The legend of Woodstock continues …

… I was just produced for this world, at that time, and participating at the first party in my family … 15th of August, 1969!


… si 97 + 1 Cuvinte presate …

  1. 77 Youtubes … Posted on January 17, 2017
  2. Rock Fusion si noi pe aici … Posted on January 3, 2017
  3. Sistemul binar si Inteligenta Artificiala … Posted on December 29, 2016
  4. Arta zgomotelor … industrializarii … Posted on December 29, 2016
  5. O doina de jale … de la conifere 😦 🙂 Posted on December 29, 2016
  6. Ce a fost sper ca va mai fi … Posted on December 20, 2016
  7. Maria si fiul iei … Posted on December 18, 2016
  8. Spalarea de pacate … Posted on December 13, 2016
  9. Spatiul Mioritic … Posted on December 13, 2016
  10. Romania viitoare … Posted on December 13, 2016
  11. Yamaha Reface si vreo 3 voci … umane 🙂 Posted on December 11, 2016
  12. Unora le place Jazul … Posted on November 25, 2016
  13. OpenSourcefullness … Posted on November 3, 2016
  14. In memoriam … mie tare dor de tine motule … Posted on October 28, 2016
  15. Cel mai bun medicament … Posted on October 26, 2016
  16. In tara muzicii nu sint bariere … Posted on October 11, 2016
  17. My dear mentor … Posted on September 18, 2016
  18. Romania and America all the same! Posted on September 14, 2016
  19. Ca nu este numai Rock metalic sau de care o fi el 🙂 … Posted on September 13, 2016
  20. … si apropos de Print … Posted on April 24, 2016
  21. Adrian traieste … vocea (David) sa dus … Posted on April 24, 2016
  22. O fi live (Ableton) dar vrem si clasice pe ogoare … Posted on March 21, 2016
  23. Noua fatada a lui Her Steinberg … Posted on March 20, 2016
  24. Un mic moment introspectiv … Posted on March 18, 2016
  25. Cursuri noi de (re)calificare … si Kontakt-ele aferente! Posted on March 18, 2016
  26. Un pic despre formate video (.mkv) … Posted on March 17, 2016
  27. Sa dam Cezarului … ce este al lui! Posted on March 16, 2016
  28. ‘Structure’ is in fact alive and well … Mea Culpa … Posted on March 16, 2016
  29. Amintiri din copilarie … si nu de Ion Creanga … Posted on March 14, 2016
  30. Sa fie sau sa nu fie … AAX sau VST … Posted on March 14, 2016
  31. La cinci mii ce mai conteaza cinzeci … Posted on March 13, 2016
  32. Canadian Musician March/April 2016 Posted on March 13, 2016
  33. Ceva studii de piata(te) … Posted on March 12, 2016
  34. Cintari, cintari … dar imaginile unde ‘E’ … Posted on March 11, 2016
  35. Jucarii pentru astia mari … Posted on February 29, 2016
  36. Tracking is for nerds? … No way! Posted on February 19, 2016
  37. Chestii muzicale ‘locale’ … Posted on February 16, 2016
  38. Dubsteping … with some history … Posted on February 15, 2016
  39. ‘Sound’ Check up … Posted on February 14, 2016
  40. Studio One in One Key and … everything else in Ctrl-Tab Posted on February 14, 2016
  41. Ginduri … despre ‘fericire’ … Posted on February 8, 2014
  42. some local (wordpres) admin scripting … Posted on February 7, 2014
  43. Voicing (in the Sun) … Posted on February 6, 2014
  44. ‘Programming’ a little bit for our ears … Posted on February 6, 2014
  45. Finally there is something in the harmony layers … Posted on February 1, 2014
  46. Mda … este acum clar … ArchiCAD wins! Posted on January 27, 2014
  47. Doar asa ca mi sa pus (ca de obicei) pata … solara … Posted on January 27, 2014
  48. Warm places … ‘from Siberia with love’ … Posted on January 27, 2014
  49. ERD is here … looking forward for Nexus … Posted on January 25, 2014
  50. ArchiCAD, Allplan, Chief Architect … anyone? … Posted on January 24, 2014
  51. Little Bill .., is on the ‘Move’ … Posted on January 22, 2014
  52. Audio out/Video in … (LIFO is just for them not for us 🙂 … Posted on January 18, 2014
  53. My Little Pingu'(s) getting an Evergreen life …. Posted on January 16, 2014
  54. (Reverse) Engineering the Squad … Posted on January 14, 2014
  55. Dănuţ Deleanu !?! … ofuri autobiografice al tinarului Teodoreanu … Posted on January 14, 2014
  56. Movies that really count (and not from Tarkovsky 🙂 … Posted on January 14, 2014
  57. Echoes from the past for the ‘kids’ in you or us … Posted on January 9, 2014
  58. ‘national geographics’ on the means of undestanding/using ‘smileys’ … Posted on January 5, 2014
  59. Since NDA/contract is over … Posted on January 3, 2014
  60. The language ‘comedia’ … Posted on January 3, 2014
  61. Asa DA … ‘manele’ … Posted on January January 3, 2014
  62. The ‘industry’ in this global village … Posted on December 29, 2013
  63. Adincimi (oarecum abisale) socio-‘culturiste’ … Posted on December 29, 2013
  64. Inapoi la ‘scoala’ … Posted on January December 29, 2013
  65. The land of the free … Posted on January December 20, 2013
  66. PiratBay’s revolution … the code is really flying … Posted on January December 18, 2013
  67. hotspoting the Music Station … Posted on December 13, 2013
  68. Doar ca viata’i scurta … Posted on December 11, 2013
  69. Ceva voci de integrare … si poate de angajare culturala … Posted on January December 11, 2013
  70. Umflat nu cu pompa ci cu trompa … Posted on January December 11, 2013
  71. Introspectii … Posted on December 11, 2013
  72. Fiecare cu manelele lui … Posted on December 10, 2013
  73. Sparks a la … Muerte … Posted on December 8, 2013
  74. Se numea Meditatie Transcedentala … Posted on December 8, 2013
  75. The so called ‘Global Village’ … Posted on December 5, 2013
  76. Uite ca (re)aparu’ din Tufis … la TVRi! Posted on December 5, 2013
  77. Please don’t call me ‘cracker’ … but just ‘hacker’ … Posted on December 5, 2013
  78. Feedback loop … Posted on December 4, 2013
  79. … and of the Nerds Posted on December 3, 2013
  80. Revenge of the autistic(s) … Posted on December 3, 2013
  81. Poate aveti tupeul sa-mi ziceti ca sint antisemit … Posted on December 2, 2013
  82. Cam lipsesc pamfletele pe la noi … Posted on December 2, 2013
  83. Tracking again … Posted on December 2, 2013
  84. Roboteii sau palmasii … Posted on December 2, 2013
  85. Current state of affairs … Posted on December 2, 2013
  86. On Fundamentals … teaching the Russian(s) about freedom … Posted on December 2, 2013
  87. Un imperiu … putred si pacatos … Posted on December 1, 2013
  88. America, Winnetou … si acum John Wayne in The Searchers Posted on November 30, 2013
  89. Reinforcing the values by learning everyday … Posted on November 26, 2013
  90. Adevaruri artistice … Posted on November 23, 2013
  91. Social activism with one of my favourite swords … Posted on October 27, 2013
  92. In acelasi context … Posted on October 27, 2013
  93. David Garrett in concert live in Berlin Posted on October 4, 2013
  94. In memoriam … Florian Pittiş Posted on October 4, 2013
  95. Colectia ‘Teatru radiofonic’ Posted on October 4, 2013
  96. Chestii culturale … Posted on October 3, 2013
  97. Adrian Belew Posted on September 27, 2013

