logging in: i_phaser; diary log: 05;
The successor to Genesis is my first musical album, a celebration of having found my sound and voice, titled foreveronline*. I think albums create themselves. While producing there was never a moment where I was making them with a full “set” in mind. My approach has always been to produce, produce, produce, and let things be. Later, when I have something to say or find a new way to do it, I revisit and add something new.
One day, I brought everything together, and something clicked. I think I realized it was time to compile and shape my sound. Far from the conceptuality in nature or introspection of Genesis, this album is purely and exclusively sonically me.
logging in: i_phaser; diary log: 15;
Initializing session...
Spent the night refining track four. The mix is almost right, but the synths still need tweaking. The new mask fits better each time I wear it. Need to fine-tune the structure and add some layers to the percussion. Debugging the minor details now.
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logging in: i_phaser; diary log: 012;
Running experimental module...
this all started when I got curious about blending image and sound. I began playing around with TouchDesigner and MaxMSP, figuring out different ways to manipulate visuals in real-time using audio input.
I set up my camera in the living room and shot some clips of moving around tot he song. It isn’t TECHNICALLY perfect, but it’s the first step toward figuring it all out.
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Track six is almost ready. :) Added new effects and vocal layering to keep the energy up. Bassline still needs compression. This is coming together, but there’s always another thing to refine. Working on the final touches now before moving on to the mastering phase. It’s all about balance.
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logging in: i_phaser; diary log: 28;
System maintenance...
Long session today, working on track five. I keep circling back to small details. Fixed some glitches in the bridge, added a few more elements to the breakdown. Feels like the sound is settling in. Going to take a long break and then get back to it.
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I stopped writing for a long time, but today feels different! After three loooong years of experimenting, producing, scrapping, endlessly restarting, it finally clicked. And I feel more real than ever. It’s been a long time coming, but it’s no longer just an idea. I spent the last week organizing tracks and visual ideas (god bless Notion)—it’s all starting to take form. The first single is ready. This is the moment where everything goes from theory to execution. Storyboarding “I Speak Data”’s videoclip. ٩(˘◡˘)۶
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Quando um músico compõe uma música num piano, faz-lo interagindo com o seu instrumento fisicamente, uma ponte entre a sua intenção e a projeção criativa e mental, entre o que quer e o que imagina ouvir e fazer soar. Vários fatores contribuem para esta interação, e uma delas é a “fisicalidade” do momento, os dedos do pianista a tocarem nas teclas, a posição que o braço do teclista ocupa no espaço, a força ou velocidade com que toca nas teclas, a velocidade com que respira, a forma como está sentado.
“We are that strange species that constructs artifacts intended to counter the natural flow of forgetting.” — William Gibson
Estudos provam que a nossa mente possui um mapa mental do espaço ao nosso alcance: certas células cerebrais ativam-se apenas quando algo entra neste raio de alcance. Além disso, existem mapas neurais do espaço ocupado pelo corpo e do espaço além do nosso alcance.
Este esquema corporal não é fixo – ao longo do tempo pode ser expandido, através da experiência. Macacos treinados a usar ancinhos para alcançar comida fora do seu alcance demonstraram alterações nos padrões de disparo dos neurónios que controlam a mão e o braço, bem como o espaço que dois rodeia, para incluir o ancinho e a distancia que o mesmo alcança. Basicamente, a representação neural do alcance do macaco é alterada (e de certa forma expandida) pelo uso da ferramenta.
Muitos de nós passamos horas diariamente a usar o rato e o ecrã, ou o telemóvel. Será que já desenvolvemos uma nova perceção corporal na realidade digital que são as interfaces computacionais?