March 4th, 2017

Weird, I’m alive! (demonstration)


In this experiment I got internet users (from MultiplayerPiano.com) to make a sound collage out of a Facebook chat without them knowing it. The result sounds different each time, depending on how many people are playing the piano and what they are playing. Sometimes the combinations of words are very disturbing, sometimes it’s just funny. This is just a demo

January 24th, 2017

Al-Chami

January 24th, 2017

Looking for Trouble

January 24th, 2017

Christmas on Mars 2060

December 12th, 2016

Machinations

I made the piano part for this a while ago but now I’ve revisited the track to remove the vocal part and complete the instrumentation.

May 22nd, 2016

Nudist

Another collaboration with musician Jesse Vanden Eynde who played guitar on this.

March 8th, 2016

Obligation-free

November 5th, 2015

The Leaden Echo and the Golden Echo

I read Gerard Manley Hopkins 1918 poem and turned it into an ambient-electro track.

April 9th, 2015

Cat Reacts

New track with words by Dominique De Groen.

April 4th, 2015

Het Doel en de Strekking

I composed the end-credits music to a poetic Flemish cop series from the nineties that never existed.

November 8th, 2014

The Air Became Their Habitat

An ambient track about the first flight of the pterosaur.

October 26th, 2014

The Art of Conversation

I’m quite good at going around in circles, so I thought I’d try composing a waltz.

October 13th, 2014

Defector

June 23rd, 2014

Spooky Mulder

Something I made to amuse myself while everybody else was watching the football this evening.

March 31st, 2011

men dream of women

Men Dream of Women by Jonathan Beaton

I made some audio. It’s available to stream and download on SoundCloud (or above).

February 3rd, 2011

translation installation take 2

In January I showed a second, improved version of my translation of a poem into sounds and smells.

This time the environment was more fitting, some of the visual elements of the installation were improved upon or added to, and the mechanism of the machine was made more accurate and automatic through the addition of a braking system*. I got some very positive feedback from my mentors and classmates. Even the librarians were excited to have my work in situ.

*The brakes use a touch sensor to stop the turntable motor, in combination with an electromagnet to open and close a gate at the appropriate time. This way one can stop the turntable spinning at intervals of 1 sixth each time. It’s a rather amateurish or indirect solution to the requirement, but that’s in the spirit of the original poem — the playful spirit of finding your own interest and excitement in something you’re not equipped to understand yet, the spirit of looking in on a world that’s not your own and finding wonder/beauty through or despite your ignorance.

So I’m off to a good start in the experimental studio. Time for a new undertaking.

See my previous posts about this project.

December 17th, 2010

evolution of a book

I’ve been working on a translation of a poem into sounds and smells. The sounds and smells are released in synchrony by a machine (made with help from my engineer friend Brecht) that selects scented beakers using the turntable of an old record player.

You can download an excerpt from the audio track here, smells not included. This one is the translation of the second stanza, which begins “fondants, fudge, caramels, taffy brittles”, and lasts one and a half minutes. The whole piece is approximately eleven minutes long.

I may improve upon the audio, smells and machine over the next weeks. This is a sort of work-in-progress or, I suppose, the continued evolution in my mind of the original text.

March 15th, 2009

long distance

Since I never posted it, here’s one of the first bits of sound I made. It’s about the humbling experience of travelling through airports.

As I recall, I made it after discovering that one of the samples on my keyboard sounded like the tones of an airport announcement bell.






Powered by Wordpress. Theme info.
Original content © MMIX Jonathan Beaton, all rights reserved.