The Yuha Archive :: “SONICFOLIO SCORES” Episode 4:: Ripples— FIELD NOTES
SONICFOLIO SCORES was a collection of graphic scores jointly produced by The Yuha Archive (Toronto), and The Operating System Liminal Lab (New York). From August 2021- August 2022, eleven graphic scores were produced. Each graphic score endeavored to introduce new perspectives in musical notation and interpretation. The full archive can be found HERE
“Ripples” is the fourth installment of the SONICFOLIO SCORES Project supported by the Operating System & Liminal Lab. To stay up to date with the Yuha Archive SONICFOLIO Series, follow the project on Soundcloud or the Archive’s website. For the introduction to this series here on the OS’ Medium platform, click here.
The graphic score “RIPPLES” represents the environment we inhabit as a vast and constant tension of sound. Ripples in water are influenced through a reactionary effect, or by trajectories that an instant action relates in conjunction to the simultaneous appearance and disappearance in surface tension. It is with tension that ripples portray a rhythmic flexibility strung from vastness that appears symbolically morphic, yet seemingly adaptable within its constant stillness. Specifically, the primitive interplay between wind and water are what characterizes the many found species of open water such as puddles, oceans and lakes (Tristan Gooley). Stillness finds movement within the verb, or a shared contingency with its substance/nouns. The singular shared overview that water provides is a multitude of reactions that pervade our perspectives within these constant changes; as in life, as in growth. The stillness of extremities.
The graphic score features a column of 24 textured lines. These lines should refrain from being viewed as a singular point of vastness, but rather, a departure towards the assemblage of a larger whole from a string of smaller values. The lines serve as the metaphorical surface tension from which sonic interplays can be layered onto via the blue brushstrokes. These brush strokes bring the lines towards a canvas of further interest; to encourage creators to enable reactionary liberties within the vastness. In short, one has never come to the end of it; the chorale is inexhaustible.
Together with my collaborator Alinovsky is own sonic rendition of RIPPLES. What will your soundscape be?
Stanford Cheung engages across a variety of creative hubs as a classical pianist, sonic artist, improvisor, and multi-disciplinary poet. From concerto performances with orchestras, poetry recitals, to electronic free-form improvisation for art installations, Cheung has collaborated internationally with a variety of artists and scholars, including Morgan Fisher, Steven J Fowler, Shahzad Ismaily and Nobuo Kubota. Cheung’s commissioned projects have been exhibited or forthcoming at the 43rd Rhubarb Festival (Buddies in Bad Times), Osaka University OCCA, Edinburgh University, Christchurch University, Banff Centre for the Arts, Orpheus Institute, Kitakyushu Centre for Contemporary Arts, Tokyo Poetry Journal, among others. Presently, Cheung is pursuing his Doctoral degree in music at McGill University where his research is dedicated to the Japanese composer Ryuichi Sakamoto. He runs a multimodal soundscape project called The Yuha Archive.
Alain Lefebvre aka Alinovsky is a sound artist, record producer, and multi-instrumentalist from Belgium. Since 1976, Lefebvre has recorded and performed with American bands Tuxedomoon, Anna Domino, Winstong Tong, Blaine L. Reininger, the English musicians Vini Reilly (The Durutti Column), Anne Clark, Alan Rankine, the French band Antena and the Belgian musician Benjamin Lew among others. In 2007, Lefebvre founded his label Off which up to 2021 has released more than 400 avant-garde recording projects from all over the world.
The Label: www.off-recordlabel.blogspot.com
