25. 1972

Timothy Schmele

1972

9:55

1972

Timothy Schmele

1972 deals with the ephemeral nature of sound, the establishment of auditory cultural heritage, radio culture in a boarder context, the onslaught of art as a product and the collective memory within our society. It originated as an idea for a private contest among friends, where the idea was to use the Billboard 1972 top 100 songs in a mash-up, but never fully realised. Written entirely in Python, the script would be regarded as the score and the choice of samples as its interpretation. Thus, for the Freesound open call, the composition was further fleshed out and the idea to use other samples (from the Freesound corpus in this case) as an alternative interpretation was put to the test. The entire composition is based solely on the logistic map, its 100 samples and permutations using the digits 1972. It also borrows its aesthetics from Plunderphonics, Harsh Noise Wall and Drone.

This composition uses the following sounds:

Artist bio

Born 1986 in Germany, is a senior researcher in the Audio Group at Eurecat, Barcelona, Spain and is finishing his PhD in musicology at the music university in Karlsruhe, Germany. He is also a composer of electroacoustic music and is a founding member of the No Input Ensemble. His work has been performed internationally across Europe, from Ireland to North Macedonia, in festivals such as Sonar in Spain or the Donaueschinger Musiktage in Germany, and has been recognized with the Gran Prix Luigi Russolo and Karl Szcuka support grant, for example. His work often deals with feedback loops, spatialization, or algorithmic processes. He also enjoys playing Irish Trad with his current group the Bonitos del Norte.