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An other thought for creating lines with the same patch(!).
This music is very fast but it will give you an idea of timbre.
It must be must slower, it is just a test.
All is algorithmic composition:
https://soundcloud.com/roland-kuit/lines

I hope you find this process to composition interesting.

What I'm not going to do it taking things literary :
https://soundcloud.com/roland-kuit/broa ... gie-woogie

from now on your Delta Tau Chi name is.... Mangler!

https://www.youtube.com/watch?v=FMENQeCbxfI about 1:45 into the clip...

You mean "DelTaChtaiu?

dude, that's so granular.

We had a fun afternoon in the Mondriaanhuis with the research:
http://www.rtvutrecht.nl/agenda/6206523/

cool!

This picture was taken while setting up.
It became very crowded and we forgot to take pictures because of all questions etc.
I'm on a cross-road now. Between sentiments and head.
That is good I think....doubt.
This is a 'head'-thing:
http://snd.sc/1hQcU9S

Additive synthesis with Modular IV and Flexor modules.

There may be times when musicians become aware of an unex­pected technological 'offer' that opens their eyes and is perceived as the response to a latent thirst for innovation.
(It has to be said that the composer or instrumentalist must be 'prepared' for such an experience in much the same way as prospective saints must be 'prepared ' to accept mercy.)
Dick Raaijmakers



"inventions for sounds 2":
http://snd.sc/1gekYFX

The painter Piet Mondriaan (1872-1944) who, based from his ideas about so called neo-plasticism, started to build a connection with music on the one hand.
"Et quant au moyen de production du son, il sera préférable d'employer l'électricité, le magnétisme, la mécanique, car ils excluent mieux l'immixtion de l'individuel." This is what Piet Mondriaan said in his essay Le Néo-Plasticism (De Nieuwe Beelding) which was published as a brochure in late 1920 by the L'Effort Moderne in Paris. This essay was dedicated to the 'hommes futurs' — future mankind. In this essay, Mondriaan, based on an analogy with a new plastic art (painting), tries to define a new kind of music the sounds of which should ideally be produced by electric, magnetic, and mechanic (i.e. automatic) devices to avoid undesirable alterations based on individual, subjective and interpretational preference.
Mondriaan advocates a kind of music bereft of any kind of personal feelings, depth, warmth, and empathy and whose sound no longer presents the 'roundness', 'swells', 'reverberation', or other typically instrumental characteristics of a romantic idiom. The sounds should rely on a few basic
tones and not be structured harmonically but rather as unbreakable units. They should be experienced as coups' — pulses. No melody, but quick sequences of primary- tones and so-called non-tones. Mondriaan imagines tone fields that are enclosed by three tones: a 'red' one, a 'yellow' one, and a 'blue' one. Based on a concept of confrontation, these fields are counterbalanced by non-tonal fields whose corners are based on a-chromatic, atonal, noises, 'black', 'grey', and 'white'. These six tones have an immediate attack and no release. Together, they constitute compositions of contrasting 'coups' (hits) whose rhythm is open and free. Mondriaan believes chat these tones or sounds need to be generated by electric devices or newly developed musical instruments; it is of prime importance, however, that they be 'fixed' unequivocally in a yet unknown way. In his text about Neo-Plasticism, he therefore talks about soulless things, such as 'l'électricité and "magnetisme' of which he later(in late 1921) said that they were ideally suited for generating tones whose 'wavelength and oscillation' remain constant for their entire duration. He also demands that those new musical instruments, whether or not they are fitted with 'électricité' and 'magnétisme', be capable of instantly switching off a tone, without 'reverberating noises' or the like. These are precisely the criteria that can be met a lot better by electric sounds than instrumental sounds. Electric tones indeed have no body, they do not linger on, and they go off in the same way as when you switch off a light bulb. They never lire and are by definition tight and stationary.(Dick Raaijmakers)

Neo Plastiek Test I:
http://snd.sc/1gf2wx3

Coming closer to the sound concept.
https://soundcloud.com/roland-kuit/neo- ... i-for-piet

I little while back we had a discussion about Mondrian and rhythm.
I had planned rhythm, but not real beats.
More a kind of little electricity shortcuts/explosions.

Roland Kuit-Tone/Noise burst algorithms:
https://soundcloud.com/roland-kuit/grey ... hms-for-pm

Getting closer in the process of abstraction.
The hardest thing to kill was my 'sentiments'.
The way I feel about music.
Cutting lose aesthetics from these feelings.

Here a little Demo:
https://soundcloud.com/roland-kuit/music-for-mondrian-i

I hope you liked the journey making this music.
It is always difficult getting out of the comfort zone.
Next week the concert.

Visuals: Karin Schomaker
Preview of a performance with Roland Kuit, composer and sound designer with 'Monads and Beyond'.
15 November 2013 Mondriaanhuis Amersfoort - 19.00-21.00 O'Clock
Reservation: info@mondriaanhuis.nl

https://soundcloud.com/roland-kuit/musi ... ondrian-ii

The concert went perfect.
In January the DVD will be there.
The only thing I have is a little cell phone fragment of Part 4 out of the audience:
https://www.youtube.com/watch?v=0LOT1wHRo-M

Facinating - extremely nice amplification of the music, or was it the images that got amplified

A little bit of both

Here is a video where the Scope and Modular IV software stood model:
http://youtu.be/D2nZXuNcPKg

'Ah, that's fantástic!' Obama said when he saw the painting and walked to it.
Victory Boogy Woogy, Mondriaan's last one, made in New York and expressing the dynamics of the city, but bought by the Dutch state in the nineties.

He just finished his latest press moment in the municipal museum after the NSS top in The Hague, where currently a Mondriaan exhibition runs.

America's first black president loving a painting called Victory Boogy Woogy, that's what modernist Mondriaan definitely would've liked, don't you think?

Wish there was a picture without those local suits...

I like an USA president inspecting ART instead of nukes.
And yes, we are waiting for the invitation to bring our "Monads and Beyond" concert to the white House
I have contact with this museum about this performance there.
Actually, I have played in the Haags Gemeente Museum before!

Some picture of my painting studio: