Modular Synthesis: Patching Machines and People brings together scholars, artists, composers, and musical instrument designers in an exploration of modular synthesis, an unusually multifaceted musical instrument that opens up many avenues for exploration and insight, particularly with respect to technological use, practice, and resistance.
Through historical, technical, social, aesthetic, and other perspectives, this volume offers a collective reflection on the powerful connections between technology, creativity, culture, and personal agency. Ultimately, this collection is about creativity in a technoscientific world and speaks to issues fundamental to our everyday lives and experiences, by providing insights into the complex relationships between content creators, the technologies they use, and the individuals and communities who design and engage with them.
With chapters covering VCV Rack, modular synthesis, instrument design, and the histories of synthesizer technology, as well as interviews with Dave Rossum, Corry Banks, Meng Qi, Dani Dobkin, among others, Modular Synthesis is recommended reading for advanced undergraduates, researchers, and practitioners of electronic music and music technology.
Chapter 3 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
Modular Synthesis brings together scholars, artists, composers, and musical instrument designers in an exploration of modular synthesis, an unusually multifaceted musical instrument that opens up many avenues for exploration and insight, particularly with respect to technological use, practice, and resistance.
1. The Buchla Music Easel: From Cyberculture to Market Culture
2.
Modular Synthesizers as Conceptual Models
3. A Time-Warped Assemblage as a
Musical Instrument: Flexibility and Constauration of Modular Synthesis in
Willem Twee Studio 1
4. Interview
5. Gordon Mummas Sound-Modifier Console
6.
Artist Statement: Switchboard Modulars Vacant Levels and Intercept Tones
7.
Eurorack to VCV Rack: Modular Synthesis as Compositional Performance
8.
Strange Play: Parametric Design and Modular Learning
9. Grid Culture
10.
Modular Ecologies
11. Ourorack: Altered States of Consciousness and
Auto-Experimentation with Electronic Sound
12. Patching Possibilities:
Resisting Normative Logics in Modular Interfaces
13. Draft/Patch/Weave:
Interfacing the Modular Synthesizer with the Floor Loom
14. Composing
Autonomy in Thresholds and Fragile States
15. Virtual Materiality: Simulated
Mediation in the Eurorack Synthesizer Format
16. Interview: Designing
Instruments as Designing Problems
17. Interviews with Four Toronto-based
Modular Designers
18. Interview
19. Interview
20. Interview
21. Modular
Synthesis in the Era of Control Societies
22. Randomness, Chaos, and
Communication
23. Interview
24. From "What If?" To "What Diff?" and Back
Again
25. Interview: The Mycelia of Does-Nothing Objects
Ezra J. Teboul is a researcher and artist, and currently a student librarian at Concordia University. They obtained a PhD in Electronic Arts from Rensselaer Polytechnic Institute in 2020. In 2022, they were a scholar-in-residence at the Columbia University Computer Music Center. Their work focuses on the material histories of electricity, work, and music.
Andreas Kitzmann is an associate professor of Humanities at York University in Toronto, Canada. His research interests include modular synthesis, technology and culture, digital media and community, and memory studies. His self-authored books include The Hypertext Handbook: The Straight Story and Saved from Oblivion: Documenting the Daily from Diaries to Web Cams. He has co-edited two books, and his work has also been included in various edited collections and journals such as A History of English Autobiography (2016), From Text to Txting: New Media in the Classroom (2012), the International Journal of Research into New Media Technologies (2017), First Monday (2015), and Organized Sound (2023).
Einar Engström is a software engineer, modular synthesist, and computer musician. Creatively, he has been known to code in Lua, SuperCollider, Tidal Cycles, and the Teletype esolang, whilst professionally he primarily inhabits the BEAM ecosystem. Both practices are natural extensions to Einars previous PhD research into the history and philosophy of computing music programming, which focused on the Acoustical and Behavioral Research Center at Bell Laboratoriesthe first behemoth of innovation in both telecommunications and computing. He also holds an MA in Visual Culture from Waseda University (Tokyo, Japan), is a former editor-in-chief of the bilingual international contemporary art magazine LEAP (Beijing, China) and technician and researcher at RE/Lab (Toronto Metropolitan University), and has hands in various electronic music record labels.
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