The New Pulsar Generator Manual P

the new pulsar generator manual. a sound installation for synthetic voice and computer generated sounds Remote Viewing, 2131 N. American Street Philadelphia, Pennsylvania Marcin Marcin Pietruszewski - a sound sound a -

Tokyo Tokyo output of the speech synthesis HMM-model training computer generated sounds generated sounds computer Marcin Pietruszewski with with Pietruszewski Marcin installation for synthetic voice and and voice for synthetic installation Remote Viewing presents: Viewing presents: Remote Manual Generator Pulsar New The remote viewing 2019 viewing remote Graduate School of Science and Engineering. notes: program assistance from Eric Laska and Geoff Mullen composition and core sound synthesis design: Marcin Pietruszewski. (HTS): system synthesis speech HMM-based Institute of Technology, Interdisciplinary the new pulsar generator manual p. 2 rather thanits cause. Theword-itselfderived from theAncient what Schaeffercalled the“acousmatic”:content ofmyperception What is left behind, following this intentional sensory bracketing, is is attendedto,rather thanitsobject-causesorsemantic referents. radical “presentness”whereinonly theobjectofpresentperception the notionof“reducedlistening,” Shaefferpostulatedakindof more thanachannelforanunmediated anddeterminatevision.With listening” -andanidealisedview thatthecomposer’stoolsareno by PierreSchaeffer-particularly initsoppositionto“causal p.108]. Thisechoestheconcept of “reducedlistening”advocated a formalanalysisofcontentandstructure ofmusic[Smalley,1997, computer technologyusedinthemusic’smaking”isaprerequisiteto making”. Accordingtothisview“ignoretheelectroacousticand “the natural desire to uncover the mysteries of electroacoustic sound- in thewritingofDenisSmalley,whourgedlistenertosurrender thinking abouta“truemeaningofmusic”.Suchviewcanbefound as merelyatool,neutralandnotworthmeaningfulengagementin compositional workpositionsitselfagainstaviewwhichseestechnology Incorporation oftheconceptartefacttodiscourseon the computerprogramasanartefact. Manual’ isaprocessofsystematicengagementwithcomplexities is used.Theoperativepremiseofthework’TheNewPulsarGenerator a world it ostensibly pertains to and it shapes the world each time it knowing anddoingintheworld”.Thesoftwarebothcontainsamodelof creates sensoriums”andparticipatesinconstructing“waysofseeing, software isanartefact,asMatthewFullerpointsout:“software the functionalandostensibleneutralityofitsinterface its widerassemblageofconnotationsbeyondtechnicalanalysis.Beyond solely onafunctionalaspectofsoftwarelimitsourengagementwith to theinnerdepthsofitsdigitalstructure,code.Focusing of itsinterface–screenbasedorphysical-thematerialextension perform a task. Its working is often imperceptible beyond the surface function. Itisatool.doessomething;itinstructscomputerto devoid of any reference otherthan to itself. The program is its At first,thecomputerprogramisneutralandexistsonlyinterms Computer ProgramasanArtefact remote viewing 2019

the new pulsar generator manual p. 3 remote viewing 2019 viewing remote can be traced back to historical analog synthesis techniques. In techniques. In can be traced back to historical analog synthesis a stream of electronic its simplest form, pulsar synthesis generates instruments analog by produced those to akin tones pitched and pulses sound synthesis named after a highly magnetised rotating neutron rotating neutron sound synthesis named after a highly magnetised at a frequency star that emits a beam of electromagnetic radiation melds established between 0.25 and 642 Hz [1]. Pulsar synthesis of the technique principles within a new paradigm. Conceptual origins Genealogy of the New Pulsar Generator approach to digital The technique of pulsar synthesis is a powerful of computer program as an artefact and of methods of archaeology- of computer program as as a strategy for productive engagement genealogy-problematisation technical objects. Throughout, key themes with historically inherited program as an artefact and compositional of this text are computer practice with historically inherited materials. a re-drawing of a complex ‘historical ecologies’ [Piekut, 2014, p p 2014, [Piekut, ecologies’ ‘historical complex a of re-drawing a technique, especially through analysis 212] of the pulsar synthesis synthesis paradigm and key source texts; of the program’s underlying from it, an application of the concept and second, somehow originating (through media archaeology and genealogy) and also what it is doing and genealogy) and also what it is doing (through media archaeology so we can understand this ’dynamic (through a form of epistemology), matter’ [Stiegler, 1998, p. 84]. of organised inorganic has two interrelated aims: first, it is The analysis proposed below computation meets with its ostensible outside - users, culture, culture, outside - users, meets with its ostensible computation systemic beyond the quantifiable The challenge is to look