Florian Hecker & Yasunao Tone

Maria am Ostbahnhof

– Multilayered Generative Media Music | Japan & Fluxus & Elektronik –
Florian Hecker & Yasunao Tone – Palimpsest (2004)
Yasunao Tone – Wounded Soutai Man’yo Book III (2004)
Florian Hecker – Inverted Henon Map IV (2004)

The collaboration between the young electronic composer Florian Hecker (*1975 Augsburg) and the Japanese Fluxus pioneer Yasunao Tone (*1935 Tokyo) is a trans-generational project. With his numerous releases on the Vienna label Mego, Hecker has become well-known in the young electronic scene. Yasunao Tone was among the leading figures of Fluxus in Japan in the early 1960s, and during Ars Electronica 2003 he was honored for his life’s work. First and foremost a composer, he started to work in different media early on. Among his works are pieces for electronics, computer systems, film, radio and television, as well as environments. Yasunao Tone was one of the first artists to experiment with manipulated and/or prepared CDs in the mid-’80s. His sound material is based on characters from “Man’yo-shu”, a Japanese anthology of poems from the 8th century, which he digitally treats and transposes into sounds by transferring the calligraphy directly into the sound synthesizer program Sound Designer II with a WACOM style tablet. The characters transform themselves into patterns of vibrations as soon as the stylus is lifted from the screen.
The digital sounds created in this way also form the underlying material for the collaborative performance “Palimpsest” by Hecker and Tone. Hecker’s remix of the “Man’yo-shu” sonifications mixes additional layers, all of which are derived from the initial visual material, into the performance, while Yasunao Tone works live with one of Hecker’s layers.
The solo performance “Inverted Henon Map IV” (2004) by Florian Hecker is based on dynamic stochastic and chaotic synthesis, a sonification of the Henon Map. Unlike many algorhythmic compositional approaches in which structure and pitches are generated, Hecker is concerned with rendering the mathematical equations directly in sound. In the process, a broad spectrum of non-linear sounds between sine waves and colored noise are created.
For his solo performance “Wounded Soutai Man’yo-shu” (2004) on the book Na’yo-shu III, Yasunao Tone uses the same graphic transfer of visual characters into sound.  He then burns a CD of this sonification and prepares it. In his performance, Tone plays the CD on players made in 1985-86, and the sonic result is different each time.

Supported by Initiative Neue Musik Berlin e.V., in collaboration with freies rheinland e.V. c/o Georg Dietzler Köln.

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