A Script For Machine Synthesis
hecker
A Script For Machine Synthesis
Boomkat Product Review:
Preeminent sound artist Florian Hecker investigates the uncanny valley of perception between man/machine in the experimental auditory drama A Script For Machine Synthesis, featuring main vocals by Charlotte Rampling, and completing his trilogy of collaborations with philosopher Reza Negarestani after Chimärisation (2012), and Articulação (2014).
Aesthetically, A Script For Machine Synthesis delivers all the pervasive electronic sensation and perversion you’d hope for from a Hecker recording; most notably including passages of clammy subbass which we’ve hardly haven’t heard in his palette since IT ISO161975 (1998), strangely enough applied to the perfectly plummy tones of polyglot actress and chanteuse Charlotte Rampling, oscillating between untreated recital and a deeply unsettling synthetic voice designed by Rob Clark and the Centre for Speech Research Technology, University of Edinburgh.
Unfortunately the digital files don’t include the perfume designed for the original installation of A Script For Machine Synthesis, but we can safely say that the piece’s potential for synaesthetic appeal in rarely paralleled.
It’s another real headful, highly recommended to listeners looking for life affirming/probing sonic sensations.
**From the label**
“The latest work from Florian Hecker A Script for Machine Synthesis is an experimental auditory drama and a model of abstraction. A Script for Machine Synthesis presents a complex simplicity that spirals in an unending manner as an audio image of the uncanny valley. It is the third chapter in the trilogy of text-sound pieces Hecker has collaborated with the philosopher Reza Negarestani. A resynthesized voice outlines procedure as procedure itself unfolds.
The suggestive encounter with a pink ice cube is a conceptual point of departure for a scene in which linguistic chimeras of descriptors are materialized through synthetic trophies, mental props and auditory objects.
Hecker presents a synthesis of the gap in the valley which we almost know. The motifs Hecker has staged in the last decade, the text, the sound, the scent, the obelisk, the demon, the self, the other all appear throughout in a thorough, rigid and formal exploration.
Exeunt all human actors, A Script for Machine Synthesis is an experiment in putting synthetic emptiness back into synthetic thought.”
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Boomkat Product Review:
Preeminent sound artist Florian Hecker investigates the uncanny valley of perception between man/machine in the experimental auditory drama A Script For Machine Synthesis, featuring main vocals by Charlotte Rampling, and completing his trilogy of collaborations with philosopher Reza Negarestani after Chimärisation (2012), and Articulação (2014).
Aesthetically, A Script For Machine Synthesis delivers all the pervasive electronic sensation and perversion you’d hope for from a Hecker recording; most notably including passages of clammy subbass which we’ve hardly haven’t heard in his palette since IT ISO161975 (1998), strangely enough applied to the perfectly plummy tones of polyglot actress and chanteuse Charlotte Rampling, oscillating between untreated recital and a deeply unsettling synthetic voice designed by Rob Clark and the Centre for Speech Research Technology, University of Edinburgh.
Unfortunately the digital files don’t include the perfume designed for the original installation of A Script For Machine Synthesis, but we can safely say that the piece’s potential for synaesthetic appeal in rarely paralleled.
It’s another real headful, highly recommended to listeners looking for life affirming/probing sonic sensations.
**From the label**
“The latest work from Florian Hecker A Script for Machine Synthesis is an experimental auditory drama and a model of abstraction. A Script for Machine Synthesis presents a complex simplicity that spirals in an unending manner as an audio image of the uncanny valley. It is the third chapter in the trilogy of text-sound pieces Hecker has collaborated with the philosopher Reza Negarestani. A resynthesized voice outlines procedure as procedure itself unfolds.
The suggestive encounter with a pink ice cube is a conceptual point of departure for a scene in which linguistic chimeras of descriptors are materialized through synthetic trophies, mental props and auditory objects.
Hecker presents a synthesis of the gap in the valley which we almost know. The motifs Hecker has staged in the last decade, the text, the sound, the scent, the obelisk, the demon, the self, the other all appear throughout in a thorough, rigid and formal exploration.
Exeunt all human actors, A Script for Machine Synthesis is an experiment in putting synthetic emptiness back into synthetic thought.”
Boomkat Product Review:
Preeminent sound artist Florian Hecker investigates the uncanny valley of perception between man/machine in the experimental auditory drama A Script For Machine Synthesis, featuring main vocals by Charlotte Rampling, and completing his trilogy of collaborations with philosopher Reza Negarestani after Chimärisation (2012), and Articulação (2014).
Aesthetically, A Script For Machine Synthesis delivers all the pervasive electronic sensation and perversion you’d hope for from a Hecker recording; most notably including passages of clammy subbass which we’ve hardly haven’t heard in his palette since IT ISO161975 (1998), strangely enough applied to the perfectly plummy tones of polyglot actress and chanteuse Charlotte Rampling, oscillating between untreated recital and a deeply unsettling synthetic voice designed by Rob Clark and the Centre for Speech Research Technology, University of Edinburgh.
Unfortunately the digital files don’t include the perfume designed for the original installation of A Script For Machine Synthesis, but we can safely say that the piece’s potential for synaesthetic appeal in rarely paralleled.
