#onkyokei

[randomblognumberfuck]

Ehhhh random waltz rewrite or something

Backstory:

A)She was a broken robot servant and she lay in a landfill until Dr. willy found her and "fixed her"

B)"more canon-like" Willy just found powerful shit and created Waltz

Relationship and Characteristics

She is Tomboyish Brat Worst Dysfunctional Sister Ever but in more deep way, she is a War-machine who clearly has problems with emotions. If you give her a teddy bear she will obviously tear it up,she's hot-tempered and she gets triggered when they offer her an upgrade, well, you get the idea (it’s like a situation with a dentist if the patient hates physical sensations) and she kinda biased,and serious in some critical moments

She likes Treble or Gospel because it's a doggo and she doesn't like the fact that her adapter is Reggae and the Bass's is treble

it would be difficult for her to somehow contact the Willy's Robot masters they hated her or she hates them

She hates Rock-'n'-roll of course

Auto triggers her

Waltz hates Piano and thinks she(piano) is useless

She could be with Willy sort of "I want to be your #1 favorite children" or "my dad sucks"

Back to dramaturgy

She was clearly jealous of human girls because they have normal lives and are not dysfunctional (that would nicely fits with A variant of her backstory y'know most of "adopted" or "scrapped" characters are shown as something sad)

Powers or Abilities

Finger-cannons: She can also shoot with certain fingers or separately independently of others

Rocket-jet legs: she can hover and dashing if she needs to speed up

Ultrashoot or Ultralaser: it's like Mega buster but more long and more speed

She can do hand-to-hand combat

And about her Mangumaz energy.....

Mangumaz is a chemical thingy which is "very powerful" and bright it's inspired by the Bassnium thing

Random

her alternative name would be Onkyokei is a japanoise related genre

Or Jungle for the music pun y'know If ragga related to reggae then Ragga Jungle

I'd love to call her Drum because Drum'n'Bass but it's not fitting to me

[infinityof6]

My new album NO FEAR DOWNHILL is out now! It’s an outrageous mix of dark ambient, flarf poetry, bluegrass, lowercase, anti-music, onkyo-kei, free jazz, glitch, trad.arr. noisecore, noise, sex music and field recordings!

Everybody laughed, I was so happy I came running down the hill! Now if ye ask me if I feel uphill, I'll say ehhh... no sae much! 　　　　　ｎ .／）) 　　　ｒ‐┘ｲﾚk(_ 　 　.’,g｀.器├┘Yヽ 　／ * 　 ン┴ｫ┼┬爻　　　　　　< Uh oh! . Lンノ￣　　　｀┼┤└〒ｪ 　 　 　 　 　 　 　 寸　┌┼テｭ 　　 　 　 　 　 　 　 寸└┘┌斤ｭ， 　　 　 　 　 　 　 　 　 寸┌┼┴‐代ｭ， 　　 　 　 　 　 　 　 　 　 ┼┘┌┼┼┼ｭ 　 　 　 　 　　　　　　　　　寸 .└┘└┘├ 　 　 　 　 　 　 　 　 　 　 　┬┐┌┐┌┼┴┼┐ 　 　 　 　 　 　 　 　 　 　 　┴┼┼┘└┼┐└┴┼┼┐ 　　　　　　　　　 　 　 　 　 代.└┘┌┐└┘┌┐└┘└┼ ， 　　 　 　 　 　 　 　 　 　 　 ┼┐┌┼┘┌┐├┘┌┬┐└┼‐､.,,,,,＿___ ,ｨ冖ﾊ 　　 　 　 　 　 　 　 　 　 　 ┼┘└┘┌┼┼┼┐├┼┘┌┤｀'''''''''''''''''''''ゝ ィ´ 　 　 　 　 　 　　 　 　 　 　 ,┌┐┌ぃ┼┤├┼ヤ┴┘┌┼┤ 　　　 　 　 　 　 　 　 　 　 /┼┘ｲ　 　.｀¨¨’.T´┬千ヽt┼┴‐! 　　　　　　 　 　 　 　 　 ／┼イ 　! 　 　 　 　 !. ┼┤　 ＼┬┼ , 　　　　　　 　 　 　 　 ,ｲXイ　 |┼┘　 　 　　　’┼ﾁ'. 　 　.｀　,┌┼， 　　　　　　 　 　 　 　{┘ｲ 　　|└!　　　　 　 　　ヾ┼ﾊ　　　　 ｀ヾ┬┴, 　　　　　　　　　　　　＼ ヽ 　 }　/　　 　 　 　 　 　ﾍ┘ﾊ　 　 　　 ｀'┬ﾊ 　　　　　　 　 　 　 　 　 ＼＼ﾙｲ 　 　 　 　 　 　.　ﾉ���,ｲ　　　　 　 　 ヽ　， 　　　　　　　　　 　 　 　 　 ヽ,＼ 　 　 　 　 　　　./ /　　　　 　 　 　　　'.ﾊ. 　　　　　　　　 　 　 　 　 　 ハ__｀ｰｭ. 　 　 　 　 / / 　 　 　 　 　　　　　 '.　､ 　　　 　 　 　 　 　 　 　 　 / f´　＼ﾊ　　　　　 / /　　　　　　　　　　　　　} ハ 　 　 　 　　　　　　 　 　 ／.丿　ｨ　 ｀’　　　.／ ﾉ　 　 　 　 　 　　　　　　ﾉ__ .,’ 　　　　　　 　 　 　 　 ∠ ヲ　　　 　 　 　 ∠ ヲ　　　　　　　　　　　　　　{_ イ  

