'.

There are another two or three scores I still have to work up from the same map. The idea is to generate ideas about what kind of useful performance directions one can draw from an abstract score.

[vurt]

ah i get you, draw a score from the fetures, makes sense.
i was mistakenly thinking some sort of image to sound.
i like the idea of using the different features for different parts, it could even be scored for several musicians to play at once each being assigned different map features.


can i ask, did the fact you were working with chernobyl in anyway direct the outcome?
does your knowledge of the area affect any decisions, either before or during?

[whyterabbyt]

ah i get you, draw a score from the fetures, makes sense.

yeah, sort of.

i was mistakenly thinking some sort of image to sound.
i like the idea of using the different features for different parts, it could even be scored for several musicians to play at once each being assigned different map features.

Thats the intention, and where Ive had to make a distinction between 'the score' and 'the music', at least as far as my research goes. the score is directions to the the performer(s), who may, or may not, also be the composer...

can i ask, did the fact you were working with chernobyl in anyway direct the outcome?
does your knowledge of the area affect any decisions, either before or during?

Not the area, but the disaster itself, and the idea of a slow build to an irrevocable state of meltdown. If you look at Google Maps, and punch in Chernobyl as the place, then switch to satellite view, you do get this left-to-right change that becomes amazingly chaotic.

[Sickle]

Damn, wish I was on a quick connection; I'll find my way back to this soon as I can.

[shamann]

I remember Static well.

Interesting that you chose to read the map linearly as a score. I could see how one set of instructions derived from such a thing could be interpreted to have all sorts of different relationships to time. For instance, in an ensemble setting, I could see that each member could play areas whenever they choose, so long as each member observes the rules you've set for any given marker.

Were the colours chosen for vectors based on shared landscape details, or arbitrarily assigned?

Interesting idea. I like the track quite a bit, love the sounds of very electrical things.

[synthgeek]

Interesting idea, and a great track you've made from it. I love the harsher bits towards the end especially, great texture throughout though.

[whyterabbyt]

Interesting that you chose to read the map linearly as a score.

For the purpose of this set of pieces, yes. It doesnt need to be the case, though, and thats part of the overall thinking in what Im doing. At this point, Im essentially 'proving' that Ive evaluated what kind of meaningful visual data can be marked up in a score; what works well, is easy to understand, follow et.c., but non-linear paths thru the 'map' are on the agenda. The underlying idea gets towards a more evolved idea of creating a notional territory, and the journey(s) through part(s) of it.

I could see how one set of instructions derived from such a thing could be interpreted to have all sorts of different relationships to time. For instance, in an ensemble setting, I could see that each member could play areas whenever they choose, so long as each member observes the rules you've set for any given marker.

Indeed.

Were the colours chosen for vectors based on shared landscape details, or arbitrarily assigned?

They were initially the result of a certain amount of image processing in Photoshop, trying to 'bring out' different visual relationships. In this, when these 'vectors' appeared, I used then 'quantized' them into a half-dozen discrete colours and drew them in on a new layer by hand. That final layer was the score. At least one of the other scores has arbitrary choices, based on an impression of the underlying land usage (field, forest, hills et.c.)

Interesting idea. I like the track quite a bit, love the sounds of very electrical things.

Much appreciated.

[whyterabbyt]

Thanks, btw for listening, to JazzySpoon(*) and synthgeek.

(* who seems to be listening to absolutely everything posted at the cafe; good on yer sir)

[shamann]

(* who seems to be listening to absolutely everything posted at the cafe; good on yer sir)

I did that once, not easy to do for a long period of time. Cheers to Jazzyspoon.

[duncanparsons]

It's certainly a very interesting listen!

I've PMed you, but don't talk about it

DSP

[tommo]

ah i get you, draw a score from the fetures, makes sense.
i was mistakenly thinking some sort of image to sound.

Same thought.....that Sean went through Coagula or Metasynth to obtain samples from images

Nice one Sean.....listenin' to it while havin' a drink