It’s another real headful, highly recommended to listeners looking for life affirming/probing sonic sensations.
**From the label**
“The latest work from Florian Hecker A Script for Machine Synthesis is an experimental auditory drama and a model of abstraction. A Script for Machine Synthesis presents a complex simplicity that spirals in an unending manner as an audio image of the uncanny valley. It is the third chapter in the trilogy of text-sound pieces Hecker has collaborated with the philosopher Reza Negarestani. A resynthesized voice outlines procedure as procedure itself unfolds.
The suggestive encounter with a pink ice cube is a conceptual point of departure for a scene in which linguistic chimeras of descriptors are materialized through synthetic trophies, mental props and auditory objects.
Hecker presents a synthesis of the gap in the valley which we almost know. The motifs Hecker has staged in the last decade, the text, the sound, the scent, the obelisk, the demon, the self, the other all appear throughout in a thorough, rigid and formal exploration.
Exeunt all human actors, A Script for Machine Synthesis is an experiment in putting synthetic emptiness back into synthetic thought.”
Boomkat Product Review:
Preeminent sound artist Florian Hecker investigates the uncanny valley of perception between man/machine in the experimental auditory drama A Script For Machine Synthesis, featuring main vocals by Charlotte Rampling, and completing his trilogy of collaborations with philosopher Reza Negarestani after Chimärisation (2012), and Articulação (2014).
Aesthetically, A Script For Machine Synthesis delivers all the pervasive electronic sensation and perversion you’d hope for from a Hecker recording; most notably including passages of clammy subbass which we’ve hardly haven’t heard in his palette since IT ISO161975 (1998), strangely enough applied to the perfectly plummy tones of polyglot actress and chanteuse Charlotte Rampling, oscillating between untreated recital and a deeply unsettling synthetic voice designed by Rob Clark and the Centre for Speech Research Technology, University of Edinburgh.
Unfortunately the digital files don’t include the perfume designed for the original installation of A Script For Machine Synthesis, but we can safely say that the piece’s potential for synaesthetic appeal in rarely paralleled.
It’s another real headful, highly recommended to listeners looking for life affirming/probing sonic sensations.
**From the label**
“The latest work from Florian Hecker A Script for Machine Synthesis is an experimental auditory drama and a model of abstraction. A Script for Machine Synthesis presents a complex simplicity that spirals in an unending manner as an audio image of the uncanny valley. It is the third chapter in the trilogy of text-sound pieces Hecker has collaborated with the philosopher Reza Negarestani. A resynthesized voice outlines procedure as procedure itself unfolds.
The suggestive encounter with a pink ice cube is a conceptual point of departure for a scene in which linguistic chimeras of descriptors are materialized through synthetic trophies, mental props and auditory objects.
Hecker presents a synthesis of the gap in the valley which we almost know. The motifs Hecker has staged in the last decade, the text, the sound, the scent, the obelisk, the demon, the self, the other all appear throughout in a thorough, rigid and formal exploration.
Exeunt all human actors, A Script for Machine Synthesis is an experiment in putting synthetic emptiness back into synthetic thought.”
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Boomkat Product Review:
Preeminent sound artist Florian Hecker investigates the uncanny valley of perception between man/machine in the experimental auditory drama A Script For Machine Synthesis, featuring main vocals by Charlotte Rampling, and completing his trilogy of collaborations with philosopher Reza Negarestani after Chimärisation (2012), and Articulação (2014).
Aesthetically, A Script For Machine Synthesis delivers all the pervasive electronic sensation and perversion you’d hope for from a Hecker recording; most notably including passages of clammy subbass which we’ve hardly haven’t heard in his palette since IT ISO161975 (1998), strangely enough applied to the perfectly plummy tones of polyglot actress and chanteuse Charlotte Rampling, oscillating between untreated recital and a deeply unsettling synthetic voice designed by Rob Clark and the Centre for Speech Research Technology, University of Edinburgh.
Unfortunately the digital files don’t include the perfume designed for the original installation of A Script For Machine Synthesis, but we can safely say that the piece’s potential for synaesthetic appeal in rarely paralleled.
It’s another real headful, highly recommended to listeners looking for life affirming/probing sonic sensations.
**From the label**
“The latest work from Florian Hecker A Script for Machine Synthesis is an experimental auditory drama and a model of abstraction. A Script for Machine Synthesis presents a complex simplicity that spirals in an unending manner as an audio image of the uncanny valley. It is the third chapter in the trilogy of text-sound pieces Hecker has collaborated with the philosopher Reza Negarestani. A resynthesized voice outlines procedure as procedure itself unfolds.
The suggestive encounter with a pink ice cube is a conceptual point of departure for a scene in which linguistic chimeras of descriptors are materialized through synthetic trophies, mental props and auditory objects.
Hecker presents a synthesis of the gap in the valley which we almost know. The motifs Hecker has staged in the last decade, the text, the sound, the scent, the obelisk, the demon, the self, the other all appear throughout in a thorough, rigid and formal exploration.
Exeunt all human actors, A Script for Machine Synthesis is an experiment in putting synthetic emptiness back into synthetic thought.”
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