Listen/purchase: NO FEAR DOWNHILL by Infinity Of 6

[prgnant]

toshimaru nakamura | no input mixing board (2000 zgv-026)

[soybeensuite]

[sam-sernavski]

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#vectorscope #oscilloscope #waveform #xy #harshnoise #noisemusic #musiqueconcrete #microsound #avantgarde #audiofiction #newaesthetic #newmedia #glitch #visual #cyberpunk #surrealism #minimalism #futurism #nihilism #music #electronicmusic #experiment #creativecoding #onkyokei #soundart #visualart #sonicsculpture #digitalart #squiggles #like4like (at Kofu, Yamanashi) https://www.instagram.com/p/BekF_S4gp6c/?igshid=1roxy8qk41tu7

[jangling-girl]

listening to that onkyokei album. its bretty nice :3

[doranedwardsmajorproject]

Ryoko Akama, Jili Jili from Code of Silence, 2014

This work is so delicate, so vulnerable. It’s interesting to know the concept behind the work is Japanese phenomimes and psychomimes. I have been fascinated by these words that describe the sound of a texture with an onomatopoiea since first hearing of it when living in Paris a few years ago with my Japanese-French partner at that time. It was never something I considered researching but I did find there to be a gap in British language and culture where the senses were given permission to merge, as if a poetry of experience was forbidden or language itself standardises and disconnects from nature. Allen S. Weiss and David Abram have both written beautifully about the ontogenesis of language as mimesis of the world we are an irremovable and reciprocal process of from birth to death in Evocations of Landscape and The Spell of the Sensuous. Although the work I am making is about what happens when we let go of language into the realm of sense impression, the phenomeme has the appeal of reciprocity rather than symbolism and referrentiality. Instead of removing one from their surroundings to the mental construction and manipulation of a symbolic universe through words, it joins in with the world in that moment through I think what Weiss described as synesthetic correspondence. This is not an essay, just thoughts on what I have previously read and experienced. 

