HUMAN IMPULSES

by Zoy Winterstein

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1.

about

The idea of Human Impulses

It was important for me to arrange a rich ambient, using various acoustic spaces which change their perspective in relation to the given impulses of human voices and human noise makers. The idea
was to build exciting courses of increasing intensity and ecstasy which are dynamic or repetive in a hypnotic manner mostly embedded in an organic flow.
I wanted to create moments with appearing novel voices or noises which often melt into the electronic sounds in a space which seems to be endless, first being fragile or charming, then pulsing.
It is said that impulses are very short in their duration. In the human context there are emotional reasons for impulsive actions while reflexes are activated only by the brain nerves without a conscious
sake. In this case a pulse happens without deliberate intention analogous to it’s physical meaning of term. This kind of impulses can not react on trigger commands because they are unintentionally
organized. A correlation to this are the eruptive percussive sounds.
But there is also the human wish to set an impulse as a new vision of a chapter in life as you will recognize this at the surprising cuts which are followed by voices with an excentric attitude.
The involved breath sounds which happen because of our survival instinct, represent both items:
an unconscious automated embody close to the reflex and in contrast to this a very deliberate expressive wave-like structure in sound.
There is no text content in this radio play, because the listener should get a more open space of associations created by the richness of imaginary and concrete sounds without a preconceived meaning.
The several voice recordings of entirely unintelligible languages and my inner voice which is pure and not electronically manipulated collide in a carousel in order again in the afterlife of this interface
to disperse in space. There are also dialogs and unisono-like duets between the male and female voice, which show communication in it‘s most common way.
From time to time the sound and sometimes only the rhythmic structures of the noises and voices imitate each other or interact in a contrapuntal magic which gives also an idea of madness.
The noises made by humans which are impulses in their intentions get the experience to the fact, that the voices seem to be autistic because they do not know whether they really are looking for
real communication. The dynamic human characters let rotate the electronic music layers. Loop-like rhythms which consist mostly of sampled noises intensify the process of intensity or meditation on the
other hand. The intimacy of the voice finds its own life in response as the constantly varying noise of water no matter whether it drips, rushes or flows down.
Everything you can hear in this radio play was created and recorded by myself except of the female voice by Hilda Garman and the accumulation of voices in a crowd of people like children, laughters
or applause, a parrot and other field-recordings of a train, plane and cars. I recorded all these noises with my field recording equipment.

Zoy Winterstein

artwork by Zoy Winterstein

credits

released March 11, 2014

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Zoy Winterstein Germany

MUSIC PRODUCER & PERFORMER
◢live electronics,piano,saxophones,voice,DJ◤
▲DIGITAL & VIDEO ARTIST▼
electroacoustic music•techno•jazz•radio plays•ambient•space-wave-jazz•electronica•house•free jazz•experimental

www.zoywinterstein.com/go/zoy/home/biography
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