Tag Archives: vegetable.machine.animal

Out from the darkness

We are the only vehicle moving towards the airport. The water across the sand is calm, and there is no wind. The birds are still asleep, as is most of the inhabitants of these more solid nests. This darkness is an in-between space, limnal, here it feels like potential is waking up.

Darkness is an experience we all share. We also share our differences in experiences of darkness. We can be in the same physical space and yet vastly different psychic places at the same time. My darkness this morning is important to me. I am up so much earlier than usual with the intention to travel across the city to the airport, flying first to Sydney, then onto Jakarta. Typically, in the recent past, if I was awake at this time, it was because I had lost the ability to sleep. The dark held terrors.

My own personal darkness for the last four years had not felt so pregnant with hope.  Life took a turn for the hard, and then harder again. It’s been a time of involuntary breaking, revision, and then reassembling by brute will, appropriate interventions, and an incredible web of support. I felt kneecaped by a clusterfuck of events that eventuated into a diagnosis of PTSD. Only relatively recently, as each day passes, I can see evidence of this becoming post-PTSD (if that is, in fact, possible). I do know that scars will remain and that I continue to keep figuring all this out. I am forever grateful for those who have stood by me in this time where I have learned again to stand confident on my own.

And here I am. Approaching twelve thousand kilometers high. The horizon is a rainbow, and the outside is freezing at -55°c. Up here is where life like ours can not remain. Though I have read that even in these extreme environments, the life of certain staminas’ can survive. And over ‘there’, where the rainbow meets the Earth, adventure and wonder dwell.

This is my first post-covid tour.  I am on my own this time. I tell people I am traveling with a trio called vegetable.machine.animal, a non-human/technology/human ‘band’. I’ve never been a massive fan of electronic music, yet here i am pedaling a modular synthesizer across the sea.  And I’m no scientist, but I have become immensely interested in the interspecies networking, the symbiotic coexistence, and the evidence of a massively weird and interconnected world unfolding in scientific findings of recent years.

In this ‘band’, I am able to detect an echo of these connections. I have a biofeedback module on the synth.  This enables the electrical signal of living matter to become an influencing player in the circuitry and programming of the synthesizers computers, producing random, dynamic, and interactable sounds. I hear these sounds and then attempt to drum along .

This is the project I want to now take out into the world. This is how I want to reconnect. I heard a story once about how the great navigators of the Pacific had the skills to be guided by the dark. It was only in that darkest of environments that the next passageway became obvious. If you could read the stars, then you could identify the direction to head towards when the next sun rose. I am happy to be reminded that the darkness, among other things, is also full of awe.
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Hours later:
It pays not to think too hard about the concept of trying to sleep in a tube hurtling above the earth. Fortunately, it’s so uncomfortable, and trying to bend into some form of sadistic yoga pose provides comfort only in knowing that at least I tried to be comfortable.. not that I was.
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The old boy in the chair behind me has burped constantly from Darwin to Dempessar. I am not not impressed.
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Just like this morning, we seem to be the only vehicle on the road.  Out my porthole, over the wing, I see layers of pinks, blues, browns, and greys… like sediment,  less geological… is atmoslogical a word?.. probably not.

Maybe it's smoke from a volcano, photo taken from plane


There is a cloud in the distance that looks different, darker, and taller with solid mass.  I wonder if at this altitude that it might be from the active volcano north towards the Philippines.  I’m no  expert, but it didn’t look like cloud, more the haze of smoke. It has none of the fluffiness and features of the cloud forms beneath it.  A thick and flat featureless gray  smudge that spans what I can see of the horizon.
 
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I see land mass below.. or are they shadows of cloudbanks? ill-defined and uncertain… I imagine the landmass rising and falling like they are relations to some mighty cetacean kin.
—-‐————–
The slightest shift in something.. air pressure? angle?  Incline?  is reminiscent of some mighty bee bending is snout to some destination called flower.
—–‐——-
It’s been a long day.

Club.Bowl.Island

vegetable.machine.animal had the wonderful fortune to perform at the Compassionfest held in Island Bay, Te Whanganui a Tara late October 2023.

The festival this year was to celebrate the life of an extrodinary local, Kae Miller “CompassionFest is a festival for the south coast of Wellington, New Zealand, seeking to celebrate and re-tell local stories of local heroes of compassion.
The local hero this year is Kae Miller, who advocated and acted for the benefit of refugees, mental health, and the environment. She inspired Bruce Stewart to build Tapu te Ranga marae out of recycled materials, and she started the movement to replant the South Coast with native bush.”
source

Remix like a Plant

I googled to see if there had been examples of music anywhere remixed by plants. All I found was a lot of Robert Plant and Plant Vs Zombies.

When putting the album My Daughter the Spider together I thought about making some tapes at home. Turns out our tape deck is not up to the task.

After a few experiments at dubbing I accepted that the quality just stank, and abandoned that idea. But then another more interesting thought came along.

What if I played the dodgy audio back through the synth? What if I had a plant also connected to the synth and had it wired up in such a way that it would change the audio coming out? What if I got the plant to do a remix??