Whether this is Onkyokei remains to be known. I have read Toshimaru Nakamura, Akio Suzuki and Otomo Yoshihide all acknowledge the existence of the term but each have stated it is not something they associate with in their music. Akama uses the no-input mixer for these tracks which links her to Nakamura’s more delicate work. There is a brittleness,  a near not-existing that I feel can be linked to the concept of ma in that it requires near silence to know they silence that it permeates, and that it fills a space in-between that is neither here nor there. In this sense, it could be, like the title of Radigue’s interviews book, be considered intermediary (Intermediary Spaces, Julie Eckhart). I’m not interested in this philosophically or theoretically, it is pure sense impression that can only occur in experience. Perhaps it also leans towards Radigue’s attraction to desynchronisation? Is the in-between the indescribable realm of experience?

“Code of silence is Ryoko Akama’s new album after her last release, kise-tsu, in 2005. The album contains five tracks that explore Japanese phenomime and psychomime. Phenomime is Japanese words/phrases that mimic certain physical forms/motions whilst psychomime depict psychological states, emotions or feelings. They are the sounding word for no sounding phenomenon. Akama has created numerous pieces conceptualised by phenomime and psychomime. some are purely electronics and others are for other performers. This is an album which collects solo electronic pieces. gussuri (track02) is a phenomine that defines a state of ‘sound asleep’. The 10 minutes piece conditions transformative experience in listening and not listening. Layers of sound wonder in and out of space. Silent parts are more predominant than sound performed that makes occurrence of sound more apparent. Performance and listening action of no-input mixer is used solely to realise this evolving piece. Sotto (track 03) is a sound word for ‘gradually’ or ‘quietly’ and used when someone or something is discreet. It is contemplative, accumulative and expands listener’s perception over time in a predictable manner. A listener succumbs to different levels of details in a quality of surface of tonal texture. A series of small intents cause intense listening environments. This intensified situation is a resultant of continuum simplicity where hidden density and timbre are unveiled. (by P. Mcgiure)” 

[scotcotterell]

I am using a Handmade 1970s Quantum console originally made for the Utas video studio 40+ years ago and salvaged by me 15 years ago to guest perform/ make something new af - tomorrow on No Input / Onkyokei / @utas_… https://t.co/zXnam3H2nc

— scot cotterell (@scotcotterell) August 21, 2019

from Twitter https://twitter.com/scotcotterell

[infinityof6]

4/4: The Free Music Tube channel on Youtube have uploaded a few videos of some of my tunes from <1′s the fencepost reclamation project volume 3 compilation. This one is for Fencepost Reclamation t1207-B, I love the way they’ve used the spectrogram to really show off this track’s hidden charms ☺️

(via Fencepost Reclamation t1207-B - YouTube)

listen/download the fencepost reclamation project volume 3 from bandcamp

[prgnant]

sachiko m + ami yoshida live 2002

[partymedia]

8 Encoder Noise by -JAsmin- http://ift.tt/1kWdNoj

[boringmusic]

Toshimaru Nakamura - Egrets

'To fans of free improvisation and the Japanese onkyo, or noise scene, Toshimaru Nakamura needs no introduction; to newcomers, the name of his instrument the no-input mixing board may sound forbidding, as if its output would sound more machine than music. But for over a decade, Nakamura has cultivated a world of tones from this unlikely instrument, both harsh and mesmerizing, humanist and expansive with something to lure in music fans of any stripe. 'Says founder of Samadhi Sound David Sylvian,Egrets has Toshi's signature minimalist stamp but sonically there's a lot more variation to this work. I have great admiration for Toshi, for his sense of discipline, his risk taking, his openness, generosity and intelligence. 'Learn more HERE'

[infinityof6]

1/4: The Free Music Tube channel on Youtube have uploaded these neat videos of some of my tunes from <1′s the fencepost reclamation project volume 3 compilation - I don’t know if they made the video or where it’s from but they’re pretty cool! This one for Fencepost Reclamation t1208-A seems to be massive, would love to see this on a massive landscape telly!

(via Fencepost Reclamation t1208-A - YouTube)

listen/download the fencepost reclamation project volume 3 from bandcamp

[prgnant]

utah kawasaki | static pulse (1996 zgv-006)

[prgnant]

zero gravity records 2016 reissue series