aesthetics. computer program back into visibility so that complexity and bring the what it is (ontology), where it has come from we can pay attention to [Manovich, 2013; Manovich et al., 2001] and critical software studies studies and critical software Manovich et al., 2001] [Manovich, 2013; attempt to 2008; Marino, 2006] Malina and Cubitt, [Fuller, 2003; with working by neutrality ostensive this beyond and through look their of levels various at programs computer of specificities the which of conjunctions within exploring a rich seam articulations, Greek acousmatikoi — is a reference to the name given to Pythagoras’ to Pythagoras’ name given to the — is a reference acousmatikoi Greek behind from lectures to the master’s listen who would disciples, theory media of digital in fields developments Recent a curtain. the new pulsar generator manual p. 4 languages of origin, one mayseetheir difference as one of time composition andsynthesis, whicharesynonymousin theirrespective and instrumental timbre. Arguingfromtheetymology ofthewords essentially byfourpropertiesof pitch, duration,dynamicmarking, combinatorics withinaclosed homogeneous systemdescribable think compositionbeyondapractice concernedwithapermutational timbre” [BrunandBrün,2004,p. 189]. Itpermittedtheabilityto activity allowing for “the composition of timbre, instead of with and thedigitaldomain.Thesound production becameacompositional important conceptualandaesthetic shiftaffordedbythecomputer The emergenceofnonstandardsoundsynthesissystemssignifiedan instruments ortheoreticalacousticmodels”[Koenig,1978,p.111]. a soundgeneratinginstrumentsuigeneris,notimitatingmechanical 1978, p.1].Withinthenon-standardparadigm“thecomputeractsas of relationships”servesasaformaldescriptionsound[Holtzman, which makesnoreferencetosomesuper-ordinatedmodel”.Such“system a set of instructions, relates them one to another in terms of a system of sound.AccordingtoHoltzman“thenon-standardapproach,given instead utiliseanabstractconceptsofcompositionalorganisation not basedonanacoustical,physical,orpsychoacousticmodel,but by StephenR.Holtzmantodescribesoundsynthesismethodsthatare sound synthesistechniques.Thetermnon-standardhasbeencoined can beclassifiedasbelongingtoalargercategoryofnon-standard Roads [1988, 2004]. Aesthetically and conceptually these techniques a widefieldofresearchandpracticewhichhasbeencoveredby sound andparticlebasedcategoryofaudiosynthesistechniques, extensibility. Genealogicallythetechniquebelongstomicro- such itacquiresthepowerofpreciseprogrammablecontroland Pulsar synthesis,however,isapurelydigitaltechnique,andas Herbert EimertandRobertBeyer[Eimert,1972;Meyer-Eppler,1949]. the WestdeutscherRundfunk(WDR)inColognebyWernerMeyer-Eppler, can alsobelinkedwithearlierexperimentsinspeechsynthesisat The vocal-like,’glottal’characteristicsofpulsarsynthesistimbre Karlheinz StockhausenhasusedsuchtechniqueinhisKontakte(1960). [2], HohnerElektroniumHaroldBode[Roads,1996;Williams,2016]). designed around the principle of filtered pulse trains (e.g. Ondioline remote viewing 2019

the new pulsar generator manual p. 5 waveform, envelope), its dynamic development in time (tables dynamic development in time (tables waveform, envelope), its pulsaret remote viewing 2019 viewing remote favores a flexible work between two strands of conceptualization: the conceptualization: the favores a flexible work between two strands of into the global – inductive – a bottom-up glueing of the elemental into smaller parts. and a deductive – a top-down carving of the whole organization, the user operates a set of graphs for fundamental and for fundamental and organization, the user operates a set of graphs drawing shapes formant frequency, amplitude and spatial position, (vertical) versus time – lines, curves, and points – on a value of the program (horizontal) axis. The underlying design paradigm which “real musical control of nature” can be asserted. asserted. which “real musical control of nature” can be pulsaret the specifies user the microstructure, sound of level the At can be thought waveform and a shape of the envelope, which together At a higher level of of as an elemental timbre of the program. No musical instruments, no recorded samples: Every feature right down no recorded samples: Every feature right down No musical instruments, the outcome of a choice. It was with respect to the micro-level is Stockhausen wrote of “every sound” as “the to this that Karlheinz act” [Stockhausen, 1963, p.142] and Herbert result of a compositional through composition” “absolute term a coined [1958] al. et Eimert Such model refers the Cologne School of Electronic Music centred around School of Electronic Music centred around Such model refers the Cologne developed by composers such as Karlheinz WDR and serial techniques Michael Koenig. In its most radical guise, Stockhausen and Gottfried outside. from “given” is that material no using entails approach this ( spatialisation and amplitude frequency, formant