The Quantussy is a five (5) petaled flower, each petal with oscirator, that creates a rhythm, that triggers quantizations of the movements of the other four oscirators. The Quantussy is thus both based on five (5), but four(4)… and its name also refers to Quantum Physics through its unique “double quantizing” of angular momentum.
Running at low frequencies, the Quantussy is intended to provide ample modulations for the various functions of the COCOs, through inputs “FLIP”, “SKIP”, and “SP.AF”, or “Speed Affect”. The Quantussy petals can also run at audio frequencies, as well as “Balcium” frequencies, depending on a toggle switch.
The center of the Quantussy merits some attention. There is a central indicator-lozenge of 15 Light Emitting Diodes, showing the “Spesal State” of the device. The Spesal State is controlled by touching the “Cercel Nodes”, thus preserving Ciat-Lonbarde’s motto of “touch-sensitive is best!”.
To preserve this precious jewel of silicon encased in finest woods, use patch cords to wire it up in its own self-reconfiguring spasms.
These vibrations, spasms, activities, all manifest in unique transpositions and flip-skips in your material, which is input via Mike, Synthin, or special High Impedance Piezoin. The COCO modules here have a generalized version of the DOLBY cargo-cult preamp, which includes a self-expander, and an other-puncher for maximum POP SENSATION MUSIC>
You see, on each COCO, there is a knob for INPUT as well as FEEDBA… These are the primary functions of the COCO, to take in sound and recirculate it through *8BIT* digital memory. These two functions INPUT and FEEDBA, depending on a toggle switch, can punch the others out to create monophonic articulations of time-layers in your material.
Blind Material Volume II is the companion album to Lacanian Sieve (domizil 52) by Bernd Schurer. The composition Vortexification, an unfinished “work of crisis”, is released on cassette tape solely to exist. The digital download includes additional sound materials generated similarly (Sieves in SC, see Xenakis, Roads et al) as those found on Lacanian Sieve.
What is it good for? A Game.
credits
released June 22, 2025
published by domizil 2025. all music by bernd schurer.
We owe the quasi-totality of our discoveries to our violences, to the exacerbation of our disequilibrium. Even God, insofar as he intrigues us, is not to be found in our most intimate depths, but rather at the exterior limit of our fever, at the precise point where, our rage coIliding with his, a shock results, an encounter that is equally ruinous for him and for us. Stricken with the malediction attached to acts, the violent man does nor force his nature, does not go beyond himself, except to furiously re-enter, as aggressor, followed by his enterprises, which come to punish him for having raised them. There is no work that does not return against its author: the poem crushes the poet, the system the philosopher, the event the man of action. S ome form of self-destruction, responding to his vocation and accomplishing it, is at work in the core of history; only he saves himself who sacrifices gift s and talents in order that, disengaged from his quality as a man, he is able to strut into being. If I aspire to a metaphysical career there is no price at which I am able to protect my identity, however minute are the residues that remain, it is necessary that I liquidate them; just as, on the contrary, if I adventure into a role in history, the task that I take upon myself has to exasperate my faculties to the point where I splinter with them. One always perishes by the self that one assumes: to bear a name is to claim an exact mode of collapse.
While doing some Media Archeology for the Coningentia book, I came across some odd recordings I made, mostly for radio diffusion, between 1993 and 2003. What would later be labeled as laptop music and glitches is indeed the technological dawn of an ongoing fascination with glitches, aesthetics of failures, broken music, and, of course, the occlusion of the heart in the rise of demonic cybernetic suns. It is sometimes wonderful to be in the bright position of life, where shadows cast light on the traveler´s path through obscurity.
There are pieces exploiting the sounds of a Lowrey Genie ´98 organ at my parent’s house while our cat Minou was sleeping in its Leslie cabinet, destroying microphones of my Papa´s dictaphone while attempting to record burning coal, damaging and glitching a minidisc recorder from water spill while capturing the sound of water dropping into the sink (sic!) or exploiting stuck MIDI notes on my Yamaha DX-7 synthesizer as a means of overcoming “the problem” of time and my personal inabilities to “compose correctly” and many more puerile adolescent philosophical tropes…
Thank you everyone at Editions Mego for reminding me how precious this all was, is, and will be.
Me for my part, do not, have not, and never will exist.
“If this music can be narrated, it resonates in the narrative. At least it has changed me physically, this narrated music. It modulates my waves, my relationship to the wind, to the medium of music. And if that is not proof for you, please. Then why should I help you any further? After all, I have other things to do. The wind has infected me. I have to devote myself to it.”
credits
released February 23, 2025
All music by Bernd Schurer. Published by domizil 2025. Text: Tim Zulauf
I don’t understand why we must do things in this world, why we must have friends and aspirations, hopes and dreams. Wouldn’t it be better to retreat to a faraway corner of the world, where all its noise and complications would be heard no more?
Then we could renounce culture and ambitions; we would lose everything and gain nothing; for what is there to be gained from this world?
There are people to whom gain is unimportant, who are hopelessly unhappy and lonely.
We are so closed to one another! And yet, were we to be totally open to each other, reading into the depths of our souls, how much of our destiny would we see?
We are so lonely in life that we must ask ourselves if the loneliness of dying is not a symbol of our human existence. Can there be any consolation at the last moment? This willingness to live and die in society is a mark of great deficiency. It is a thousand times preferable to die somewhere alone and abandoned so that you can die without melodramatic posturing, unseen by anyone.
I despise people who on their deathbed master themselves and adopt a pose in order to impress. Tears do not burn except in solitude.
Those who ask to be surrounded by friends when they die do so out of fear and inability to live their final moments alone.
They want to forget death at the moment of death. They lack infinite heroism. Why don’t they lock their door and suffer those maddening sensations with a lucidity and a fear beyond all limits?
We are so isolated from everything.
But isn’t everything equally inaccessible to us? The deepest and most organic death is death in solitude, when even light becomes a principle of death.
In such moments you will be severed from life, from love, smiles, friends and even from death. And you will ask yourself if there is anything besides the nothingness of the world and your own nothingness.
Netockas´ Thoughts while reading <the theory of the solitary sailor>, Gilles. Grelet, June 2024
For eight computer- controlled solenoids, medical tuning forks and eight digitally controlled sine-wave- oscillators. Made with SuperCollider. Also, worship The Glitch.
Will try to present “Lautaggregat Redux (Texture AI Version 2022)” at this fine little Festival in Frankfurt:SKOP-Festival • Computer-Musik IVhttps://www.skop-ffm.deFor CFC and TW.
