Persistent Disequilibrium, by Øyvind Brandtsegg

Persistent Disequilibrium

by Øyvind Brandtsegg

supported by

JpMsSs ⚡⚡it deserves a reel to reel tape release ⚡⚡
boa escolha Miguel. mais uma boa edição @cronica 🎧

$_-*`°\.✓`∆ thumbnail$

	/

Streaming + Download

Includes high-quality download in MP3, FLAC and more. Paying supporters also get unlimited streaming via the free Bandcamp app.

Purchasable with gift card

name your price
Full Digital Discography

210

releases

Get all 210 Crónica releases available on Bandcamp and save 50%.

Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Textuur 2 [ |||| - - - - ], Transformation Sonor, Textuur 3 [Register], Installations: (Re)Verso/Flexo, A Divine Comedy, 20 Years × 180 Minutes, Installations: octo _ _ _ _, Luci Fisse + Luci Erranti, and 202 more. , and , .

Purchasable with gift card

€252.50 EUR or more (50% OFF)

	1.	Anything can Come Out of a Black Hole 07:46
	2.	Racing Objection 06:14
	3.	Counter Cathectic 02:31
	4.	Inverted Coma 04:30
	5.	Neuronal Recirculation 02:30
	6.	Persistent Disequilibrium 07:17
	7.	Moebius Guessthetics 11:42

about

Persistent Disequilibrium is based on a set of new musical instruments where finger mounted piezo pickups are used with transducers on vibrating plate-like objects to explore resonances by touch. This creates a feedback loop where sonic vibrations pass through the material to be investigated and are not transmitted through the air. The direct contact let us come very close to the vibrating objects, and the low frequency rumble inherent in the objects is teased out and amplified in the feedback loop, creating haunting resonances and deep vibrating spaces. Various vibrating materials have been explored, such as metals, plastics, wood, ceramics, concrete, glass, bioplastics, even human bones in a living body. Closed loops of the audio feedback circuit resonate by amplifying background noise, singing on frequencies determined by the vibrational modes of the objects the sound is passing through. Contact microphones are attached to bones in the performer’s hand, enabling an embodied and direct interaction with the feedback loop. Including the body parts of the performer in the feedback circuit creates a new method of embodied sound production and allows an intimate performative control over the expressive nuances of the performative environment instigated by closely spaced vibrational modes of the instrument. The performer’s finger acts as a filter in the feedback circuit, and variations in performative gestures (pressure, angle, touching with the nail or the flesh) can thus selectively bring out different potential resonances of the object.

A feedback network is a chaotic system with resonances as attractors. The high sensitivity to initial conditions makes it very responsive in performance. Brandtsegg has worked on various kinds of maps of the pitch space of these instruments, uncovering the resonant topography of the vibrating objects. Even though such maps will rarely indicate anything absolute about the space, they will often give relational cues for the performer, aiding in the “where do we go from here?” conundrum of unstable situations. For the basic feedback mechanism, very simple audio processing was used with just compression and equalization and no adaptive filters. On some of the tracks, this was extended with live convolution and ring modulation techniques, blending the performer’s voice into the feedback loop and thus creating further diversions of textural resonances.

Øyvind Brandtsegg is a composer and performer working in the fields of computer improvisation and sound installations. He has a deep interest in developing new audio processing methods for artistic purposes, and he has contributed novel extensions to both granular synthesis and convolution techniques. Brandtsegg has participated on more than 25 music albums in a variety of genres. Since 2010 he is a professor of music technology at NTNU, Trondheim, Norway.

credits

released April 12, 2022

Performed and composed by Øyvind Brandtsegg.
Recorded at NTNU Music Tech, Fjordgata, Trondheim by Øyvind Brandtsegg.
Mixed by Øyvind Brandtsegg.
External ear: Maja S.K. Ratkje.
Mastered by Miguel Carvalhais at Crónica.
Cover photo by Jeremy Welsh, taken at an exhibition developed at Surnadal Billag by the group Pixels.Frames.Beats.Drones (Jeremy Welsh, Apichaya Wanthiang, Øyvind Brandtsegg, Tijs Ham, Trond Lossius).
Supported by NTNU.

license

about

Crónica Oporto, Portugal

Crónica is a label based in Porto, Portugal.

cronicaelectronica.org

live events

Textuur 2 [ |||| - - - - ] Listening Party

contact / help

Contact Crónica

Streaming and
Download help

Shipping and returns

Redeem code

Report this album or account

If you like Persistent Disequilibrium, you may also like:

Everywhere, an empty bliss
by The Caretaker

supported by 9 fans who also own “Persistent Disequilibrium”

Because it is a creative way to make music and I love the Creator f5soses
go to album
Imperial Distortion
by Kevin Drumm

supported by 8 fans who also own “Persistent Disequilibrium”

beautiful sound landscape. beautiful textures. Daniel S
go to album
Objects I've Been Given
by Taylor Deupree

supported by 8 fans who also own “Persistent Disequilibrium”

Intriguing concept. Something to look forward to, another 8x. øko
go to album
Me and the Glassbirds
by Heejin Jang

The Doom Trip label never misses, and the latest LP from the genius Heejin Jang is a trip into thrilling industrial terror. Bandcamp New & Notable Jan 30, 2023
go to album
Raid on the White Tiger Regiment
by Sunik Kim

Sunik Kim pulls beauty and meaning out of dense yet accessible knots of textural noise and wordless chaos. Bandcamp New & Notable Oct 20, 2022
go to album
Organe Solaire
by Amselysen

Amselysen pulls at the edges of pop and club music, taffy-like, to create these sugary, warped, fascinating experimental confections. Bandcamp New & Notable Nov 8, 2022
go to album
The traces of a mistake, the most simple one possible the reactions of even younger children
by Rohan Drape · Anthony Pateras

supported by 8 fans who also own “Persistent Disequilibrium”
go to album