Ukronia Sé
The CLEAT Series is back for their November edition of spatial audio on the CLEAT 16 channel speaker system. This month has Hunter Brown and Ukronia Sé (Will Sōderberg).
Ukronia Sé will be performing Ukronia Séance. This installation functions as an extension of works attempting to re-imagine an unfinished Maryanne Amacher string quartet commission. Consulting reference materials and notes from Amacher’s archives as initial prompts, a series of multitrack recordings was created during work with a string quartet comprised of Sam Bradshaw, bass; Hannah Bureau, violin; Jessica Lipon, viola; Kimberly Sutton, cello; with electronic processing of the performances by Will Sōderberg. The work builds layers of string and electronic sound recordings, which were later played back, invoking the group to interact again with the previously recorded sounds.
Hunter Brown will be presenting a piece titled ‘Stoppages Vol. 1’. This is a collection of unedited recordings synthesized by an algorithm that produces streams of numbers that can approach or reach infinity via divide by zero errors. Due to the physical limitations of modern silicon microprocessors, computers cannot produce values of infinite size. With 32-bit processors (the most common as of now), the largest value a CPU can produce is 232. When this maximum value is approached, met, or surpassed, the computer (being the 100% deterministic machine that it is), doesn’t know what to output. It has reached a state of not-knowing and abruptly reaches a stoppage. What you’re hearing is indeterminacy emanating from the CPU’s physical inability to reproduce this audio data, not computer generated pseudo-randomness. This is similar to a record player’s inability to accurately play back a groove in a vinyl record that is impeded by static or dust; to a tape deck’s inability to accurately play back a cassette with mangled magnetic particles; to a CD player’s inability to accurately play back a scratched disc. The failures of vinyl, tape, and CD expose the physical materials that contain the sonic objects we are intended to hear by replacing them with auditory defects and malfunctions. In the case of this music, fractures and discontinuities in the digital medium are amplified and brought to the ear’s forefront. The algorithms executed in this music expose the material collapse of a silicon microprocessor pushed to its limit.
$15 - Tickets Available at the Door