Stereo tape composition
Insomnia is composed by combining metal and synthetic sounds with acoustic instruments. To highlight resonant characteristics, they have all been processed using a spectral delay, pitch shifting, and stretch techniques. Low-frequency components consist of string and wind instruments stretched at the time. The resonant metal sounds are differently transposed and stretched to fill different parts of the frequency spectrum. The upper-frequency range is shaped by short metal strokes, cracking synthesized sounds and pitch-shifted string instruments. All aforementioned components are reversed in order to eliminate a sharp attack time. In this way, a gradual sound onset is forced, which more effectively integrates the resonances into other sounds.
Stereo tape composition
The most prominent sound characteristic of the composition Kosmos is a slow, continuous change of the pitch used for sinusoidal, and a group of more complex sounds. The pitch of each of the sounds is developed by using independent parameters. All sounds are delayed and returned to the input of the system creating feedback. Compositional parts are differentiated by the relationship of pitch developments, differences in the delay time, and the ratios of direct and feedback signals. The distortion of sounds, white noise, and low-frequency components fill the frequency spectrum, contributing a sound tension.
Stereo tape composition
The development of the composition Speculum was started by recording a half-minute long sound preset from the Keyboard Workstation Phantom G7. This sound can be described as a combination of a female voice and sound synthesis. After the recording, the footage is multiplied and variously transposed.
The composition consists of three main parts, which can be distinguished mostly related to a pitch of the multiple tracks (type of chord), continuous pitch development, number of the multiplied tracks (density of chords) and relative positions of the multiple tracks.
Oblik svetlosti (2014)
Audiovisual installation for Dodecahedron
Dodecahedron is a project of the Institute of Computer Music and Sound Technology at the Zurich University of the Arts. The installation „Dodecahedron“ uses the physical structure of a platonic solid to constitute the environment for an immersive audiovisual installation. This installation serves as a platform to present several generative artworks and compositions. Oblik svetlosti is a generative audiovisual composition for Dodecahedron. The audio structure consists of several sound modules randomly activated after a certain amount of time. The parameters of the modules are randomly changed within a predefined range with each successive module activation. The sound is based on the FM synthesis. The changes in the sound generate changes in a visual content. The main characteristic of the video content is a transformation of stable geometric shapes into unstable shapes that get a roll of the light rather than geometric form, hence the name of the composition: Oblik svetlosti (Shape of light).
The audio structure consists of several sound modules randomly activated after a certain amount of time. The parameters of the modules are randomly changed within a predefined range with each successive module activation. The sound is based on the FM synthesis. The changes in the sound generate changes in a visual content. The main characteristic of the video content is a transformation of stable geometric shapes into unstable shapes that get a roll of the light rather than geometric form, hence the name of the composition: Oblik svetlosti (Shape of light).
2 channel tape composition
Gomila is a narrative piece that, in an abstract way, describes biblical events and the development of humanity. Consequently, the sounds not only have an aesthetic value, but also a symbolic meaning used in the process of composing. The composition combines sounds of metal, water, and human voices. They are arranged in a large number of samplers controlled simultaneously by a MIDI controller. The sounds are intuitively selected and reproduced as individual tones of different pitches, as well as chords of different ratio and density. In the first part of the composition, the metal sounds are differently transposed and organized without confrontation with other sounds. The gestures established in this part are combined with the sounds of water and human voices in each subsequent part of the composition.
8 channel generative composition
Cirkulus is an eight channel generative composition. The main structure of the composition consists of six modules (sound sources). All of the modules contain sine or white noise generators. The sound material is created by using additive and subtractive synthesis. The modules are activated randomly with values of parameters randomly changed in a predetermined range. Every two minutes a new configuration of the modules and parameters is generated. This process is repeated infinitely. The main objective of Circulus is to explore how basic sound generators and simple algorithms can be used to create dynamic forms and fluctuations in sound, as well as rhythmical pattern and sequences.
Etar is inspired by theories about an eternal infinity and all-encompassing Ether in which matter is formed, matter lives, and matter returns. This cyclic process is described by using eight channel audio and video projection. The sound, a result of the sound synthesis, has a continuous form divided into three main parts. The first and last parts of Etar are created by combining impulses: the impulse length, the distance between the impulses and frequency spectrum of the impulses differentiated these parts, as well as subdivisions therein. The central part is characterized by fluctuations of distorted low-frequency sounds and white noise.
The video projection is a combination of simple geometric objects, lighting effects, and shadows. This content is projected onto the entire surface of the wall across the public. The aim is to occupy the entire visual area of the public, in order to integrate audiovisual projection in the space, and to emphasize the role of the lighting effects.
