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intentional degenerated things 1: irreversible conversion

There's an expression effect by intentionally degrading the sound. Sample from vinyl or cut original one just to make your own sound material, use cassette tape, use old samplers with low sampling rates, output from cheap amps, input to microphones, etc.

In general, digital data is recognized to be free from degeneration/deterioration closely coupled with the recording media like analog data because of it has the property to keep original state at the time it was made. Maintained or lost, or will it be destroyed unintentionally and become useless, only such a alternative phase transitions can occur. Although that is an undeniable fact, there's deterioration due to artificially irreversible conversion. In digital image, the JPEG format, and in the audio, lossy compression like mp3 or the conversion of the reproduction frequency and the quantization bit corresponds to that. The act of using old samplers with low sampling rate falls under this (but under the condition that the original digital source can be used).

In former times, I'd experienced accidentally destroying my own music data. I'd encoded with the wrong settings. Usually, sound source encoding software had a processing to detect automatically and convert the number of bits, but that software used at that time didn't have such a complementary function. What happens to incorrectly converted data - loud noise with peak levels averaging almost 0dB. If wholesome person listens to this, he/she'll tut-tut that trashes has been made. However, I - as a man who trained the skill and grounding that can interpret and hear noise as a kind of music - was convinced that this was a musical thing. They were squeezed out as harsh noise peculiar to digital, and while they were stretched, they kept original forms slightly. It was more natural for me to think that they were not broken but degraded. Provided that they're mediocre as noise in that case, and therefore they're only about materials, so I'd understood. Similarly, I intentionally applied incorrect encoding to files of some of my own music I had stored at that time, then I saved them without deleting.

About 15 years have passed since then, now 2019. I currently busy and I have a strong interest in the act of destroying and reinterpreting musically my own music rather than composing my original tune. This is in the background of vaporwave.
Vaperwave is a kind of chill wave, which has been in a very underground background since the beginning of 2000, and has slowly risen up in response to the recent 80's revival and has become well known in music scene in internet society. Data stored in the 1.44MB FDD was one of the premise for this genre that makes it a lo-fi and minimalistic music, fusion-oriented citypop that flourished in the late 70's and 80's were sampled at a low sampleing rate and lower pitch. Such an underground background and the rough texture and airyness that are unique to lo-fi encoding remind us of a nostalgic retro-future. By its very nature, vaporwave can be said that there's a unique genre that never gets older or goes away.
Some tunes of once I was creating - some of the DTM-like pop music (a shameful dark past) which was made with immature skills - were far from citypop but could be reinterpreted using the vaporwave style. These nostalgic objects, combined with personal memories has converted to such styles, they have become the thing with remaining incense of the lost cyberpunk. (These tunes are scheduled to be released later)

In these process, I digged up the material that I'd stored. I tried to add a reinterpretation that would destroy the data again. Although these were not suitable for making it into vaporwave material, repeating adding some effects, converting frequency/bit rate conversion, changing pitch and time-stretching over and over again, prompted non-alternative sequential phase transition - even digital data. In other words, this may be the result of digital degeneration or degradation following analog data. But with those components that show the process, they have apparently turned into completely different things. Nevertheless, it can be seen that the original appearance itself isn't lost if it's returned to the original pitch and length of time. A Multi-layered property, it can be said to be an autopoiesis concept in original autonomy that remains like a ghost, and semi-automatic creation of another from the origin. That was very exciting situation for me.
No distortion effects applied, because that become a toxin that destroys that autopoiesis. It's a serious problem. I didn't want to do this a mere noise music. It's meaningful only because the original form remains.

As everyone would recognize, there's no worth for this price. This pricing is based on the fact that nobody wants to buy such works or nobody needs to get them. An idea that doesn't propagate and doesn't want to propagate, is just self-righteousness, target of disdain and ridicule, and only a matter of several seconds remaining in short-term memory. As personal motivation and interest, the moment I released something what I have created is my peak. They - for example, persons like Japanese government officials who's blindly following a stencil graffiti only for the rumour that it said to painted by Banksy - won't understand it no little, and I don't think that they should understand it at all. But, no matter what obstacles there is a way out where surprisingly in close proximity place.

Deterioration is the result of losing the brilliant moment that was originally present. Because the aesthetics and critiques of degraded results are always too late, they're also a form of degradation. And, with or without synchronicity, similar perspectives always come from somewhere else - the act of the person who ambitiously presents and conveys the methodologies and concrete examples without fear of transmission and coexistence to the world, it's as a process of digging up of 'Buried Autopoietic Things'.



02 KORG M01
03 KORG X3, Fostex Multitracker XR-7
04 KORG X3, TRINITY plus, Roland JV-880 with SR-JV80-04
05 KORG M01, part of ferrugineus outtake
06 KORG X3 with XSC-801, TRINITY plus, Roland JV-880 with SR-JV80-04
07 KORG X3 with XSC-801, Roland JV-880 with SR-JV80-04, Fostex Multitracker XR-7
B1 KORG X3 only, no overdub, no additional FX (P)1995 originally raw data from ATRD0100, 2019 remastered
B2 KORG X3, Roland with SR-JV80-04, no overdub, no additional FX (P)1996 originally raw data from ATRD0100, 2019 remastered
B3 KORG X3, Roland with SR-JV80-04, no overdub, no additional FX (P)1997 originally raw data from ATRD0100, 2019 remastered
Coderium SoundEngine, some VST effects

all composed, mixed, mastered by nona.emanon.4
photo, edited, designed by odradek7743
discount code when you'll Buy Digital Album: buriedautopoieticthings

copyright(C)1995, 1997, 2003, 2012, 2019 nona.emanon.4, D.i.D. UNITED synthetic expression, delphinix.ws all rights reserved.




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