and fundamental for form of the composition (duration, presets) path) and to the overall intentional aesthetic and conceptual stance. – should be seen as an process. When working with the program, the user is confronted with with the user is confronted working with the program, process. When to generate system is mute and a tabula rasa; the a clean slate, The whole aspect of compositional labour – sound it requires input. objects from the microstructure of sound requiring the user to specify their “impulse towards the atomisation of musical material and control control and material musical of atomisation the towards “impulse their can be seen as “microsound’s on ever-lower levels,” of that material p.210]. [Thomson, 2004, digital beginnings” a model of New Pulsar Generator is of work with the The basic posture synthesis all parameters of the control over absolute compositional levels rather than of kind. Agostino Di Scipio writes, “synthesis can can “synthesis writes, Scipio Di Agostino kind. of than rather levels As 1995]. Scipio, [Di composition” micro-level as of thought be often in approaches, sound-synthesis Thomson, nonstandard by Phil suggested the new pulsar generator manual p. 6 of silence. where of apulsaras: d (Figure 1)consistofanarbitrary pulsaretwaveform envelope andpulsarettrain(repetitionofpulsars).Asinglepulsar A basiccircuitofpulsarsynthesisconsistapulsaretwaveform, Fundamental Circuit Pulsar Generatorprogram. The followingsectiondefinesabasicsynthesismodelofNew a dialecticalcoupletoflocalandglobalperspectives[3]. mobilized acreativegraftingacrossandbetweentemporalresolutions, Such uniform treatment of composition data and objects at every level and macroscalesconstitutedavitalfeatureofthevisionbehindUPIC. interpolation betweentemporalresolutionsofthemicro,meso, to soundcompositionwithinastandarduserinterface.Anincessant Iannis Xenakis.Theinstrumentoperationalizedamultiscaleapproach technology -UPIC(UnitéPolyagogiqueInformatiquedeCEMAMu)by - theprogramrelatestoanotherhistoricalpieceofcompositional temporal levels-anattemptatfusionbetweenmicroandmacroscales synthesis dataandsystematicapproachtocompositionacrossmultiple on thelevelofinvestigation.Throughitsgraphicparametrisation be conceivedasmaterialorform(substancecontainer)depending problematize thedualitybetweenformandmaterial:sameobjectcan forms atallthelevelsoftemporalorganisation.Suchbi-modalprocesses process ofdifferentiationandreintegrationsoundmaterials ‘transparent stratification’ rendering entirely open for a pendular As suchtheNewPulsarGeneratormightbedescribedasasystemof followedbyasilenttimeinterval p isthepulsarperiod, p =d+s d isthedutycycle and s whichrendersatotalduration w withaperiod remote viewing 2019 s isperiod

the new pulsar generator manual p. 7 with with w . Source [Roads, 2004]. s fp = 1/p fp fd = 1/d fd are between 1 Hz and 5 kHz, the typical range range typical the kHz, 5 and Hz 1 between are forms a pulsar train (2) which can be described which can be described forms a pulsar train (2) fp p followed by silent time interval followed by silent time A single pulsar consisting of a pulsaret waveform consisting of a A single pulsar is independent and can constantly vary. d . Pulsar train. Source [Roads, 2004]. fd is from 80 Hz to 10 kHz. In pulsar synthesis a value of both In pulsar synthesis a value of both is from 80 Hz to 10 kHz. fd and Figure 1. a period remote viewing 2019 viewing remote Figure 2 fp Typical ranges of ranges Typical of and the frequency of the duty cycle as: and the frequency of the The repetition of emission with a period of: as the rate of pulsar the new pulsar generator manual p. 8 Source: [Roads,2004]. d) multicyclesine withexponentialdecay;e)pulsar rotationpath can beused.a)sine; b)multicyclesine;c)gaussian limitedsine; Figure 3 varying signalsorextractedfromasampledsound. saw andsquare.Complexvariantsincludewaveformsgeneratedbytime- pulsaret waveformcanbeformedbyafixedsynthetictype:thesine, waveform w can be of any waveform shape (1.3). In simplest cases interconnected patternsevolvingonmultipletimescales.Thepulsaret notion ofrhythmwithitsmulti-temporalaffordancesasasystem 30 Hzitfusesintoanaudiotone.Thetechniqueoperationalisesthe output fluttersbetweendiscreteandcontinuoustexture.Aboveabout emission below18Hzgeneratesrhythmicpulses.Betweenand30 inputs. Thisisaspecialcaseofpulsarsynthesisdesign.Arate can besimultaneouslymanipulatedaccordingtoindependentcontrol - inpractice,boththerateofpulsaremissionanddutycycle As Figure2displaysthed:sratiovarieswhilepremainsconstant . Examplesofpulsaretwaveforms. Inpracticeanywaveform remote viewing 2019

the new pulsar generator manual p. 9