77 Youtubes …

Testing Google Docs, Youtube and WordPress integration – copy & paste of HTML!


Organ Tweaks

  • 2 months ago

Cu un Mot din si prin Bucuresti

  • 2 months ago

Four Seasons with Sinfonity

  • 2 months ago
From:… … cause’ what’s flowing should just flow 🙂

Petrov’s view of Hemingway

  • 2 months ago
Wonderful work on glass for a fundamental story:

Balcanic Ballads within Reason

  • 3 months ago

Let There Be (a little bit of Multitrack) Rock (Live)

  • 6 months ago
Just getting in bed with .moog files!

Just this or that on/off this planet, but definetly a ‘Lucid Mission’

  • 6 months ago
… playing a little bit with some samples on the new waves of music DJ-ing!

Switched on Bach almost restored … but not for (Re)Mastering …

  • 6 months ago
… it is clean now for my ears and up to the summer fun of trying to recreate the hole set of ‘noises’ as pure MIDI with Arturia last soft-synths … I guess probably Modular will be the main

Fluxing the Flux of Andrew Belew …

  • 6 months ago
Well … the Alchemist is really good but is a little bit clipping so I had to Boost it some more!

Noua fatada a lui Her Steinberg …

  • 9 months ago

Spark & Omonim

  • 10 months ago

Punch or Strike, is this a Qustion?

  • 10 months ago

Un pic de Bach final

  • 10 months ago

Moogfest 2006 Live

  • 10 months ago

BCC v10 Presets Preview …

  • 10 months ago

Pe la piata cu Avid …

  • 10 months ago

Nicest keygen ever seen!

  • 10 months ago

Alborada del Gracioso de Ravel … dar prin Studio One!

  • 11 months ago
Just drag & dropped the MIDI file in SO and the program assigned Grand Piano automatically!

why maxing … or better said maxing ‘why’ style 🙂

  • 2 years ago
just revived from the archives!

Warming up for the new year …

  • 2 years ago
…. and just blue-testing 🙂 the new stuff from Alex

Noua Logica Muzicala

  • 3 years ago
In lumina educatiei de acasa … auzi domne’, ordonanta de guvern!, fac ce fac … virtual, ca noi fi asa de ‘indoctrinat’ sa dau ceva bani pe mere ‘stricate’!

Mixing and not particularly Crafting …

  • 3 years ago
… but they call it Fusion … mainly for my dear Musicians/DJs:


  • 3 years ago
Ceva voci … aparent sintetice

Vocalize … Primele ‘cuvinte’ in Japoneza 🙂

  • 3 years ago
Fiecare cu manele sau mangile lui …

O masina, doua masini …

  • 3 years ago
… re-invat limba materna 🙂

Acoustica Pianissimo

  • 3 years ago

Voice Pitching Competition

  • 3 years ago
The hour of testing the competition …

reVISITing the Past

  • 3 years ago
Va mai amintiti? … intrebari ajutatoare … Eddie Murphy!

Mechanical Heart

  • 3 years ago
Roboteii nu sint rai daca au ceva acolo … vezi ‘The Caves of Steel’ 🙂


  • 3 years ago

Fun in the Sun

  • 3 years ago
Amintiri din copilarie … mama, mama ce bine era cu/ca tracker(ii)!

Adevaruri Artistice …

  • 3 years ago
… ce ti-e si cu calculatoarele astea … pe la 6:00 Andy o spune pe nume … bani si lene cu arta asta muzicala din ziua de astazi!

Logica Muzicala …

  • 3 years ago
chestii de ‘weekend’ …


  • 3 years ago

Ultima logica …

  • 3 years ago
… 10.0.4 pe ultima Rosaceae (10.9)



  • 3 years ago
Well … just playing around!

Last toys

  • 3 years ago

Surprize … Surprize …

  • 3 years ago


  • 3 years ago
Just playing around

Vreo 5 minute de cultura romaneasca …

  • 3 years ago
… asa cu comunistii astia!



the Voices of the World

  • 3 years ago
Well …

Ilegalisti multiplicati

  • 3 years ago

Experimente cu Ilegalisti

  • 3 years ago

Multi-cultural Fun

  • 3 years ago

American visual propaganda …

  • 3 years ago

Pentru George

  • 3 years ago
QA !?! … 🙂


  • 3 years ago
DJ-ing with style 🙂

Paul Theodor

  • 3 years ago
Esente …


  • 3 years ago
… just without any processing …


Experimente in e-studio

  • 3 years ago
Ma intorc de la botez azinoapte si ceva in cap imi spunea … ce am invatat de la ‘dom Profesor’ ( pe la minutul … ‘what ever’ si ma apuc

Adrian and Frank(enstein:-)

  • 3 years ago
Self-taught, achieving mastership in his work but … still modest and with respect to his elders; and of course witty as always!

This middle of October, here in Toronto, will see


Cu musiu Belew …

  • 3 years ago
… si testind editorul Youtube!

Heartbeat with Adrian Belew

  • 3 years ago

Jurnal Operatoriu

  • 3 years ago
Incluzind si prima vizita medicala!

Sumar: procedura in 35 minute; greutate redusa de la 6.5GB la 2.6GB; pacient adus in 3 parti; cusut la 03:50:13; externare facila si grabnica!



  • 3 years ago

Ultima Magie

  • 3 years ago
Predestinare probabil cu dubstep 🙂

Ion, Samanta si RomTelecom

  • 3 years ago
Ce inseamna ‘media’ asta 🙂

Puricelu la Facultatea de Filozofie

  • 3 years ago
Youtube alpha/beta/gama testing 🙂
Fuse in vreo 16 parti dar acum avem fluenta si continuitate in discurs!

Minus Artists and Camtasia

  • 3 years ago
Getting ready for studio work; seeing what I might have missed in Live 8 and getting the guts of Camtasia Studio; as any electronic kid might do – multitask!

Magix Sequoia Demo

  • 3 years ago
Just playing around with this ‘toy’ and testing the sound system in Asus P1801

Ce avem acum

  • 3 years ago
… ca ce o fi miine … om vedea!


  • 3 years ago
Camtasia Studio getting the logic/music from the virtual Mac!

The Full Mac ‘Social Activsm’

  • 3 years ago
I’ve just found out that Steve Jobs’ biological father was a Syrian or better called Assyrian

Jucariii pentru Copiii Copti

  • 3 years ago
Inregistrare pe noul LG L7:

– display and sound is sent on HDMI to 32” screen fro

Rock Fusion si noi pe aici …

… ca de’, aia de acasa, parolisti, isi pusera parola pe muzica lor …

Mai intii un cowboy cu un ‘ranchero‘:

… dar cum doar fuse nasterea lui Isus avem si noi o Marie pe aici dupa Natalie Wood, in ‘West Side Story’, ca doar tot asa o chiema pe mama mea:

… dar sa raminem in subiectul pe care Americanii, inclusiv Cananienii si in special Morosenii l-au cam uitat … este doar vorba de iubire inclusiv pentru semenii tai :-)))))

Post Scriptum 😉 … scuze dar uitai cum fuse la inceput cind aveam doar un an :-))

Sacrificiul … cel putin sufletesc fuse doar din cauza muierilor:

Arta zgomotelor … industrializarii …

Pina la trecut hai sa vedem cum Alex combina glitch music cu ce ne interseaza mai mult acum: bit-ii si 8 inpreuna … byte-ii :-)))


Pina sa vedem ce este nou in SunVox 1.9.2 … here is some food for our brains:

The Art of Noises

by Luigi Russolo

Dear Balilla Pratella, great Futurist composer,In Rome, in the Costanzi Theatre, packed to capacity, while I was listening to the orchestral performance of your overwhelming Futurist music, with my Futurist friends, Marinetti, Boccioni, Carrà, Balla, Soffici, Papini and Cavacchioli, a new art came into my mind which only you can create, the Art of Noises, the logical consequence of your marvelous innovations.

Ancient life was all silence. In the nineteenth century, with the invention of the machine, Noise was born. Today, Noise triumphs and reigns supreme over the sensibility of men. For many centuries life went by in silence, or at most in muted tones. The strongest noises which interrupted this silence were not intense or prolonged or varied. If we overlook such exceptional movements as earthquakes, hurricanes, storms, avalanches and waterfalls, nature is silent.

Amidst this dearth of noises, the first sounds that man drew from a pieced reed or streched string were regarded with amazement as new and marvelous things. Primitive races attributed sound to the gods; it was considered sacred and reserved for priests, who used it to enrich the mystery of their rites.

And so was born the concept of sound as a thing in itself, distinct and independent of life, and the result was music, a fantastic world superimposed on the real one, an inviolatable and sacred world. It is easy to understand how such a concept of music resulted inevitable in the hindering of its progress by comparison with the other arts. The Greeks themselves, with their musical theories calculated mathematically by Pythagoras and according to which only a few consonant intervals could be used, limited the field of music considerably, rendering harmony, of which they were unaware, impossible.