The text of Eryk Salvaggio is really useful in helping to understand how this can work:

Living things produce electrical signals on their surface, whether it’s human skin or the cap of a blooming mushroom [or in this case a photosynthesising plant] . A synthesizer can be designed to read this signal as voltage. The voltage can then control the synthesizer by moving through its components according to a specific structure. The structure is shaped by circuits, which usually assembled and sold as “modules” in a modular synth. The signal’s path between those modules is possible through the patchwork of wiring between those modules. 

The [plant] is not the core of our concern. The centerpiece of this machine is electricity. Once the [plant] “gets into the system,” you can direct it in all kinds of ways, depending on where the wires connect to those modules. If you have never tried to do this, you might assume it’s like hooking up a stereo, where wires have a right place to be. That’s not the case. Instead, you have to make decisions about where the electricity needs to go in order to do the thing you need it to do; every hole in the module is an eligible candidate and there is really no way of knowing what it will do in combinations with other parts of that chain. 

It’s not a sound system. It’s an electrical ecosystem. “Sound” is just what happens afterward.

The technical Part:

The first module is a bio-feedback module, this converts plants electrical signal in a way that the synth can use. The Synth also has a Loop module, this captures and repeats edits of sound moving through it. The Loop also has a GATE [controlled by the plants electricity] meaning when the biofeedback module is active, the GATE opens and lets a new piece of sound into the looper and deletes the previous sample. And this is where I thought the remix would come form. Not a reinterpretation but a method that a piece of established music could be affected into new and unexpected ways.

And then I started the recording of the remix. I decided once the recording had started that I would not manipulate anything on the synth. I did allow myself to interact with the plant, like touching the plant, spraying water and creating shade. These physical interactions change the signals being sent from the plant to the synth. But it seems like there is no way to control or preempt what the changes might be.

Does it sound any good?

Is it a technique worth exploring?

It’s a fascinating way to apply reimagining to a piece of music via a truely random method. There is no suggestion that the remix is based upon plant-intention or consciousness. It does seem like an interesting result from what Salvaggio calls an Electrical Ecosystem and well worth exploring more.

Below is the remix – have a listen, leave a comment, we’d love to know what you think.

My Daughter the Spider album release

Square over artwork for the vegetable.machine.animal album My Daughter the Spider.
Top left is the vegetable.machine.animal logo
Bottom left ais the album title My Daughter the Spider
Top right corner contains the top half of an elongate photo of the preforming trio - in this section the view is as if looking down from the roof onto the modular synthesiser on a table top, next to the synth is a Sarracenia Pitcher plant - connected to the synth via connecters.
The bottom right portion of the photo is a overhead view looking down on drummer Kieran Monaghan

Horizontal through the centre of the cover is a collection of colourful synth cables - adding a strong horizontal feature to the cubic design

We are very pleased to be able to post this new release today the new album My Daughter the Spider by the project vegetable.machine.animal – an interspecies trio [non-human(of fungal and photosynthesizing variation), modular synth, human] creating

My Daughter the Spider contains 11 tracks – 9 tracks collected over the last 6 months- then an imaginary cassette version, and then a remix of the imaginary cassette version conducted by Plant!

vegetable.machine.animal : an interspecies trio of non-human, technological and human collaboration developing generative and engaging sonics at this meeting point of three worlds. 

Via mycelium, wires and neurones signals are made, sent, received and interpreted in ways that make sense to each from its own perspective 

non-human/machine: 
The non-human is connected to the machine via a biofeedback module which converts living electrical signals into ‘data’/machine-processable information – these signals moves through the network of the various modules of the synth altering parameters such as pitch, time, volume, sensitivity. 

machine/human: 
Aesthetic Synth sounds to the human ear are identified by manipulation of the parameters of oscillators, sequencers, EQ’s’ and settled on once the general ‘voice’ being produced seems ‘right’ for the moment. 

human/non-human: 
When the drumming/recording starts no further human manipulation is made to the synth. 

The only physical interaction happens once playing commences is between the non-human/human – this may be touch, talking, spraying water, making shade etc – these interactions also appear to have an affect on the incoming/outgoing signal of the synth. It also seems that the plant appears to responds to the volume of sound of the drums/speakers, further changing the dynamics of the audible sound. 

The 9 tracks recorded at various locations, home studio, live [Pyramid Club] and at the Audio Foundation- Tāmaki Makaurau/Auckland – many thanks to AF!! 

Track 10 is an edited compilation for a 20 minute imaginary cassette. 

Track 11 is track 10 that has been played back into the synth with the plan to develop a ‘Remix’ via a Sarracenia Pitcher Plant. 

The biofeedback signals of the plant influenced various gates and effects of the synth. The sensitivity/intensity of these signals determined the parameters of the audio output. For example A looping module would collect a snapshot of audio depending on the signal received. The duration of this playback was held until a new signal directed the machine to discard the sample and collect a new soundbite to loop/process for a plant-determined time, until the next signal arrived. 

Once recording started the human interacted only with the non-human. 
These interactions in turn affected the outcome from the synth which generated this essentially plant-based remix. 

The concept of the plant remix is the topic of the next post

Album available from Bandcamp