Sergei Komarov

CAA—61 Gustavo Matamoros Glasshouse — Yerevan (2023) 06’00” Excerpt from the site-specific sound art installation created for the atrium at Yerevan Botanical Garden commissioned by CYFEST 15, 2023. Emerging from four speakers, this piece comprises pure tones meticulously crafted to resonate and invigorate the architectural space of the greenhouse’s inner glass atrium at Yerevan Botanical Garden. The atrium, aptly described as a UFO-like structure, houses lush tropical and subtropical vegetation, along with several small ponds teeming with fish. This environment reminded me of South Florida, and inspired me to incorporate recordings of Cuban tree frogs that I have collected at Everglades National Park near Miami over the years. Gustavo Matamoros is a sound artist and composer living and working in Miami since 1979. Text by Gustavo Matamoros Curated by Sergei Komarov @depth_dept , Lidiia Griaznova @relational_self Mastering, lathe cut by Sergei Dmitriev @prpl_uncl Release date: May 8, 2026 Images: Gustavo Matamoros, Edith Bunimovich

LATHE Sergei Komarov & Purpurniy Dyadya - լայնությունը խորությունը A_լայնությունը B_խորությունը

CAA—60 out now on Bandcamp ceph, Purpurniy Dyadya, Sergei Komarov & Lidiia Griaznova, Nikita Bugaev, the concept horse @acephallus @prpl_uncl @depth_dept @relational_self @begriffspferd Phenomenon and Paradoxes of Information Transmission 6’06” The need to receive, process, and send signals as quickly and efficiently as possible opened a distinct field of knowledge in telecommunication technologies. It opened new ways to apply both scientific and artistic imagination—through the inventions themselves (telephony, signal processing, radio transmission, and speech synthesis), through the contexts in which they were used (number stations, ham radio, vocoders, and various speech-coding systems), and through the people and institutions who worked with them. The sonic landscape was formed by work of all fascinated and driven by this way to work with sound — from The BBC Radiophonic Workshop, Westdeutscher Rundfunk, Bell Labs, NHK Japan, to the 1970s “sound-phreak” culture—particularly Evan Doorbell. To trace way through the lines of circuitry to create sounds out of the chaos, as pointed out Justin Patrick Moore, a radio enthusiast and writer. Within a sound installation commissioned by CYLAND MediaArtLab, artists contributed their own sonic environments as reflections on the evolving trajectory of sound and music-making. Each artist was provided with a set of autonomous, battery-powered speaker modules designed and built in the CYLAND workshop. Each channel functions as a stand-alone piece and simultaneously as part of a collective multi-channel work. One could listen to a single artist’s group of speakers or combine them with others, rearranging the units in space and shaping new sound combinations in real time. This constantly changing acoustic environment blended with the Botanical Garden’s regular sounds, revealing shifting relationships between signal, interference, and spatial perception. text: Lidiia Griaznova curated by Sergei Komarov and Lidiia Griaznova recording: Sergei Komarov and Sergei Dmitriev mastering, lathe cut: Sergei Dmitriev

#fmischki ft #abortretryignore

#fmischki coupling w/ #abortretryignore

CYFEST Midpoint: Phenomenon and Paradoxes of Information Transmission October 18 | @ecoepicentr @yerevanbotanicalgarden Curated by @depth_dept @relational_self Live: @n___e_v   @prpl_uncl Participating artists ceph @acephallus Purpurniy Dyadya @prpl_uncl Sergei Komarov & Lidiia Griaznova @depth_dept @relational_self Nikita Bugaev @n___e_v the concept horse @begriffspferd Endless thanks to @sec_yvn and @ecoepicenter team for their enormous support Open until November 2 — join us in the moment — ph: @mitya_lyalin <3

CYFEST Midpoint: Phenomenon and Paradoxes of Information Transmission ⇢ @ecoepicenter / @yerevanbotanicalgarden Opening: October 18, 6:00 PM Live: @n___e_v @prpl_uncl Exhibition: October 19 – November 2 A multi-channel sound installation dedicated to the engineers, experimenters, and artists who turned communication into composition. Inspired by telephony, radio, and early speech synthesis, the work explores how signals become sound—and how interference turns into meaning. Participating artists ceph @acephallus Purpurniy Dyadya @prpl_uncl Sergei Komarov & Lidiia Griaznova @depth_dept @relational_self Nikita Bugaev @n___e_v the concept horse @begriffspferd Visitors are invited to move, combine, and reconfigure the autonomous speakers—creating new constellations of sound in real time.