; f) exponential attack; g) FOF envelope; h) bipolar ; f) exponential attack; g) FOF envelope; h) bipolar d . A standard catalogue of pulsar envelopes: a) rectangular; rectangular; . A standard catalogue of pulsar envelopes: a) with duty cycle modulator. Source: [Roads, 2004]. Figure 4 decay; e) linear attack b) gaussian; c) linear decay; d) exponential remote viewing 2019 viewing remote An important generalisation in above synthesis model is that the is that the synthesis model generalisation in above An important a special any shape. This consist envelope v can be of waveform w and case of pulsar synthesis. the spectral content of the pulsar stream [Roads, 2004, p. 146]. p. 146]. stream [Roads, 2004, content of the pulsar the spectral with produces a broad spectrum envelope (Figure 4(a)) A rectangular a sharp An envelope with and nulls for any pulsaret. strong peaks formant a well-established an exponential decay depicts attack and techniques. to FOF and Vosim corresponding synthesis configuration An essential feature of pulsar synthesis model is the pulsaret is the pulsaret model synthesis of pulsar feature An essential pulsaret waveform time the limits in envelope The pulsaret envelope. strongly affects envelope 4). The shape (Figure be of any and can the new pulsar generator manual p. 10 a vacuum.AsAnneSauvagnargues[2016]pointsout: as withanyotherpieceofhuman-madetechnology,doesnotfunctionin the contextinwhichtheyappear.TheNewPulsarGeneratorprogram, and entitieswhoseontologicalepistemologicalnaturedependson with itsexplorationof“boundaryobjects”[Borgdorff,2012,p.177] immediately resonateswithamodeoperativewithincreativepractice and fluiduniverses”[Zalamea,2019,p.272].Suchaperspective signic websinterlacedwithoneanotherinvariousrelative,plastic absolute, hardandfastuniverse,donotexist;insteadwehavecomplex of newmathematics:“Determinate’entities’,firmlysituatedinone Zalamea observedthisprocessinthecontextofobject unstable. Inshort,itmovesfromtheonetomany.Fernando case tobefixedandstable.Instead,ittendstowardsamobile activated throughitsworking.Fromthisperspective,theartefact unpack its constituent complexity, to traverse a network of discourses enhances. Toconsiderthe“thingness”ofcomputerprogramisto discover, explore,andsense,togetknowwhatfuturethis“thing” the object, its not-yetknown constitution. It is an invitation to “thing” signifiestheindeterminate,notyetcrystallisedstatusof not “anobject”[4].Thischoiceofterminologyisdeliberate.The want ordesire”[Dasgupta,1996,p.9].Theartefactis“athing” produced orconsciouslyconceivedinresponsetosomepracticalneed, Subrata Dasguptadefinestheartefactas“ausefulthingthatis The Artefact associated withthem [Sauvagnargues,2016,p.186] the conditionsof theirutilisationandthepractices andhabits fabrication ofhammersandnails possible, whilealsoforming interaction betweenamultitudeof technicalobjectsmakesthe possibility: thereisnohammer without anail,andthusthe milieu ofindividuation,whichconstitutes theirconditionsof tool existsbyitself...theyonly functioninanassembled surrounds itandallowstofunction. Nomachineortechnical taking intoconsiderationthemilieu ofindividuationthat A tooloramachineshouldnotbestudiedinisolationwithout remote viewing 2019

the new pulsar generator manual p. 11 configurations of complex systems. With its interplay between structure between structure configurations of complex systems. With its interplay assemblage “can be seen and contingency, organisation and chance, the structure with that of as a relay concept, linking the problematic of To assemble some thing is to fit together the separate component parts component parts To assemble some thing is to fit together the separate function of synthesis of it. The concept of assemblage captures “the p. 11] and it is a of disparate elements” [Alliez and Goffey, 2011, and re- useful tool that explains the mutations, transformations, knowledge that both contributes to, and is generated by, the creation creation the by, generated is and to, contributes both that knowledge both formation of the of an artefact” [Dasgupta, 1996, p. 116]. It is working. These complex artefact and process of being informed by its assemblages. as viewed be can references of myriad their with objects form, nor does it give any clues about what it might produce in the any clues about what it might produce in the form, nor does it give Dasgupta’s reflection on artefacts is that future. A key notion of there is another kind of complexity within beyond systemic complexity richness of the knowledge that is embedded in human-made things - “the which “consist of the an artefact” called “epistemic complexity” and complex if it is composed of a large number of parts or components of a large number of parts or components complex if it is composed ways” [Dasgupta, 1996, p. 113]. Systemic that interact in nontrivial quantitative character, it grasps what the complexity has a purely not tell us how the artefact assumed its artefact is, but it does ways of holding different kinds of account together. In approaching kinds of account together. In approaching ways of holding different a concept of systemic complexity. this topic, Dasgupta formulated work “The Architecture of Complexity” Referencing Herbert Simon’s argues that “a system ... is said to be [Simon, 