shurely shome pishtake?

1~100 100 Variations for solo hoover (04'38'')

ARTIST NOTE
Written by Stephen Sharp and Roc Jimenez de Cisneros, 2011. Each disk in this edition of one hundred contains a unique 04:38 track.

All tracks are based on the very same four note sequence. Play loud!
CD NOTE Extending the formal and aesthetic aspects of the works that Sharp and Jimenez de Cisneros gather under the term Rave Synthesis, "100 variations for solo hoover" touches upon issues such as part/whole relationships, the notions of symmetry, similarity, boundaries and other pertinent topics (see Appendix ).


Appendix:
(1) Ordinary sortal predicates typically express maximal properties, where a property, F, is maximal, roughly, if large parts of an F are not themselves Fs. A large part of a house-all of the house save a window, say-does not itself count as a house. A large part of a cat-all of it save the tail, say-does not itself count as a cat. Otherwise in the vicinity of every house there would be a multitude of houses; in the vicinity of every cat there would be a multitude of cats. The linguistic conventions governing 'cat' and 'house' do not count large undetached parts of cats and houses as cats and houses; therefore the properties these predicates express are maximal properties. Maximality is a kind of border-sensitivity: whether something counts as a house or cat depends on what is going on around its border.

Sider, Theodore. ''Maximality and Microphysical Supervenience''. In Philosophy and Phenomenological Research 66 (2003): 139-149.

(2) In 1987, Peter van Inwagen asked a good question. (Asking the right question is often the hardest part.) He asked: what do you have to do to some objects to get them to compose something—to bring into existence some further thing made up of those objects? Glue them together or what? Some said that you don't have to do anything. No matter what you do to the objects, they'll always compose something further, no matter how they are arranged.

Sider, Theodore. ''Ontological Realism''. In Metametaphysics, edited by David Chalmers, David Manley, and Ryan Wasserman. Oxford: Oxford University Press (2009): 384-423.

(3) Many philosophers accept what I shall call the Doctrine of Arbitrary Undetached Parts (DAUP). Adherents of this doctrine believe in such objects as the northern half of the Eiffel Tower, the middle two-thirds of the cigar Uncle Henry is smoking, and the thousands (at least) of overlapping perfect duplicates of Michelangelo's David that were hidden inside the block of marble from which (as they see it) Michelangelo liberated the David. Moreover, they do not believe in only some "undetached parts"; they believe, so to speak, in all of them.

Van lnwagen, Peter. "The Doctrine of Arbitrary Undetached Parts". In Pacific Philosophical Quarterly 62 (1981): 123-137.

(4) Suppose (as a proponent of modes would have it) the sphericity of one beetroot were numerically distinct from (that is, not strictly identical with) the sphericity of another. We might explain the beetroots' similarity by noting that they had similar (though numerically distinct) properties. But what is the basis of the similarity exhibited by these properties? Armstrong has an answer: identity; the properties are strictly identical. In giving up strict identity, we give up this elegant explanation. We would, in that case, need to fall back on primitive or brute similarity holding among the properties. (...) A proponent of modes can freely speak of objects 'sharing' properties, or of distinct objects possessing 'the same' property. In these cases, however, 'same' indicates not self-sameness—strict identity-but exact similarity. We speak of two stockbrokers wearing the same tie, meaning only that they are wearing exactly similar ties. Two diners share a taste for anchovies, not in the sense that the diners possess a single gustatory system; rather they have similar culinary preferences. Henry, we say, has the same breakfast every morning: each breakfast is not strictly identical with, but is exactly similar to the others.

Heil, John. From an Ontological Point of View. Oxford: Oxford University Press (2003).
ARTIST BIO Since the late nineties, Roc Jimenez de Cisneros and his collaborators have been producing what they call "computer music for hooligans", inspired by geometry, metaphysics, noise, cosmology and rave culture.
A vortex of generative basslines, air horns and fuzzy arpeggios, their music displays a radical and playful approach to algorithmic composition, with works available on Entr'acte, Mego, Presto!?, Diskono, Scarcelight, fals.ch and their very own ALKU.

In 2003 the group started an ongoing series of electroacoustic pieces entitled Punani, built around the implementation of generative techniques, cosmology and psychedelia in what Kristian Vester defines as Radical Computer Music.

Occasional EVOL members since 1996 have included Stephen Sharp, Ruben Patiño, fMiguel Ferrer, Jakob Draminsky Hojmark, Joe Gilmore, Anna María Ramos, and Andy Davies. The name of the project comes from Sambucus Ebulus (in Catalan, evol), a herbaceous species of elder with a characteristic foetid smell. It is also a fully Lagrangian self-adaptive parallel Fortran95 code by the Padova N-body code for cosmological simulations of galaxy formation and evolution, specifically designed for simulations of cosmological structure formation on cluster, galactic and sub-galactic scales. Reference: www.vivapunani.org


more on EVOL's "computer music for hooligans" at FACT magazine: http://www.factmag.com/2012/04/16/evol-on-rave-synthesis-hoover-abuse-making-computer-music-for-hooligans/