Laconicism is a collection of procedural and interactive sound compositions.
The pieces are not finalized onto a static medium.
Instead, the collection is distributed as a computer software so that the works can be experienced in their intended multidimensional forms.
Mac OS X: Download from here. Tested on Leopard and Snow Leopard. Should also work on Tiger (and on older PPC machines, though not tested).
Other platforms: Download SuperCollider source files from here. Unfortunately, Laconicism isn’t available as a standalone application for other platforms. See the ReadMe file inside the source archive for instructions on how to install and run. Some of the pieces do not work as intended on Windows yet, hopefully these will be fixed as SuperCollider matures further on the Windows platform.
It looks and feels like:
This collection of sound entities are presented to you with a simple idea in mind: “Organized Sound”, once realized by its creator for distribution, does not necessarily have to be locked to definite micro or macro event sequences in time domain. This apparent rigidity of distributed sound is in fact, a “transmission loss” between the composer and listener; and is primarily caused by the limitations of our soon to be obsolete old and static sound distribution mediums.
The works presented in this software are compositions and/or designs of “sound processes”, which provide a recipe for computers to generate sounds utilizing various sound synthesis techniques on the fly. These are not designs of “exactness and perfection”, instead, I merely define limits for a sound-event space.
The listener is not only free to experience the process compositions presented by the composer, but can also participate. Each piece has different number of controls (embedded into the synthesis graphs in a “circuit-bending” fashion), whose functions are not really obvious until you start to play with them. The listener is free to observe other dimensions of the event space by altering the values of these controls, relying on listening and intuition (a feedback loop). The aforementioned transformation loss disappears, and another form of communication emerges between the composer, listener and the piece.
© Batuhan Bozkurt – 2009 This work (music) is distributed under CC BY-NC-SA 3 license: