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When_Marcel_Duchamp_Hears_The_Electronic_Shur, Version II.wmvWhen Marcel Duchamp Hears The Electronic Shur, Version II
When Marcel Duchamp Hears The Electronic Shur, Version II
It is an algorithmic composition using Pure Data and inspired by Iranian traditional music. Its material includes selections of human voice used in the introductions of some Iranian traditional music albums. Yet, the work is clearly a composition without any relation to Iran, creating an intentional tension between the cultural origin of the material and its new musical context.
This tension reflects my postmodern approach to musical identity and cultural materials: an existing sound does not retain a single fixed meaning when placed within a new compositional system. The work transforms a recognizable cultural trace through an algorithmic and electronic process, allowing its identity to be reinterpreted. In relation to Clearnessism, the important point is the relationship between the selected material and the process through which it is reorganized, while its algorithmic realization also connects the work to my exploration of technology as a compositional environment.
Music of the Parallel Universe
Music of the Parallel Universe
Composed on June 8, 2022, it is conceived as a sonic message or whisper from a parallel universe. Its duration of 4'33" and its very low dynamic level establish a deliberate reference to John Cage while simultaneously creating a different conceptual situation. The work is based on an artificial frequency that I describe as a retrograde frequency, produced through the manipulation of the harmonic series in Pure Data by replacing multiplication with division.
Music of the Parallel Universe demonstrates my tendency to treat an established musical concept as material for transformation rather than accepting it as a fixed rule. The harmonic series becomes a field for computational experimentation, producing a new relationship between frequency, perception, and musical identity. This process also relates to Clearnessism, since the conceptual identity of the work emerges from the particular operation applied to its material, while its controlled digital transformation connects it to my broader interest in algorithmic processes and controlled possibility.
The Sun, Inverted
The Sun, Inverted
Composed on January 9, 2023, it is a postmodern electroacoustic work combining string orchestra with sonic effects generated through Pure Data. The work is conceived as a sonic representation of an inverted sun, using the interaction between acoustic instrumental sound and electronically produced material to create a transformation of an otherwise familiar phenomenon.
The work reflects my understanding of composition as an exploration of relationships between different kinds of musical material. Here, the acoustic orchestra and electronic sound are not merely combined as two separate layers; their coexistence creates a new sonic environment. This approach corresponds with my broader interest in analog and digital material conditions, as well as with Clearnessism’s concern with making the relationships among materials and their transformation perceptible.
Lineation_of_the_Aeon_Road.wmvLineation of the Aeon Road
Lineation of the Aeon Road
It is an algorithmic composition created using Pure Data, in which noise serves as the basic musical material. Through filtering processes, the noise is transformed into organized sonic material and becomes the foundation of the composition. The work therefore begins outside conventional categories of musical sound and explores how a process of transformation can give an initially undifferentiated material a musical identity.
In Lineation of the Aeon Road, musical parameters such as dynamics and rhythm can be precisely determined by the composer while random events are permitted within the system. This corresponds directly to the concept of Controlled Random Event. It also resonates with Clearnessism, because the identity of the work is closely connected to the process through which its materiala are selected, transformed, and organized.
It is an algorithmic composition for computer that reworks material from Liszt’s Piano Concerto No. 2 through a Pure Data patch. Rather than treating the existing composition as a fixed musical object, the patch decomposes a recorded performance into multiple layers and controls their temporal playback, combination, and spatial distribution. The resulting music therefore emerges from an interaction between pre-existing material and a newly designed computational process. This approach is consistent with my broader understanding of composition as the deliberate organization of musical materials and the processes through which they become sound.
The title itself contains an intentional conceptual gesture: “Me” comes before “Liszt.” This reversal is deliberate and can be understood as a statement about compositional identity and the priority of my own thinking over the historical material being used. Liszt’s music is the source material, but the work is ultimately shaped by my intervention, selection, and method of transformation. In this sense, the piece can also be related to Clearnessism, since the relationship between source material, computational procedure, and resulting sound is made perceptible rather than concealed. It further anticipates Controlled Random Event, where a defined system establishes the conditions within which different sonic results can emerge. The historical material thus becomes a field for a new compositional identity rather than simply an object of quotation or imitation.
X for Finale 2005.wmvX for Finale 2005
X for Finale 2005
It reflects a period in which Finale 2005 was one of my preferred software environments for composition. The work explores the expanded possibilities that emerge when composition is written directly for software rather than being conceived exclusively through the limitations of conventional instruments and performers. In this environment, parameters such as register, dynamics, rhythm, and instrumentation can be treated without the practical restrictions normally imposed by an acoustic ensemble.
The work therefore relates closely to my concept of Performance Possibilities, in which the conditions of realization can become productive elements of composition. Software is not simply replacing performers; it creates a different compositional environment with its own possibilities and limitations. This perspective connects with Clearnessism through the emphasis on making the compositional organization of these possibilities perceptible.
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