The second collaborative effort between Jaime Rodríguez Matos and Joshua Liebowitz, "Behaviors" is as much audio research as it is sound composition.
Using one composition of sounds as a parent, offspring frequencies were “grown” from it using spectral processing software, which gives us the ability to put sounds under a microscope, as it were, and split them into their components – frequencies and their amplitudes. Working with these elements, additional parts were then generated solely from the foundations of those sounds already present in the original composition.
By using this method, we hoped to create a sonic environment where kin frequencies are not only the decedents of a common family of sound, but evolve and interact with their environs much as species do in an ecological system. Thus we placed each generated set of frequencies next to one another, unfolding them at either the same time as- or immediately following their parent sounds, to both evolve a new set of sounds, and listen to how they interact with their common family.
Because the additional parts consist of frequencies and amplitudes, and so act as the quanta of pitch and complex tones, their interactions with the latter also suggest a counterpoint that has evolved from, but also freed itself of traditional harmonic principles. In the interactions within this sonic structure, notions of melody, rhythm and chord progressions, which characterize classical counterpoint, have morphed into a counterpoint of frequency oscillations and timbre. Here, the behavior of duration and intensity below the surface of a sound is what counts, and any resultant melody is the effect of the collected frequencies' ability to self-organize.
With these ideas of counterpoint and ecological systems in mind, we have grouped and classified the individual tracks into “species.” And taking into account that no dynamic system is fully determinate, the listener may notice that the species- or track-listings appear randomly ordered: they are. We didn't originally plan on this ordering; it was a surprise playback occurrence. We went with it.
released 17 September 2012
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