Sergei Komarov & Lidiia Griaznova Time Signals sound installation, 2023 Supported by CYLAND MediaArtLab The time signals have a strict utilitarian purpose and are used as a reference to determine the time of day. Not only humans, but machines too, are sensitive to them. Coordinated Universal Time — an imposed time — splits space into time zones and divides days into slots for labor and leisure. A seemingly ordered and planned timing of the day bends the stream of life. It establishes hours through a hierarchy of choices we make throughout the day. In this project, utilitarian, purposeful time-counting is displaced by a subjective logic. It is guided by one’s personal sense of time — where what feels too long or too short is a matter of perception, shaped by what is happening and when. It appears as a temporally staged game, existing only for the sake of play, without any clear purpose. Whatever slice of time is noticed will be neither a beginning nor an end. They are all part of a broader continuity, where the sound from this installation is just one of many fragments — existing like pulsars, like strangers’ shouts from nowhere — a barely recognizable fragment of someone’s voice, snatched from the surrounding noise. — ph: @morskaya_kapusta

𝗡𝗘𝗪 𝗥𝗘𝗟𝗘𝗔𝗦𝗘: CAA—59 TUULA NÄRHINEN The CYLAND Audio Archive is back with its next drop: CAA—59 Tuula Närhinen is now available on bandcamp. Tuula Närhinen Drop Tracer (excerpt) 06’31” This sound excerpt is from the installation Drop Tracer. To make this record, Tuula placed a DIY contact microphone under a 35mm glass slide. The glass slides were sensitized with soot and exposed to rain. Falling on the soot-coated glass surface, the raindrops left visible traces even after the water had evaporated. A contact microphone caught the impact of the collision and transduced its vibrations to the audio input of a mini tape camcorder. The work draws from a method devised by the meteorologist Vincent J. Schaefer. When a drop of rain hits the glass, air trapped under the droplet lifts tiny particles of soot that precipitate as clearly discernible explosion patterns on the surface of the slide. Tuula Närhinen is a visual artist and scholar. Re-adapting methods and instruments derived from natural sciences, Närhinen facilitates the generation of inscriptions by harnessing natural phenomena for processes of image making. Along with displaying the conception of the tracings and recordings, her installations showcase the DIY instruments implicated. She lives and works in Helsinki, Finland. text by Tuula Närhinen curated by @depth_dept and @relational_self mastering, lathe cut by @prpl_uncl link in bio

AUDIOVISUAL PERFOMANCES./ Aleksandr Bochkov Matvei Peshkov _ stackedplot(x, *args=[SiO2], labels=(Any), colors=colorMode(HSB).desaturated(0.17), baseline=‘20Hz’, data=waveformDataType, **kwargs=[sinθ2=n1n2sinθ1] ), or simply: glass as a graph domain with light and sound as values. setup: makenoise 0-coast, cntrl. landscape noon. delay\reverb. touchdesigner. Nuntius. _ hörstreife. An ongoing experiment by sergei komarov (kurvenschreiber co-founder, cyland audio archive co-curator) in which the author is flooding an instrument with avalanche of data, gaining and biasing the rest decomposted signal. setup: buchla or yamaha tx7 or both. chasebliss mood. maxmsp. poster: @antonryndya

Let it be. It is been a while since I’ve cut my last record. Moving, reassembling and huge upgrades take more than two years as a side job, but it seems like invested time is worth it. Happy with this quick raw cut, automatics check and result measurements. Almost as planned, almost to specs! The first idea was to use it with any DAW to be controlled by MIDI commands, but. Why should I waste time on all that mess (: And I made almost full automatisation, just drop files and all leads, spirals and other shit is not your headache anymore. Music is ;) It will take some extra time for fine-tuning and debugging, but it is alive, breath in, breath out. Many talented people were involved for the upgrade, thanks to guys: @core_glitch @prpl_uncl @narmalna @qouzlov @master_cue Under the @cyland.lab cyber family wings.

sec_hall//underbarrels//may11//yerevan