SPIN

Hadi Bastani (Composer)

Research output: Non-textual formComposition

Abstract

The composition process began with a survey. An online questionnaire was sent to twenty electronic producers based in Iran, who were chosen at random. Participants only had to open the link of the online survey, fill in the form anonymously, and press submit. Within the form everyone was asked to respond to the following eight questions: 1- How long is your average daily usage of the internet? 2- For what purposes do you mostly use the internet? 3- What sound sources do you frequently draw from in your practice and how do you access those 4- What soft-ware/hardware are more frequently used in your practice and how did you learn to use those? 5- Have you ever been trained, outside your individual endeavours, to manipulate sound, to compose, and to work with the software/hardware you use in your practice? 6- How do you describe your work in terms of genre aesthetics, if at all? 7- Do you see a connection between using the internet and the development of your practice in any shape or form (explain)?

SPIN and INTERFERENCE are composed based on samples contributed by Sohrab Motabar and myself. These two pieces constituted my first attempt to map seemingly unrelated data in the context of medianthropy, through music. To that aim, all samples were randomly selected from a library of recordings that Sohrab and I had shared via Dropbox. Through the latter process a sound library for these two works was formed, which consisted of original recordings as well as samples extracted from two online sources: British Library and BBC archives. In SPIN, for instance, the orchestral string sounds that appear at 01:17 belong to a 1950s vinyl recording and is extracted from the British Library’s page on Soundcloud (unfortunately I cannot find the exact link for the relevant recording). The FM radio tuning sounds that appear at 02:43 belong to an archive of BBC recordings, which was officially released on April of 2018. The rest of the material in this piece are all original recordings. INTERFERENCE is, however, wholly based around five short samples that are introduced successively at the beginning of the piece until 00:12. These were extracted from Sohrab’s samples, which had been generated using code written by himself in SuperCollider . The distorted radiophonic voice that first appears at 01:01 was also extracted from the BBC archive
Original languageEnglish
Publication statusPublished - 2019

Keywords

  • Electroacoustic Music
  • electronic music
  • composition
  • spin
  • Audio Programming
  • Sound Design

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