released: 26th June 2018
This piece explores the dimensions of liminality, or a passing through the threshold between distinct phases, afforded through the use of electromagnets. Binary signals are used to rapidly pulse the magnets on and off, resulting in an analog field. The presentation of various materials to this field produces a wide range of sonic output. Proximity to steel instruments yields acoustic excitation; proximity to dynamic microphones and radios yields audible interference patterns. Throughout this piece, a pre-composed sequence of pulses was presented through the magnets, creating a dynamic, yet pre-determined electromagnetic field. The performers were free to interact with this field in an improvisatory manner, adjusting parameters of input sources and modifying their proximity to the electromagnets. Several recordings of improvised sessions were then woven together, with the resulting piece existing in the liminal spaces between digital/analog synthesis, improvisation/composition, and real-time/offline production.
Composed and performed by Eric Miller and Patrick Quinn Mixed and mastered by Eric Miller Cover photo by Patrick Quinn
released: 16th June 2017
Recorded between May 24, 2017 and June 4, 2017 in Buffalo, NY with the windows open.
This album is meant to be played on repeat.
released: 14th March 2017
The four pieces each began life as equal sized squares of colour, either multi-colour gradients or single colour blocks as described in the file names. The processes used to transform these underlying materials range from the more directly physical (in the first piece) through to the purely digital (by the last piece) and there's a corresponding dissipation of gestural, physical energy as you listen through, I would say. Because I shaped them across both visual and audio dimensions simultaneously and giving equal weight to both aspects, the visual and sonic readings of the pieces are of equal importance to me (as indeed, in the computer's eye, they are one and the same).
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Multi-band Gradient · Radial · One-Tone, Two-Tone · Colourfield
released: 9th November 2016
There was once a band that on Friday was to play a concert the band was the rolling stones,they were two, one playing the violin the other the trumpet They played a song called "Windlass of Love" and it sound like this ...
|1.||I (memoria divida)||17:13|
released: 18th July 2016
July 28, 2012, Zürich, Rote Fabrik, "Interventions 2012" (organized by Christian Hänggi)
2012³ actualized by Manfred Werder (Curated & recorded by: Isaac Linder)
|1.||2012³ (actualized by Manfred Werder)||25:08|
|2.||Data (remixed by Isaac Linder)||25:08|
|3.||Inexistent Volume (Manfred Werder & Isaac Linder)||20:47|
released: 11th July 2016
|1.||sounds like russian voice traffic||20:18|
|2.||J94UK weak voices in the background||8:00|
|3.||If you click on Stereo Mix to highlight it, then select properties, does it show as being enabled?||6:39|
Artwork by Santiago Miranda Nam
Mastered by M. Earnshaw
released: 28th June 2016
released: 21st June 2016
In the tea-room, the fear of repetition is a constant presence. The various objects for the decoration of a room should be so selected that no colour or design shall be repeated. If you have a living flower, a painting of flowers is not allowable. If you are using a round kettle, the water pitcher should be angular.
released: 31st May 2015
Music traces the border between sound and silence. It erases and redraws the boundary with a fine line, or, erects a wall which is soon knocked down - thus determining the breadth of the expanse by building obstructions. We measure distance by limiting it; we grow by pushing this limit as far as we can imagine.
Artwork by Tricia Bishop
|1.||Remnants of a Day Suspended||19:04|
released: 27th March 2015
We don t know what the unconscious is, but every so often something wells up in us. It sounds pompous nowadays to talk about the unconscious, so maybe it s better to say chance. I believe in a deeply ordered chaos and in the rules of chance.
released: 26th February 2015
any recording is not simply a representation of musical content or immediate context but always potentially evidence of relating anew to place and time. A repeated playing is always exposed to time, and thus always offers such evidence.
|1.||Fragments of Form||5:27|
|3.||Seen as Static, Seen as Moving||8:59|
|5.||Fields at Sea||10:01|