1991], Dasgupta artefacts themselves are also knowledge - their design embodies and and - their design embodies are also knowledge artefacts themselves accounting To find a way of many operational principles. encapsulates crucially, working with this multiscalar for, understanding, and requiring new tools for thought, and thing is an important challenge 107]. Artefacts are “like organisms, they manifest evolution” [Dasgupta, [Dasgupta, they manifest evolution” are “like organisms, 107]. Artefacts that is by the knowledge Any artefact is surrounded 1996, p. 114]. only the knowledge that appears emergence and also by prior to its of the of “doing” or design was made. The moment after the artefact cognitive process. Furthermore, itself a knowledge-rich, artefact is Artefacts are complex conglomerates of things and composition of of composition things and of conglomerates are complex Artefacts their in and reassembled rearranged are continuously which “components, p. Assis, 2018, history” [de throughout appearance modes of specific remote viewing 2019 viewing remote the new pulsar generator manual p. 12 of archaeologyas proposedbyMichelFoucault,becomes ahelpful via systematic experience ofits operation.In this context, theconcept different typesof knowledge,design,andaesthetic concepts activated with aninterfaceandasetoffixed interactionpoints-andexplore beyond its immediate form - as packaged functionality, the application Pulsar Generatorprogramasahumanmade artefactpermitstolook An engagementwithparticularqualities andpropensitiesoftheNew and imaginedifferently”[Manovich, 2013,p.13]. not justtechnologybutratherthe newmediuminwhichwecanthink in theworld”[Fuller,2003,p.19][8]. “Computersandsoftwareare and participatesinconstructing“waysofseeing,knowingdoing the realmoffunctional,computerprogramcreatessensoriums it parametrisestheaudible.AspointedbyMatthewFuller,beyond interfacing aparticularsoundsynthesismodel(i.e.,pulsarsynthesis) program’s output.Theprogramproducesauniquesetofsounds; between the representation of data and acoustic properties of the the siteofexplorationfurthertoincorporatestudymapping observable, perceptualdimension-itsounds.Thesoundingextends between them[7].Crucially,theNewPulsarGeneratorprogramhasan classes ofobjectswithmethodsestablishingthelogicinteraction of theprogramminglanguagewithuniqueattributesandbehaviours, kind ofcomplexity.Itisatextuallayerwithitssyntax,objects code, the textual form of the programming language, represents another inner depthofthecomputerprogram-sourcecode[6].The can beconsideredasthesurface-avisible,materialextensionto consisting ofsliders,buttons,knobs,dataplots,etc.Allthese - packaged as a standalone application with its graphic interface of complexity.Onthesystemiclevel,thereiscomputerprogram Generator canbeviewedasanassemblagewhichdisplaystwotypes The immediateterritoryoutlinedbytheworkonandwithNewPulsar Guattari ontheconceptofagencement[5]. less explicitlinktofoundationalworkofGillesDeleuzeandFélix diverse approachesinthehumanandsocialscienceswithamoreor [2015]; DeLanda[2010];DeLanda[2016,2019])isacompositionof is currently being referred to as assemblage theory (see Buchanan change andfar-from-equilibriumsystems”[Venn,2006,p.107].What remote viewing 2019

the new pulsar generator manual p. 13

a regulated transformation of what has already been written. It of what has already been written. It a regulated transformation innermost secret of theorigin: it is the is not a return to the of a discourse-object [Foucault, 2013a, systematic description p. 139-40] It does not claim to efface itself in the ambiguous modesty of itself in the ambiguous modesty of It does not claim to efface back, in all its purity, the distant, reading that would bring light of the origin. It is nothing more precarious, almost effaced is, in the preserved form of exteriority, than a rewriting: that Archaeology does not try to restore what has been thought, try to restore what has been thought, Archaeology does not desired by men in the very moment wished, aimed at, experienced, it in discourse... it does not try to at which they expressed by reaching it in its very identity. repeat what has been said remote viewing 2019 viewing remote abstract objects—the natural numbers. In biology, individual living individual biology, In numbers. natural objects—the abstract are called “models”. organisms, specially bred mice, for example, the term “model” has Within the study of science and technology, running the gamut from the model as an ideal to artists’ models. “Model artists’ models. “Model running the gamut from the model as an ideal to level, of structures theory” in logic is the study, at a very abstract concrete be may objects These “relations.” their and “objects” of — or, more frequently, physical objects — the chairs in my office In the context of a discussion on the New Pulsar Generator program Generator program In the context of a discussion on the New Pulsar and isolation of as an