I really like that Gburek piece. It has an underlying tension that is pretty intense. Lot's of changes that keep you guessing. It's a pretty varied piece... with the mixed sources of sounds as well as the textures and different directions.

Another great piece from Mr. Gburek. This thing runs the spectrum from cracklings, crunchy blasts, near-silences. Not sure yet if the sources were his signature guitar-doings or what.
Yes, i agree, play in the open air. loud.

Splendid work, Jeff. I hope the other Baganauts are busy downloading this instead of sniping at each other.
Also love the old BBC Testcard image (Derek?) - I grew up looking at that!

Desperté pronto por la magnana y escuché tu pieza. Mis primeras imagenes sonoras del día. Fantástica. Me gusta tu forma de ordenar las intensidades y crear así un ritmo atmosférico. LA pieza te invita a recorrerla de nuevo. Gracias.

thanks to those who have listened and posted comments and other who have contacted me directly. muchas gracias, diego, wir sprechen bis mittoch abend! just as a note, my recording of electromagnetic fields in berlin's alexanderplatz appearing in "momentum & mass" is posted in unadulterated form at derek holzer and sarah kolster's project SoundTransit where field recordings of various kinds from around the world are deposited and available for all to listen to and use.
http://www.soundtransit.nl/
http://www.thewire.co.uk/current/cross.php
i highly reccomend the sight as a listening experience and a watermark in extra-linguistic international communications. check it out.

bravo Jeff ! encore une très chouette pièce
(que j'écouterai au plus vite sur un meilleur système d'écoute que les enceintes d'ordinateur !). merci !
Nicolas.

thanks for the listen jeff. this is the first piece i've heard of yours; do you often work with field recordings?

that SoundTransit site looks awesome!

thanks for all your comments. dear unwrinkled, i do often use field recordigs in my solo work and with djalma primordial science (www.djalma.com) but considerably less (almost never) when i play live with other musicians. for excerpts of earlier solo work go to
http://www.futurevessel.com/orphansound/
i will be posting new pieces there from time to time. and i encourage visits to SoundTransit where i will occasionally put raw recordings and you have thousands more to investigate.--jg

damn fine work, jeff. great focus & range in dynamic and texture, weighty with sustained intensity -- i wonder how much my ugly american monolinguism inhibits full appreciation of context...

Hello Kyle, nice to see you here. Did the Lozenge disc finally come out? Don't worry too much about not understanding the French, you didn't miss much:)

Kyle,
Perhaps it is useful to point out a few things. 1) The radio broadcast was recorded in the cantina at Les Voutes in Paris. We had just arrived there to perform the Artaud piece during a lull in two weeks of nightly riots in Parisian suburbs. The statement was at the end of an interview wherein whoever it is attempts to “explain” the riots and what is being done about them. For me it's just an marker, to remember, that place. But the tension was palpable in the train stations we passed through, military cops with fingers on the triggers etc. 2) The demo heard in the final section of the piece took place a week later in Barcelona and its themes were the rights of African immigrants in Europe. 3) At the end, a schoolyard of children in Paris.
Thanks for listening! -jg

"But the tension was palpable in the train stations we passed through, military cops with fingers on the triggers etc. "
That's quite normal, and was so even before the riots. It's standard post 9/11 (actually post 1995) procedure to have one gendarme accompanied by two soldiers patrolling public places.
Funny, you make Paris sound like a war zone Jeff! It isn't. I had so many emails from people across the pond last October, like "is it safe to come to France?" Gimme a break! Did I call you guys up and ask if I should visit Yosemite when a buncha dudes were trashing South Central LA?

thanks for your comment, dan.

here is an article for those who would like some information on the riots in question.

http://www.arabnews.com/?page=7§ion=0&article=72857&d=8&m=11&y=2005

there are many more opinions out there but i recommend this link, for starters

http://www.indymedia.org/en/index.shtml

Good links, both. Remember though that France's primary money earner is tourism, and if there's anything neighbouring countries can do to get a piece of the action by persuading would-be tourists (especially from the US and Japan, ie with purchasing power) to change their holiday destination, they'll do it. That means encouraging the media to exaggerate the danger. The British press had a field day. I don't dispute the fact for a moment that there is a real problem in the French suburbs, but you ought to remember that the vast majority of people who were arrested were kids under the age of 14, who obviously thought it'd be more fun to throw real petrol bombs at real policemen than sit at home and play with their Playstations.

http://en.wikipedia.org/wiki/2005_Paris_suburb_riots

thanks jeff for the music links. also, what is the artaud piece you mentioned?
and i've heard rumors that artaud's audio archive are at the university of southern california - does anyone know if this is true? (i've put out email feelers and phone calls to strangers there, but so far not the right ones)

dear unwrinkled,

i and ephia have a project called Djalma Primordial Science. if you go to www.djalma.com and click on the "factum" section you can scroll down to a description of the Artaud piece. Ci Git, Six Pregnancies for Antonin Artaud. i have no idea where the originals recordings are located and i find it is difficult, even with many friends in France, to find information about these materials. i do know that i saw a 6 cd set of allegedly everything he recorded at Jean and Mirielle's in Rodez. i have seen various versions (cassette and cd) of Pour en finir avec le jugement. Stephan Barber said in a footnote that he has an "uncut version" of this (?!?). i have been trying to find out who owns the rights or who i should write to in order to clear it with them for a cd release in which i have used Artaud's voice as the UR matter for compositions. please tell me if you know, anyone.
i am here in berlin. --jeff

nice piece! the combo of text, images and initial voice provided a fertile sense of imaginal place as I went in. I felt like a particulate traveling with fellow photons on an odyssey towards chemical stability. Oscillations between primordial oneness and nano fragmentation provide very interesting contrast. The carefully selected and spatialized frequency combinations vibrated my vestigal head membranes with the color and shape of a scalpel.

thanks biagio. just fyi, the image was chosen by someone at bagatellen and it is a nice instance of spontaneous collaboration, since i had no graphics to contribute to the presentation. it's a great looking page

wonderful piece. I found it both frightening and beautiful. great work jeff.

thanks joseph. quite a statement, cosidering you have made some pretty frightening pieces yourself. please post acces to the sidanik site when it is running. for anyone else interested to hear mass & momentum, mattin has posted it for us all here:
http://www.mattin.org/desetxea.html
peace, j.ff gb...k

"kids under the age of 14, who obviously thought it'd be more fun to throw real petrol bombs at real policemen than sit at home and play with their Playstations." --DW

"Traditional notions of realism are parsed in a similar fashion, revealing their unique relevance to gaming. Looking outside the verisimilitudes offered by ever-increasing polygon counts, Galloway considers gaming "a third moment of realism," after those based in image and narrative. Since the gamer is required to act, not simply look or read, Galloway sees the realism of a game as inextricably bound to the social context in which it is played. "Any game that depicts the real world must grapple with this question of action," he maintains, positing that America's Army, despite its high-end design, is actually not realist insofar as it's disconnected from the lived realities of the vast majority who play it. Games like Under Ash, however, by setting their conflicts within the Israeli occupation, are occasions for genuine realism, at least by the Palestinians who play them, if not others."
--Thomas Beard writing on Galloway's "Gaming: Essays in Algorithmic Culture"
http://www2.evergreen.edu/newmedia/aggregator/sources/3?from=200