Simultan: Cybernetic Project for 1-5 rooms (1972)
2. Sources Ergodiques, Part 1 (27:48)
3. Sources Ergodiques, Part 2 (44:05)
4. Logatome (1:00:34)
5. Matrix (1:29:44)
6. Invarianten (1:51:31)
computer music --
quite on the contrary a music between
The acoustic signals produced by a number of x sound sources, which were unforeseeable in their chronological sequence, have been referred to an information-esthetical reality, not to a numeral reality, by means of preliminarily given or self-stabilizing adjustable res. control circles and multiply reproduced micro-esthetic single operation.
aleatorical music --
quite on the contrary a music crystallizing out of the diffuse coincidence of processes running from parallel towards each other.
towards h e a r i n g :
... - hearing
listening into it
are existing the most various hybrids of the auditive behaviour which are obligatory for the perception of this music.
Cybernetic music is decisively determined by process planning, at regulating and control processes according to certain criteria that depend alternately on each other. Characteristic for this planning are the circle relations, i.e. that during the information flow of signs (p. e. notes -- interpretes) or signals (electro-acoustical switching circuits) there will occur backsignals relating to one programme which can accordingly control the future process.
Beginning with my first instrumental-cybernetic works, Galaxis and Allotropie of the years 1962-64 up to Simultan (1970-72) the criterium was determining for the process planning as can be seen from an entropy maximum - i.e. a nearly equal repartition and probability of signs and signals - where by means of preliminarily given control processes the receiver-information is not predisposed, but at the moment of the cooperation of multiple control systems it is derived during realisation.
The claim for the future should be to invent systems which put the organic and automatic regulating processes into a more close and more direct contact to each other. However, the use of exclusively machinery-cybernetic systems within the compository process planning should only be interesting for the establishment of the basic models. The direct sound production with these means on the basis of computer controlled oscillating circles leads, as this has already been evident in the primary stage of the electronic music of the fifties, to a reduction of the psychoacoustical perception channel. --Roland Kayn
*Realized at Instituut voor Sonologie, Utrecht in collaboration with Studio de Recherches et de Structurations Electroniques Auditives, Bruxelles.
Art by Lucas Cranach the Elder