The Middle Ages, with the development and modification of the Greek tetrachordal system, with the Gregorian chant and popular songs, enriched the art of music, but continued to consider sound in its development in time, a restricted notion, but one which lasted many centuries, and which still can be found in the Flemish contrapuntalists’ most complicated polyphonies.

The chord did not exist, the development of the various parts was not subornated to the chord that these parts put together could produce; the conception of the parts was horizontal not vertical. The desire, search, and taste for a simultaneous union of different sounds, that is for the chord (complex sound), were gradually made manifest, passing from the consonant perfect chord with a few passing dissonances, to the complicated and persistent dissonances that characterize contemporary music.

At first the art of music sought purity, limpidity and sweetness of sound. Then different sounds were amalgamated, care being taken, however, to caress the ear with gentle harmonies. Today music, as it becomes continually more complicated, strives to amalgamate the most dissonant, strange and harsh sounds. In this way we come ever closer to noise-sound.

This musical evolution is paralleled by the multipication of machines, which collaborate with man on every front. Not only in the roaring atmosphere of major cities, but in the country too, which until yesterday was totally silent, the machine today has created such a variety and rivalry of noises that pure sound, in its exiguity and monotony, no longer arouses any feeling.

To excite and exalt our sensibilities, music developed towards the most complex polyphony and the maximum variety, seeking the most complicated successions of dissonant chords and vaguely preparing the creation of musical noise.This evolution towards “noise sound” was not possible before now. The ear of an eighteenth-century man could never have endured the discordant intensity of certain chords produced by our orchestras (whose members have trebled in number since then). To our ears, on the other hand, they sound pleasant, since our hearing has already been educated by modern life, so teeming with variegated noises. But our ears are not satisfied merely with this, and demand an abundance of acoustic emotions.

On the other hand, musical sound is too limited in its qualitative variety of tones. The most complex orchestras boil down to four or five types of instrument, varying in timber: instruments played by bow or plucking, by blowing into metal or wood, and by percussion. And so modern music goes round in this small circle, struggling in vain to create new ranges of tones.

This limited circle of pure sounds must be broken, and the infinite variety of “noise-sound” conquered.

Besides, everyone will acknowledge that all musical sound carries with it a development of sensations that are already familiar and exhausted, and which predispose the listener to boredom in spite of the efforts of all the innovatory musicians. We Futurists have deeply loved and enjoyed the harmonies of the great masters. For many years Beethoven and Wagner shook our nerves and hearts. Now we are satiated and we find far more enjoyment in the combination of the noises of trams, backfiring motors, carriages and bawling crowds than in rehearsing, for example, the “Eroica” or the “Pastoral”.

We cannot see that enormous apparatus of force that the modern orchestra represents without feeling the most profound and total disillusion at the paltry acoustic results. Do you know of any sight more ridiculous than that of twenty men furiously bent on the redoubling the mewing of a violin? All this will naturally make the music-lovers scream, and will perhaps enliven the sleepy atmosphere of concert halls. Let us now, as Futurists, enter one of these hospitals for anaemic sounds. There: the first bar brings the boredom of familiarity to your ear and anticipates the boredom of the bar to follow. Let us relish, from bar to bar, two or three varieties of genuine boredom, waiting all the while for the extraordinary sensation that never comes.

Meanwhile a repugnant mixture is concocted from monotonous sensations and the idiotic religious emotion of listeners buddhistically drunk with repeating for the nth time their more or less snobbish or second-hand ecstasy.

Away! Let us break out since we cannot much longer restrain our desire to create finally a new musical reality, with a generous distribution of resonant slaps in the face, discarding violins, pianos, double-basses and plainitive organs. Let us break out!

It’s no good objecting that noises are exclusively loud and disagreeable to the ear.

It seems pointless to enumerate all the graceful and delicate noises that afford pleasant sensations.