8 channel tape composition
In Kaldrma, elements in different time scales from micro to macro dimensions are combined. Recorded metal and wood sounds are processed by using granular synthesis, convolution, stretching and pitch-shifting. The continuous structure of the composition evolves from simple to complex, as multiple textures are periodically juxtaposed by impulses. The textures are distinguished related to the type and density of the material. The role of the impulses is to interrupt a texture development by introducing new textures or to break the uniform development of textures without interrupting a current flow. Kaldrma is inspired by the work of Argentinian composer Horacio Vaggione.
Audiovisual interactive installation
Spiegelung is an audiovisual interactive installation created as a part of the ZHdK interdisciplinary project, In Nachbarschaft. The sound used for the installation was created by combining two pieces: Eight-channel tape composition Ganz Ohr by Ursula König Meyer and generative eight-channel composition Circulus by Bojan Milosevic. The sound is non-interactive part of the installation whereby the video and sound are connected aesthetically rather than technically.
The main technical part of the installation consists of four cameras, four projectors, and four computers. The cameras capture an installation space from all directions. The recorded signals are processed by real-time video recursive processes and then reproduced on the walls. Due to the feedback caused by kinetic movement, the audience’s silhouettes are transformed into abstract, visual forms. The true potential of generative processes is activated by the presence of the audience, but they are also active in an empty installation space.
Audiovisual interactive installation for Immersive Lab
Rezonancija is an audiovisual interactive installation created for the ICST project, Immersive Lab. The Immersive Lab is an artistic work that integrates panoramic video and surround audio with a full touch interaction. For the purpose of the composition Rezonancija, the touch surface is divided into four sections used for the receiving touch information, as well as for the audiovisual projection. All sections use a same system of haptic interaction, but they have different audiovisual characteristics. The audiovisual effects are based on a high-frequency repetition of content. The sounds are repeated by using audio feedback systems, while the video content is repeated by using fast object moves between defined positions. The visitors get a live audiovisual response by touching the screens. They change parameters of feedback systems and position of video objects by changing touch coordinates. There are three different parts characterized by different types of audiovisual objects, which are changed after a certain amount of time. All visitors create individual audiovisual effects whereupon created sounds pass summarized through a special recursive resonant system and being reproduced like a unified whole. In this way, the visitors create a resonance that is a sum of their individual actions.
Generative composition for live performance
Roj is composed by using research results of the ICST project FAUN (Feedback Audio Network). For the purpose of the experimental research, a Max patch Pauk was designed. The roll of Pauk is a creation and control of time-delayed feedback audio networks. Roj is a live electronic piece that consists of 34 different parameter configurations of the feedback audio network created in Pauk patch. Each configuration produces sound fluctuations, self-organized over time.
The form of the composition is completely open. The configurations are stored as presets. The role of the performer is to play their own combination of the presets and to make transitions between them, as well as to create a dynamic movement of sound material with or without disturbing the continuous development of the sound. During the performance, certain changes of parameters or small network reconfigurations are permitted in order to make the sound more active, or to enable easier transition between the presets.
Roj II (2016)
Tape composition for 6 speakers with moving heads
Roj 2 is a composition created for the ICST project FAUN. During the process of composing, the repetitive impulses were treated as „atoms“ for creating longer continuous sound forms. The idea comes from the fact that a very fast impulse repetition is perceived as a continuous sound of a certain frequency.
A large database of sounds was created by modulating the speed of impulse repetition, and using different modulation ranges. The sounds of similar characteristics are arranged in twelve parts of the composition. The piece is intended to be performed in an installation space by six speakers with moving heads. Тhe polyphonic properties of the composition are best exposed by moving the audience through the installation space, while they freely direct the speakers.
Stereo tape composition
At the beginning of the compositional process, a complex sound form is generated using a sinus oscillator and frequency modulation. Sudden interruptions of the sound flow, like shifting to other sections of the piece, deform original temporal development. This short study explores the aesthetical implications of such a technique.
Techniques such as reverse development or time shifting are often used in films. A film can begin with the ending and end with the beginning. This can enhance our attention and improve our understanding of certain events or characters in a film. In Procep, an intention was to explore the impact of this technique on the sound.
Procep is released on CD under the label Domizil4. The CD is a collection of contributions by the Institute’s research associates and the head of the institute, as well as by students or artists who have completed a residency at the ICST.
Spatial Saturation (2013)
Stereo tape composition
The composition Spatial Saturation consists of seven types of guitar distortions applied to twelve variations of a sound generated by the FM synthesis. These twelve parts are gradually overlapped, thus creating different, continuous sound forms. The first part of the composition is differentiated by the frequency spectrum of the distortions, as well as by specific motives and gestures that tend to be greatly reduced or eliminated toward the end of the composition.