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Sunday November 3rd (doors at 8:30pm a 10 dollar donation) High Zero’s DIFFUSION Festival presents work by an old hand at multichannel work and a first multichannel work by someone who is no stranger to music making, electronic or otherwise.
Marcin Pietruszewski (born 1984) a composer and researcher.
He is engaged in sound synthesis and composition with computers, exploring specific formal developments in the tradition of electroacoustic music and contemporary sound art, as well as extra-musical domains of auditory design, computational linguistics and psychoacoustics. He works across performance, multimedia installation and radio productions probing the dynamics between formalism of synthetic sound and its material realisation.

Mr. Pietruszewski’s work is expanded upon in the previous day’s DIFFUSION…though to save you clicking I’ll repaste yesterday’s info about his work below the bios.

He has collaborated extensively with musicians and composers – e.g., Marcus Schmickler (performed and recorded Schmickler’s Demos for choir, chamber quintet and electronics), Tristan Clutterbuck, Jules Rawlinson and Lauren Sarah Hayes Recent projects include a collaboration with Florian Hecker and a graphic design company NORM from Zurich, a philosopher Chris Schambaugh (The New School, New York), choreographer and dancer Agnes Cebere (Martha Graham School of Contemporary Dance, New York), the Laboria Cubonics Collective (the authors of Xenofeminist Manifesto).

and
Hanna Olivegren is a singer and composer born in 1987 in Stockholm, Sweden.
She is currently living in Baltimore, (US) freelancing and working permanently with different groups such as; Zomes, îmâ, Liz Downing & Hanna Olivegren, H.O.W and  Silence Blossoms. A new band together with local musician Stephen Strohmeier with the name Midnight Sun will also be recording their first album in late 2019.


Some information about the unique, yet accessable method of Marcin Pietruszewski’s work:

 

The New Pulsar Generator (nuPg) is an interactive program for sound synthesis. The nuPg program produces a form of synthesis called pulsar synthesis (PS). The technique of PS operationalizes the notion of rhythm with it’s multitemporal affordances as a system of interconnected patterns evolving on multiple timescales. The technique generates a complex hybrid of sounds across the perceptual time span between infrasonic pulsations and audio frequencies, giving rise to a broad family of musical structures: singular impulses, sequences, continuous tones, time-varying phrases, and beating textures.

Microsound includes all sounds on the time scale shorter than musical notes, the sound object time scale, and longer than the sample time scale Specifically, this is shorter than one tenth of a second and longer than 10 milliseconds, which includes part of the audio frequency range (20 Hz to 20 kHz) as well as part of the infrasonic frequency range (below 20 Hz, rhythm).[1]

• The nuPg’s underlying sound synthesis model extends the original design by Curtis Roads and Alberto de Campo as described in Microsound and Sound Composition with Pulsars.

• These techniques pioneered by composers Alberto Decampo and Curtis Roads have been updated and made available by Marcin.
• Marcin will talk about the history of these techniques and compositional techniques with this type of synthesis.

• Marcin and his synth are important, interesting and exciting because this program lets other artists use Pulsar Synthesis. Roads had a version online a few years ago that ran on an older OS. Unless you were Roads or De Campo or a very heady programmer this type of Granular synthesis was hard to implement. With NuPG more people have access to this.  I am sure other people have programmed similar Pulsar engines. But no one has made it their artistic focus to do so.


Event location:

The Red Room is a volunteer-run space in Baltimore dedicated to mind-expanding experimental culture, headquartered at Normals Books and Records.