artefact, archaeology consists of selection them for further singularities - identifying sources and retrieving array of meanings, work as models. The term “model” covers a vast present. Archaeology sketches out a boomerang-like route: from the from the a boomerang-like route: sketches out present. Archaeology It does the past to the present. past, and back from present to the “how things were” but rather “why things are not aim at disclosing as defined by Foucault: what they are” now. Archaeology left by the past to write a ’history of the present’. In other words other words of the present’. In past to write a ’history left by the as a way of understanding is about looking at history archaelogy 2005]. we are today” [O’Farrell, that have led to what the processes at the past of looking archaeology, is a perspective In this sense, the better situating/understanding with the aim of from the present, methodological tool. As Clare O’Farrell describes, “Archaeology is is “Archaeology describes, O’Farrell As Clare tool. methodological to his approach to describe the 1960s used during Foucault the term traces discursive the is about examining history. Archaeology writing the new pulsar generator manual p. 14 only about15kilometres andadensitycomparable to that and maybeusedfor timekeepingandnavigation.With adiameterof timing devicesthat canbeusedasclocksfortesting relativitytheory sweep aroundtheskyasstarrotates. Theyareamazinglyprecise that sendoutbeamsofradiowaves which,likelighthousebeams, [1]. Pulsarsarephenomenalobjects: rapidlyrotatingneutronstars Notes orients ustothefutureandcreativelyprojectthingsanew. them. Modesthat,aswellretrospectivelyfacingintothepast, are, problematisationsearchesfornewmodesofproductivelyexposing While thelabourofarchaeologyandgenealogymediateswhatthings Foucault hascalledsuchprocessproblematization. but needs to be productively engaged with and re-situated. Michel The artefactas“discoursive-object”isnottobemerelydescribed sources andmodelsidentifiedexploredinthefirsttwophases. happens byconstructingnewandexperimentalarrangementsbasedon Crucial inthiscontextistheactofproblematisation.Problematisation practice. of referencebetweentheartefactandotherfieldsthought of theprogramareinterpretedandcompared.Genealogydrawslines approach, whereboththesurface(interface)anddepth(sourcecode) are studiedintermsofgenealogy.Thisstagecallsforahermeneutic design solutions,innovationsandtransmissionsofideasovertime then becomesubjecttoanalysisandcomparativeresearch.Appropriate are notmaterialbutconceptualHesse[1965].Theseisolatedsources a widevarietyofmeanings,manywhich—themajorityperhaps and falseconstitutesitasanobjectforthought[Foucault, practices thatintroducessomethingintotheplayoftrue doesn’t exist.Itisthetotalityofdiscursiveornon-discursive object, northecreationthroughadiscourseofanobjectthat Problematisation doesn’tmeantherepresentationofapre-existent 2013b, p.257] remote viewing 2019

the new pulsar generator manual p. 15 remote viewing 2019 viewing remote this crucial nuance of agency, even while it does capture the function capture the function this crucial nuance of agency, even while it does [Alliez and Goffey, of synthesis of disparate elements rather well” [2016] point out, 2011, p. 10-11]. Thomas Nail [2017] and Manuel DeLanda in a room, in the use that Deleuze and Guattari make of it, it also make of it, it also in a room, in the use that Deleuze and Guattari some or other entity conveys an active sense of agency as being what horizon does, a precious indicator of the constructivist does not really convey within which it operates. The term ’assemblage’ translation problem has been highlighted by Eric Alliez and Andrew Eric Alliez and Andrew translation problem has been highlighted by that might be Goffrey: “although the French agencement is something of a magazine are put said of the way in which elements on the page of furniture together, of a palette of colours or of the arrangement [4] The origins of the conceptualisation of “thing” can be traced conceptualisation of “thing” can be traced [4] The origins of the “The Shape of Time: Remarks on the History back to George Kubler’s of Things” [1962] note, it is worth mentioning somehow problematic [5] As an important side as assemblage. Such English translation of French word agencement [3] An in-depth analysis of correlation between UPIC system and pulsar of correlation between UPIC system and pulsar [3] An in-depth analysis of an article I have written for a forthcoming synthesis is a subject for Art and Media Karlsruhe (ZKM) and the publication by the Center (CIX) Centre Iannis Xenakis sonification pieces. Among them was one devoted to astrophysical them was one devoted to astrophysical sonification pieces. Among pulsars. See http://piethopraxis.org/projects/bonner-durchmusterung/ of Ondioline by its inventor Georges Jenny [2] See the demonstration https://www.youtube.com/watch?v=hy5w7Fz0pDo al. [2011]. In 2009, the composer Marcus