Algorithms for Electronics,
Fake Woodwind and Strings
USB flash drive (E176)
“I’ve been working on an algorithmic system for live
audio visual performance and composition for a few
years now. AFEFWAS (3) is a sequence of five frag-
ments of differing lengths and contrasting energies
which are recordings of its output. At the heart of
this system is a source of random data, in this case
generated using the Cauchy probability distribution,
which can be shaped by the performer both in real
time and by a careful choice of starting conditions.
This data source is used to create both the audio
and visual elements of the work.”—Tim Wright,
East Witton, April 2015
Audio mastered by Jacques Beloeil.
Tim Wright (E123)
The music: dark, shifting drones, rumbles and chilling top-
end contrails crawl and scrape through galactic domains,
stretching out in all directions, expanding time and space.
It doesn’t sound like any woodwind or strings, fake or other-
wise, you’re likely to have ever heard. The sounds have
been heavily manipulated, resculpted, twisted and stretched
to form something entirely different, something that’s
sinister, unsettling, uncomfortable.
The visuals: not as synapse-annihilating as those on some
of Wright’s releases, such s as his 8 Switches, for example,
but nevertheless, the clinically incisive lines through over-
lapping circles which build ever-evolving vectors of Venn
diagrams and seeming optical illusions are striking. They
also serve to emphasise that this work exists at the point
at which art and science intersect.
Christopher Nosnibor at whisperinandhollerin.com