To convince ourselves of the amazing variety of noises, it is enough to think of the rumble of thunder, the whistle of the wind, the roar of a waterfall, the gurgling of a brook, the rustling of leaves, the clatter of a trotting horse as it draws into the distance, the lurching jolts of a cart on pavings, and of the generous, solemn, white breathing of a nocturnal city; of all the noises made by wild and domestic animals, and of all those that can be made by the mouth of man without resorting to speaking or singing.

Let us cross a great modern capital with our ears more alert than our eyes, and we will get enjoyment from distinguishing the eddying of water, air and gas in metal pipes, the grumbling of noises that breathe and pulse with indisputable animality, the palpitation of valves, the coming and going of pistons, the howl of mechanical saws, the jolting of a tram on its rails, the cracking of whips, the flapping of curtains and flags. We enjoy creating mental orchestrations of the crashing down of metal shop blinds, slamming doors, the hubbub and shuffling of crowds, the variety of din, from stations, railways, iron foundries, spinning wheels, printing works, electric power stations and underground railways.

Nor should the newest noises of modern war be forgotten. Recently, the poet Marinetti, in a letter from the trenches of Adrianopolis, described to me with marvelous free words the orchestra of a great battle:

“every 5 seconds siege cannons gutting space with a chord ZANG-TUMB-TUUMB mutiny of 500 echos smashing scattering it to infinity. In the center of this hateful ZANG-TUMB-TUUMB area 50square kilometers leaping bursts lacerations fists rapid fire batteries. Violence ferocity regularity this deep bass scanning the strange shrill frantic crowds of the battle Fury breathless ears eyes nostrils open! load! fire! what a joy to hear to smell completely taratatata of the machine guns screaming a breathless under the stings slaps traak-traak whips pic-pac-pum-tumb weirdness leaps 200 meters range Far far in back of the orchestra pools muddying huffing goaded oxen wagons pluff-plaff horse action flic flac zing zing shaaack laughing whinnies the tiiinkling jiiingling tramping 3 Bulgarian battalions marching croooc-craaac [slowly] Shumi Maritza or Karvavena ZANG-TUMB-TUUUMB toc-toc-toc-toc [fast] crooc-craac [slowly] crys of officers slamming about like brass plates pan here paak there BUUUM ching chaak [very fast] cha-cha-cha-cha-chaak down there up around high up look out your head beautiful! Flashing flashing flashing flashing flashing flashing footlights of the forts down there behind that smoke Shukri Pasha communicates by phone with 27 forts in Turkish in German Allo! Ibrahim! Rudolf! allo! allo! actors parts echos of prompters scenery of smoke forests applause odor of hay mud dung I no longer feel my frozen feet odor of gunsmoke odor of rot Tympani flutes clarinets everywhere low high birds chirping blessed shadows cheep-cheep-cheep green breezes flocks don-dan-don-din-baaah Orchestra madmen pommel the performers they terribly beaten playing Great din not erasing clearing up cutting off slighter noises very small scraps of echos in the theater area 300 square kilometers Rivers Maritza Tungia stretched out Rodolpi Mountains rearing heights loges boxes 2000 shrapnels waving arms exploding very white handkerchiefs full of gold srrrr-TUMB-TUMB 2000 raised grenades tearing out bursts of very black hair ZANG-srrrr-TUMB-ZANG-TUMB-TUUMB the orchestra of the noises of war swelling under a held note of silence in the high sky round golden balloon that observes the firing…”
We want to attune and regulate this tremendous variety of noises harmonically and rhythmically.To attune noises does not mean to detract from all their irregular movements and vibrations in time and intensity, but rather to give gradation and tone to the most strongly predominant of these vibrations.

Noise in fact can be differentiated from sound only in so far as the vibrations which produce it are confused and irregular, both in time and intensity.

Every noise has a tone, and sometimes also a harmony that predominates over the body of its irregular vibrations.

Now, it is from this dominating characteristic tone that a practical possibility can be derived for attuning it, that is to give a certain noise not merely one tone, but a variety of tones, without losing its characteristic tone, by which I mean the one which distinguishes it. In this way any noise obtained by a rotating movement can offer an entire ascending or descending chromatic scale, if the speed of the movement is increased or decreased.

