“A Swiss Trick” is a funny short animation film by John Foster of Van Beuren Studios. I’m amazed at the way my piece magically matches that (accelerated) video. You may find the original on the Internet Archive.

The soundtrack is called “S​ā​g​ī​tur” and is on bandcamp

The title comes from the fact that the piece was conceived and played by me on guitars (a beautiful Fender 12-string that my friend Bart kindly lent me). The only other instrument is percussion (drumkit, darbuka, riq, and derbake).

Incidentally, “s​ā​g​ī​tur” is Latin for “It is perceived quickly or keenly with the senses”, and also “It is perceived acutely with the intellect” (www.wordsense.eu/sagitur/)

If you like my work, please follow me:

• on bandcamp
• on youtube
• on facebook

All of my music is on sale (Name Your Own Price) via https://eidon.bandcamp.com.

The original video, “A Swiss Trick”, is Creative Commons License public domain (see https://archive.org/details/swiss_trick).

This clip is also

• on youtube
• on facebook
• on palithermikon

Lichtspiel Opus 1.74 is my second Dada experiment, following “euqinacèM”, which I published a few months ago. The video is Walther Ruttmann’s “Lichtspiel Opus 1”, which has been sped up to match my track “Seventy-Four”.

Ruttman’s first Opus was created between 1919 and 1921, and is the “oldest fully abstract motion picture known to survive, using only animated geometric forms, arranged and shown without reference to any representational imagery” (M. Betancourt, “Walther Ruttmann’s Lichtspiel Films”. Cinegraphic. Cited by Wikipedia).

The geometrical shapes in Léger and Murphy’s “Ballet Mécanique” clearly owe to Ruttman’s. For a strange kind of serendipitous magical audiovisual xenochrony, both videos appear to be in sync with my tracks, despite the fact that the decision to use them as soundtracks came to me long after I had composed them. In sooth, magic does exist!

So here’s to you my Klang- und Lichtspiel. I hope you’ll like it!

“Seventy-Four” is on bandcamp. As its sister, “euqinacèM”, it is part of my album “Ballet Mécanique.

Follow my Dada xenochronical adventures via https://eidon.bandcamp.com/follow_me.

You’ll also find me

• on #facebook: https://www.facebook.com/EidonVeda
• on #youtube: https://www.youtube.com/@eidonveda

This video is also on youtube: https://youtu.be/L90mEjD4ZzQ and facebook: https://fb.watch/iLteknfafy/

This is “\Beep* Lain”*, a generative composition for piano, contrabass, marimba, and flute.

https://fb.watch/hUZdpN2LuX/

The clip combines excerpts from the three videos https://archive.org/details/pet1193r1a, https://archive.org/details/pet1193r1b, and https://archive.org/details/pet1193r1c, parts of the 35mm Stock Footage available on the Internet Archive.

“Rights to this collection are held by Internet Archive. You may download and reuse material under the Creative Commons Attribution License.” Credit: Internet Archive. License: https://creativecommons.org/licenses/by/2.0/. Changes were made.

• My works on bandcamp

• My videoclips on youtube

• My facebook page

#minimalism #minimalmusic #originalmusic

I called this piece Susanoo ( スサノヲ ), after the Shintō god of the sea, storms, fields, the harvest, marriage, and love. “One of the central deities of the imperial Japanese mythological cycle recorded in the Kojiki (c. 712 CE) and the Nihon Shoki (720 CE)” (Wikipedia), and also the god at the center of the manga “The Dark Myth” (暗黒神話 , Ankoku Shinwa), by the great Morohoshi Daijirou (諸星 大二郎).

Susa-no-o is also the god of unexpected behavior — one that disrupts the established order by introducing chaotic, sometimes violent outbursts. In this piece, I assigned this role to slap bass — the only instrument exclusively playing quarter tones; the only character whose temperament is off the scale, if you’d allow me the pun. In opposition, pianos, marimba, vibraphone, trombones, and darboka all play in standard 12-TET.

I hope you’re going to enjoy Susanoo!

Best, Eidon.

#Bandcamp: https://eidon.bandcamp.com/track/susanoo

#Youtube: https://youtu.be/nAT10gfL7oY

#諸星大二郎 #MoroboshiDaijirou #暗黒神話 #AnkokuShinwa

Music by Eidon, (c) Eidon (Eidon@tutanota.com, Eidon.Songs@gmail.com).

The video makes use of the following videos:

Zooming in on the Horsehead Nebula (3D) https://esahubble.org/videos/heic1307b/ Credit: NASA, ESA, the Hubble Heritage Team (STScI/AURA); G. Bacon, T. Borders, L. Frattare, Z. Levay, and F. Summers (Viz 3D team, STScI); ESO. ESA/Hubble video released under the Creative Commons Attribution 4.0 International license.

3D visualisation of the Horsehead Nebula https://esahubble.org/videos/heic1307d/ Credit: NASA, ESA, the Hubble Heritage Team (STScI/AURA); G. Bacon, T. Davis, L. Frattare, Z. Levay, and F. Summers (Viz 3D team, STScI); ESO.