Schmickler together with with together Schmickler Marcus composer the 2009, In [2011]. al. Geffert astronomers Dr. Michael Alberto de Campo and the programmer Institute for Astronomy) and Dr. Kerstin (Bonn University’s Argelander worked on a set of astrophysical data Jaunich (Deutscher Musikrat) of pulsars by Jocelyn Bell Burnell is considered to be one of the one of the is considered to be by Jocelyn Bell Burnell of pulsars See Burnell the twentieth century. discoveries of greatest astronomical its way back the technique found conceptual origins of [1984]. These in a broad of sonification which means in the field as a productive Hermann et representation of data with auditory sense is concerned of the nucleus of an atom, they also provide a laboratory for some some for a laboratory also provide an atom, they nucleus of of the light the beam of since to ‘pulse’ Pulsars appear physics. extreme The discovery the Earth. it faces be seen when can only they emit the new pulsar generator manual p. 16 about codeasboth mechanismandobjectofknowledge to producehisvisualartworkandtherein posingcompellingquestions for aprintedandboundMFAthesis bysubmittingtheHTMLcodeused (UCSB, 1997)byRobertNideffer’s, whichmetuniversityrequirements (September 2002).Arelatedtext “TheFineArtofAppropriation” org/exhibitions/codedoc. CODeDOCshow wascuratedbyChristianePaul (machinic process),oroutput(object). See:https://www.whitney. for translatingamessagefromonesymbolic formtoanother),execution , artistic,andinstitutionalvalue:withthecode(instructionsets . Viewerswerethuspromptedtoconsiderwheretheylocatedcultural they scrolledtothebottomreachlinkvisualdisplay had at a bare minimum to pass their eyes over the artists’ code as button waslocatedattheendofdifferentprograms,viewers in theWhitneyArtportCODEDocexhibition.sinceeach“enterproject” [8] Thecodeandoutputcanbeconsideredinagenerativerelation,as p. 6] a neutral-withoutvaluativecontentofitsown“[Feenberg,2002, ready toservethepurposeoftheirusers.Technologyisperceivedas Within theinstrumentaltheoryparadigm,”technologiesaretools “instrumental theory”oftechnologyasdescribedinFeenberg[2002]. reference other thanitself. This view corresponds toAndrew Feenberg’s seen astheneutrallayerwhichexistsonlyintermsdevoidofany [7] The systemic complexity - the artefact’s whatness - can be in thedesignofandpracticewithTheNewPulsarGenerator the deepandsurfacestructureofcomputerprogramisparadigmatic de/ARTNINE/huber/writings/jodie/indexe.html. Therelationshipbetween that instantiatesasurfaceoftheprogram,see:http://www.hgb-leipzig. [6] HansDieterHuberproposedanotionthatcodeisdeepstructure process itself two ormorethings,pointingtoaresultingproductratherthanthe from Frenchassemblage,whichinbothlanguagesmeansjoiningof arrange, tolayout,piecetogether,theEnglishassemblagecomes roots. WhiletheFrenchagencmentcomesfromverbagencer-to etymological originsofbothwordsspanoutcompletelydifferent remote viewing 2019

the new pulsar generator manual p. 17 , Deleuze , Deleuze , New York: , New York: , Bloomsbury Bloomsbury , . The sonification The sonification , Atropos. , Oxford University , Oxford University , The Musical Times , The Musical Times , Routledge. , Journal of new music , Journal of new music Electronic music, Technical Technical music, Electronic , Leuven University Press. Press. , Edinburgh University The guattari effect guattari The , Leiden University Press. , Leiden University , Wesleyan University Press. , Wesleyan , p. 160. When Music Resists Meaning: The Major Meaning: The Major When Music Resists The conflict of the faculties: Perspectives of the faculties: Perspectives The conflict The discovery of pulsars, Serendipitous of pulsars, Serendipitous The discovery , Routledge. Logic of Experimentation. Rethinking Music Rethinking Music Logic of Experimentation. Transforming technology: A critical theory theory critical A technology: Transforming Archaeology of knowledge Politics, philosophy, culture: Interviews and and Interviews culture: philosophy, Politics, Technology and creativity Inseparable models of materials and of musical and of musical Inseparable models of materials Models and analogies in science , Bloomsbury Publishing. Deleuze: History and science Assemblage theory and its discontents Assemblage theory A new philosophy of society: Assemblage theory Assemblage theory A new philosophy of society: Assemblage theory How electronic music began Behind the blip: software as culture , Oxford University Press. , Logos Verlag Berlin, Germany. , T. Presser Company. Hermann, T., Hunt, A. and Neuhoff, J. G. [2011]. Hermann, T., Hunt, A. and Neuhoff, J. G. [2011]. handbook Hesse, M. B. [1965]. Foucault, M. [2013b]. M. Foucault, other writings, 1977-1984 Fuller, M. [2003]. Autonomedia . Eimert, H., Stockhausen, K. et al. [1958]. [1958]. al. et K. Stockhausen, H., Eimert, report [2002]. A. Feenberg, revisited Foucault, M. [2013a]. design in electroacoustic and computer music design in electroacoustic research 24(1): 34–50. Eimert, H. [1972]. 