Every manifestation of our life is accompanied by noise. The noise, therefore, is familiar to our ear, and has the power to conjure up life itself. Sound, alien to our life, always musical and a thing unto itself, an occasional but unnecessary element, has become to our ears what an overfamiliar face is to our eyes. Noise, however, reaching us in a confused and irregular way from the irregular confusion of our life, never entirely reveals itself to us, and keeps innumerable surprises in reserve. We are therefore certain that by selecting, coordinating and dominating all noises we will enrich men with a new and unexpected sensual pleasure.

Although it is characteristic of noise to recall us brutally to real life, the art of noise must not limit itself to imitative reproduction. It will achieve its most emotive power in the acoustic enjoyment, in its own right, that the artist’s inspiration will extract from combined noises.

Here are the 6 families of noises of the Futurist orchestra which we will soon set in motion mechanically:










Noises obtained by percussion on metal, wood, skin, stone, tarracotta, etc.


Voices of animals and men:

In this inventory we have encapsulated the most characteristic of the fundamental noises; the others are merely the associations and combinations of these. The rhythmic movements of a noise are infinite: just as with tone there is always a predominant rhythm, but around this numerous other secondary rhythms can be felt.


  1. Futurist musicians must continually enlarge and enrich the field of sounds. This corresponds to a need in our sensibility. We note, in fact, in the composers of genius, a tendency towards the most complicated dissonances. As these move further and further away from pure sound, they almost achieve noise-sound. This need and this tendency cannot be satisfied except by the adding and the substitution of noises for sounds.
  2. Futurist musicians must substitute for the limited variety of tones posessed by orchestral instruments today the infinite variety of tones of noises, reproduced with appropriate mechanisms.
  3. The musician’s sensibility, liberated from facile and traditional Rhythm, must find in noises the means of extension and renewal, given that every noise offers the union of the most diverse rhythms apart from the predominant one.
  4. Since every noise contains a predominant general tone in its irregular vibrations it will be easy to obtain in the construction of instruments which imitate them a sufficiently extended variety of tones, semitones, and quarter-tones. This variety of tones will not remove the characteristic tone from each noise, but will amplify only its texture or extension.
  5. The practical difficulties in constructing these instruments are not serious. Once the mechanical principle which produces the noise has been found, its tone can be changed by following the same general laws of acoustics. If the instrument is to have a rotating movement, for instance, we will increase or decrease the speed, whereas if it is to not have rotating movement the noise-producing parts will vary in size and tautness.
  6. The new orchestra will achieve the most complex and novel aural emotions not by incorporating a succession of life-imitating noises but by manipulating fantastic juxtapositions of these varied tones and rhythms. Therefore an instrument will have to offer the possibility of tone changes and varying degrees of amplification.
  7. The variety of noises is infinite. If today, when we have perhaps a thousand different machines, we can distinguish a thousand different noises, tomorrow, as new machines multiply, we will be able to distinguish ten, twenty, or thirty thousand different noises, not merely in a simply imitative way, but to combine them according to our imagination.
  8. We therefore invite young musicians of talent to conduct a sustained observation of all noises, in order to understand the various rhythms of which they are composed, their principal and secondary tones. By comparing the various tones of noises with those of sounds, they will be convinced of the extent to which the former exceed the latter. This will afford not only an understanding, but also a taste and passion for noises. After being conquered by Futurist eyes our multiplied sensibilities will at last hear with Futurist ears. In this way the motors and machines of our industrial cities will one day be consciously attuned, so that every factory will be transformed into an intoxicating orchestra of noises.

Dear Pratella, I submit these statements to your Futurist genius, inviting your discussion. I am not a musician, I have therefore no acoustical predilictions, nor any works to defend. I am a Futurist painter using a much loved art to project my determination to renew everything. And so, bolder than a professional musician could be, unconcerned by my apparent incompetence and convinced that all rights and possibilities open up to daring, I have been able to initiate the great renewal of music by means of the Art of Noises.

O doina de jale … de la conifere :-( :-)

In asteptarea brazilor din Carpati, plingem si noi cu astia din Noua Zeelanda:

This music was composed by a tree using Max MSP Jitter plugins (geek run-through above)

Kauri trees are silently dying from Dieback. These special trees native to New Zealand are lacking a voice, so myself and a team of passionate people created an experiment where the tree composed the music real time, singing the song of its own slow death.