Hubblecast 65: A whole new view of the Horsehead Nebula — celebrating Hubble’s 23rd birthday https://cdn.spacetelescope.org/archives/videos/hd_1080p25_screen/heic1307a.mp4 Credit: ESA/Hubble Visual design and editing: Martin Kornmesser Web and technical support: Mathias Andre and Raquel Yumi Shida Written by: Nicola Guttridge Presented by: Joe Liske (Dr J) Narration: Sara Mendes da Costa Images: NASA, ESA, and the Hubble Heritage Team (AURA/STScI); ESO Animations: NASA, ESA, the Hubble Heritage Team (AURA/STScI); F. Summers, L. Frattare, T. Davis, Z. Levay, T. Borders, and G. Bacon (Viz 3D team, STScI) Music: Steve Buick Directed by: Nicola Guttridge Cinematography: Peter Rixner (www.perix-media-gmbh.de) Executive producer: Lars Lindberg Christensen

Pictures and video from The Dark Myth (暗黒神話, Ankoku Shinwa), manga and anime by Daijiro Moroboshi.

The key concept here is the shuji:

Shuji are syllables that contain, as if compressed, divine concepts. The shuji, emitted in one of the “exact” modalities, express the shingon [true word], which in turn enclose in their entirety and express the “words of god” and of the Initiates.

Here, the shuji are “ya” “ma” “ta” and “i”, which create the shingon “Yamatai”.

The piece I included has been inspired by a beautiful photo that [Mr. Norbert Woehnl(@norbertwoehnl@mastodon.coffee) kindly shared with me. Mr. Woehnl entitled his work “Autumn Reflection”.

Quoting from Mr. Woehnl’s original post, Autumn Reflection depicts

>>> “A tranquil autumn scene along a pond at Showa Memorial Park (Shōwa Kinen Kōen, 昭和記念公園) in #Tachikawa, around 30 minutes from central #Tokyo.”

No better title I could choose for my piece. “Autumn Reflection” is a placid piece for clarinet, oboe, and piano. A Grundgestalt based on three seeds, namely strings

>>> 000020020110440140054162106751633100953, >>> 000220324110444140554162106751633100953, and >>> 01102220324110444140554162106751633107953.

(The first string is also “played” at the end of the piece.)

More information on the generative process that produces music from the above seeds is available here.

As a curiosity, this is the first piece of mine that uses SCAMP.

The piece is available as a 24-bit 48MHz FLAC on bandcamp.

Again, heartfelt thanks to @norbertwoehnl for giving me permission to use his photo!

I hope you’re going to like our “Autumn Reflections”!

Best, Eidon

Mr. Woehnl’s photo.

@norbertwoehnl Excuse me Mr. Woehnl, may I make use of your wonderful photo as a cover for one of my music pieces? Of course I would mention you as an author and this toot as the original location. Thank you for considering my request. Eidon

I’m so happy, I have just read a beautiful post about my compositions! “A year with Eidon Veda”

A Fediverse friend (@gav) contacted me yesterday. They had listened to one of my algorithmic compositions and told me “use this in something”, where “this” was given by two URLs:

https://oeis.org/A342585 and https://youtu.be/_AOGsnH3UCs

([here’s a link to their toot.)

The first link led me to a page of The On-line Encyclopedia of Integer Sequences (founded in 1964 by N. J. A. Sloane) — the page describing inventory sequence “A342585”:

“record the number of zeros thus far in the sequence, then the number of ones thus far, then the number of twos thus far and so on, until a zero is recorded; the inventory then starts again, recording the number of zeros.”

The page also provided links to interesting plots, such as Rémy Sigrist’s “Scatterplot of the first 10\^8 terms”, which made me think of so-called permutation numbers, which I studied years ago. I immediately decided to follow Gav’s suggestion! I wrote a tiny program that fed my generative engine with strings such as A(0)A(1)…A(n), where the argument of A() is the corresponding number in A342585.

The thing that I found particularly intriguing is that the procedure generating the sequence emitted zeroes with a certain frequency (at first, zeroes are the most frequent numbers; later on, other numbers become more frequent). Now, zero has a special meaning in my own generative engine: it is the code of the only “bad card” in the game that my engine simulates.

This means that the behavior of the game (and thus, the music generated by my engine) would have two “trends”: a regular one, when a non-zero was found in A342585, and an irregular one, when a zero was found. In other words, the fate of the game would only change when a zero is found in A342585. In musical terms, when the new input string has a non-zero A(n), then the “music quantum” generated by my engine would be very similar to that generated from the previous input string.

I did some experiments and found out that the generated music was particularly interesting when n was between 18 and 28. In that region only two zeroes were part of the sequence, which leads to simulations that produce much stability with occasional trend changes. More importantly, the stable “episodes” produced in the 18..28 region were good to my ear.

The result was manually adjusted by cutting off some music at the beginning; orchestrating the midi file generated by my engine with soundfonts for acoustic bass, marimba, celesta, kalimba, piano, oud, and percussion; and adding a bass fragment at the “new beginning” and at the end of the piece.

I hope you will enjoy the result as much as I enjoyed “playing” with A342585. My thanks to Gav for their wonderful suggestion!

Music by Eidon. (c) Eidon (Eidon@tutanota.com, eidon.songs@gmail.com). All rights reserved.

Picture: “distances between permutation numbers of 01234567”. Used by permission.

https://eidon.bandcamp.com/track/a342585

<a href="https://eidon.bandcamp.com/track/a342585">A342585 by Eidon</a>