113(1550): 347–349. DeLanda, M. [2016]. DeLanda, M. [2019]. and social complexity Di Scipio, A. [1995]. Press New York. de Assis, P. [2018]. Research Performance through Artistic De Landa, M. [2010]. Buchanan, I. [2015]. Buchanan, I. 382–392. Studies 9(3): B. [1984]. Burnell, J. Discoveries in Radio Astronomy Dasgupta, S. [1996]. Borgdorff, H. A. H. [2012]. Borgdorff, H. research and academia on artistic Brün, H. [2004]. Brun, H. and Herbert Brün, Vol. 1 Writings of Alliez, E. and Goffey, A. [2011]. A. Goffey, and E. Alliez, Publishing. remote viewing 2019 viewing remote BIBLIOGRAPHY the new pulsar generator manual p. 18 Thomson, P.[2004]. Stockhausen, K.[1963]. 1, StanfordUniversity Press. Stiegler, B. [1998]. Organised sound2(2):107–126. Smalley, D.[1997]. science Simon, H.A.[1991]. Edinburgh UniversityPress. Sauvagnargues, A.[2016]. Roads, C.[2004]. 1950 Roads, C.[1996]. Journal 12(2):11–13. Roads, C.[1988]. and critiques Piekut, B.[2014]. URL: https://michel-foucault.com/key-concepts/ O’Farrell, C.[2005]. Nail, T.[2017]. Musik undsynthetischeSprache Meyer-Eppler, W.[1949]. Marino, M.C.[2006]. new media Manovich, L.,Malina,R.F.andCubitt,S.[2001].T Manovich, L.[2013]. Mit Press. Malina, R.F.andCubitt,S.[2008]. things Kubler, G.[1962]. Held atAarhus,Denmarkin,pp.105–126. Report onanInternationalProjectIncludingtheWorkshop Koenig, G.M.[1978]. Intelligence. synthesis instrument Holtzman, S.R.[1978]. , ComputerMusicJournal20(3):20–23 , Vol.140,YaleUniversityPress. , Springer,pp.457–476. , MITpress. , Twentieth-CenturyMusic11(2):191–215. What isanassemblage? Early electronicmusicinstruments:Timeline1899- Introduction togranularsynthesis Microsound Atomsanderrors: towardsahistoryandaesthetics , UniversityofEdinburgh,DepartmentArtificial Actor-networks inmusichistory:Clarifications The architectureofcomplexity,Facets ofsystems The shapeoftime:Remarksonthehistory Technics and time: The fault of Epimetheus Critical codestudies Software takescommand Spectromorphology: explainingsound-shapes Composition processes Michel foucault:Keyconcepts A descriptionofanautomateddigitalsound Texte zurMusik Elektrische Klangerzeugung:Elektronische Artmachines: Deleuze,Guattari,Simondon , MITpress. : mit122Abbildungen,Ferd.Dümmler. Software studies:Alexicon , Stockhausen. , SubStance46(1):21–37. , Electronicbookreview4. , UNESCOComputerMusic: , Vol.5,A&CBlack. . , ComputerMusic he languageof remote viewing 2019 , Vol. , , ,

the new pulsar generator manual p. 19 , , Theory, Culture & Society & Society Culture , Theory, The hohner electronium: a 1950s portable monophonic monophonic a 1950s portable The hohner electronium: Synthetic philosophy of contemporary mathematics of contemporary Synthetic philosophy A note on assemblage A note . , Organised Sound 9(2): 207–218. Sound , Organised remote viewing 2019 viewing remote Williams, S. [2016]. Williams, S. valve synthesizer [2019]. Zalamea, F. MIT Press. of microsound C. [2006]. Venn, 107–108. 23(2-3): the new pulsar generator manual p. 20 Copyrights: love andcare.Andrew Johnstonforongoingsupportand encouragement. advice onbuilding thesyntheticvoicemodel.Alicja Pawluczukfor for SpeechTechnologyResearch(CSTR) atEdinburghUniversityfor advice ontheNewPulsarGenerator program.ThestaffattheCenter Manual’. CurtisRoadsandFlorianHecker fortechnicalandconceptual Mullen) fortheinvitationtopresent ‘TheNewPulsarGenerator The artistwouldliketothankRemote Viewing(EricLaskaandGeoff Acknowledgments For moreinformationvisit: music history,aestheticsandphilosophy. , EdinburghUniversity).Healsowritesabouttopicsofcomputer practice attheReidSchoolofMusic(EdinburghCollegeArts He is active as a lecturer of computer music and creative coding , theCenterforArtsandMedia(ZKM)Karlsruhe. (IMMA) in Dublin, MUMUTH in Graz, Klangkupolen (KMH) in Stockholm Contemporary Arts(ICA)inLondon,theIrishMuseumofModernArt the world,including:CTM/Transmediale,Berghain,Instituteof He haspresentedhisworksatvariousvenuesandfestivalsaround from Zurich. a collaboration with Florian Hecker and a graphic design company NORM , Jules Rawlinson and Lauren Sarah Hayes. Recent projects include , chamber quintet and electronics), Tristan Clutterbuck (fancyyyyy) , MarcusSchmickler(performedandrecordedSchmickler’sDemosforchoir He hascollaboratedextensivelywithmusiciansandcomposers-e.g. sound anditsmaterialrealisations. productions probingthedynamicsbetweenformalismofsynthetic He worksacrossperformance,multimediainstallationandradio of auditorydesign,computationallinguisticsandpsychoacoustics. music andcontemporarysoundart,aswellextra-musicaldomains specific formaldevelopmentsinthetraditionofelectroacoustic engaged insoundsynthesisandcompositionwithcomputers,exploring Marcin Pietruszewski(born1984)acomposerandresearcher.Heis Biographical Note MarcinPietruszewski www.marcinpietruszewski.com remote viewing 2019

the new pulsar generator manual p. 21 a single pulsaret waveform from the New Pulsar Generator editor