Arrythmorphone is an electronic music EP that is designed to act as a cognitive stimulant. It uses a system of notation that I developed, which is inspired by fractals that is designed to introduce maximum variability in rhythm. I recorded this sound score in 2016, when I was playing with an idea of describing my work as a medicine, with the recommended dosage, side effects, etc.
The program below was created using a combination of rhythms that have the highest dynamic variability as opposed to standard 4/4 replications. For the maximum effect it is recommended to use a good quality sound system with a good low-frequency response range.
Every rhythm can be represented as a sequence of onset intervals (distances between the beats). What is usually perceived as “now” is usually an interval of about 2-3 seconds  and one iteration of 16/16 scale at 120 bpm fits into this interval. The different distances between the beats produce a complex sonic image in the perception of the one who listens. As the perceptive “window” lasts a few seconds, not only the distances between the adjacent beats are taken into account, but, in fact, all the different combinations of distances that occur within a single bar-spectrum.
Arrythmorphone cognitive stimulant (iterative version 2.23) is produced using a combination of rhythms whose inter-onset intervals have flat histograms . This translates into rhythmical patterns that have the most possible variety in the 12/8 and 16/16 ranges. Its effect on perception is that of increasing adaptability and enhancing sensitivity to dynamical structural changes within (simulated) reality.
The image shows a sample rhythmical pattern that was used to produce the first several minutes of the sonic landscape presented. As it can be seen the pattern variations above are not uniform and appear to have a high degree of variability. This is further enhanced through combining a 12/8 rhythmical pattern BT (that goes through 4 iterations in 48 counts) and 16/16 rhythmical patterns (e.g. BD and LT) ensuring variability and change over time.
The rhythmical sections for each “track” in the program are further aligned to ensure continuous pattern morphology over the time. Each track is especially designed to ensure variability in rhythm activation and constant motion between different states of non-equilibrium stability, inducing polysingular perceptual dynamics (each track has the capacity to be perceived differently).
The program lasts 23 minutes and is recommended in moderate doses administered using a sound system with a good low-frequency response. Research has shown that low-frequency sounds activate the right hemisphere of the brain, which, in most people, is responsible for unconscious activity. Therefore, as most of the oscillatory movement transmitted in this program appears within the 40Hz-100Hz range, it is important to make sure those frequencies can be heard for the fullest effect.
No negative side-effects have been observed. Interactions with other environments, sonic and visual landscapes are recommended. The program has been shown to be especially effective in states of movement.
1 Poeppel, E (2004), “Lost in time: a historical frame, elementary processing units and the 3-second window”, Acta Neurobiologiae Experimentalis
2 Toussaid, G (2004) “Geometry of Musical Rhythm”, Discrete and Computational Geometry
3 Kunert, R (2016). “How the orchestra is arranged by the biology of the brain”, Aeon
June 3, 2016
Archive, Media, Medium, Sound, System, Type, Urgency