The Nature of Sound, Intuition and Stitches

As a morning ritual to get my brain started I read a bit. Currently I’m reading Bernie Krause’s ‘The Great Animal Orchestra’, about finding the origins of music in the world’s wild places. It’s a true revelation, as it spells out to me on each page in clear language why my intuition for composing music works in the way it does. Mostly his description lies in the essence of things. But since I’ve been using fabric and knitting in one of my compositions, this quote is meant in a very literally way:

“I’m auditioning a recording that was made in Yellowstone National Park (…). The texture at the beginning of the recording is as delicate and lovely as a piece of fine Irish lace – an expansive sonic fabric that sucks me deep into the time and space of the original moment, as only sound can do.” (page 155)

Mike Pickford is working on a Mark 2 of my NAIENI interface. This specially designed interface works as a organically powered sequencer I used for the ‘Killing Time’ composition with prepared knitting needles. Mark 1 worked as a randomised sequencer to capture the mercurial sounds of nature.

Mark 2 will be able to capture the geometric rhythms generated by the tempo and pattern of specific stitches. I’m very much looking forward to this development – so, yes, there will be a second piece using prepared knitting needles as part of an ensemble. Not sure about when, though.

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