Plates, Vol 1: Système sur-atonal
Plates volume one is an exploration of Erik Satie's cryptic Système sur-atonal. The Système consists of a series of 4 scales suggesting seven four-note chords. The chords consist of only three intervals: Major 3rds, 4ths and diminished 5ths (and their enharmonics).
The EP is a now available for download on Bandcamp.
If our memories provide the blue print for our identity, what happens if our sense of self is built on a faulty recollection?
During the creation of A False Memory of a Sport Party I was inspired by Elizabeth Loftus's pioneering research into memory distortion and specifically the generation of false memories. The disturbing voices that haunt the album reference Loftus's work. They speak of past traumas, yet we are unsure whether they are lucid recollections or fantastic confabulations.
The album finds me once again working with my False Self system. This time however, I extensively reworked, or to use Loftus's term — distorted, our joint efforts alone, in a final compositional phase.
Rudi Arapahoe 2018
Read the post below for notes on the False Self Supercollider program!
Double Bind (EP 2013) was largely inspired by the writings of Gregory Bateson and Ronald David Laing. The EP explored dualities and the different selves we use to inhabit our various faces. With this new work I wanted to take this exploration further by introducing a new self into the composition process. I created this False Self in the SuperCollider programming language, as an algorithmic musician designed to compose alongside my true self.
At first False Self composed in a naive fashion, though like any good student; he became more accomplished and free thinking. As time passed I taught him various rules and systems to follow and occasionally deviate from.
As the project progressed I found that if I positively adjusted the timing of his notes in post-production it would give the illusion that he had led the composition and I had been his accompanist. Further I realized that if I recycled the simple initial composition through False Self he would respond with another layer of instrumentation; or as in the case of It Becomes You, I found that if I removed the notation for the lead melody I had composed; then recycled the composition through False Self, my artificial assistant would compose in the vacant space, often to interesting results. The project frequently gave rise to the question of what and why is something in ‘good’ taste. False Self may have followed all of the rules, but due to some unforeseen condition he would make a decision that would take me off guard and lead me into new territory.
Rudi Arapahoe 2016