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broken kontrol

by gintas k

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1.
control #1 05:47
2.
control #2 06:42
3.
control #3 05:52
4.
to a dream#1 02:30
5.
6.
small 00:45
7.
to a dream#2 03:44
8.
9.
longest 08:28
10.
control #4 03:38

about

Uncertainty and Surprise Jointly Predict Musical Pleasure and Amygdala, Hippocampus, and Auditory Cortex Activity
pubmed.ncbi.nlm.nih.gov/31708393/
Recent research suggests that musical pleasure comes from positive reward prediction errors, which arise when what is heard proves to be better than expected [3]

www.sciencedirect.com/science/article/pii/S0960982219312588
Uncertainty and surprise are in fact key components of an influential predictive-coding model of neuronal message-passing across the cortical hierarchy [16, 20, 45]
Music may therefore elicit pleasure by encouraging the listener to continuously generate and resolve expectations as the piece unfolds in time [16, 20].
Musical pleasure depends on the dynamic interplay between prospective and retrospective states of expectation.
Our fundamental ability to predict [16, 20] is therefore an important mechanism through which abstract sound sequences acquire affective meaning and transform into a universal cultural phenomenon that we call “music” [15].

Dopamine modulates subcortical responses to surprising sounds
www.ncbi.nlm.nih.gov/pmc/articles/PMC7329133/
„results demonstrate that dopamine has a profound effect on how unexpected sounds are processed, presumably encoding expected precision of sensory PEs at the level of the auditory midbrain“

credits

released February 17, 2024

All music played, recorded live, at once without any overdub; using computer, midi keyboard & controller.
Gintas K / Computer /
Released by gk rec.#07 / 2024
Cover design by Indra Kraptavičiūtė
Supported by LKT

review:
27 March 2024
written by Christopher Nosnibor
I can’t really type, or hype, that Gintas K is back, when he’s not been away for five minutes. But in the world of the indefatigable avant-garde improvisationalist, being away for ten minutes is the equivalent of being away for a decade by the standards of many acts.
But then, what does ‘being away’ actually mean? And by what standard should this be judged?
Daniel Ek is of the opinion that artists should be more productive if they want to get paid. But what he really means is that artists should be more productive so that he can get paid – more. The current model is centred around maintaining the attention of an audience with the attention span of a goldfish by pumping out new product every other week, and if you’ve got no new songs, then it should be a behind the scenes recording videos or somesuch, anything to maintain a constant level of contact, of output. This is all about gouging money from fans, and nothing to do with art.
The point is, every artist produces at a different rate. Sometimes it takes five, even ten years, to assemble and release an album, due to multiple factors. Dayjobs, for many. Families, life. Headspace: creativity isn’t something you just churn out like a conveyor belt, necessarily. Opportunity: labels have release cycles, which may affect when there’s a window – and budget – to release an album.
Gintas K is a high-output artist, but not because he’s on the treadmill of social media engagement and chasing streams for fractional cents of royalties: he’s a creative whirlwind, spewing new material like a volcano which never stops erupting, and he never ceases to arrive from different angles. I had initially wondered if ‘broken kontrol’ was a reference to some damaged kit which was used in the making of this album, or if it’s perhaps an allusion to the crumbling, fragmenting structures of ‘democracy’ around the globe. Ultimately, I’m not so sure: the accompanying notes drive in hard from the left in terms of an unpredictable swing which throws us headlong and quite unexpectedly into academic territory, and as such it’s worth quoting for context: ‘
Uncertainty and surprise are in fact key components of an influential predictive-coding model of neuronal message-passing across the cortical hierarchy [16, 20, 45]. Music may therefore elicit pleasure by encouraging the listener to continuously generate and resolve expectations as the piece unfolds in time [16, 20]. Musical pleasure depends on the dynamic interplay between prospective and retrospective states of expectation. Our fundamental ability to predict [16, 20] is therefore an important mechanism through which abstract sound sequences acquire affective meaning and transform into a universal cultural phenomenon that we call “music” [15].’ There are extensive quotes and hyperlinked references, and once upon a time, I’d get excited by footnotes by volume and all the rest.
Once again, Gintas K has produced a work which was entirely spontaneous, ‘played, recorded live, at once without any overdub; using computer, midi keyboard & controller’.
It’s another squelchy, dribbly, drippy, dribbly effervescent slice of chaos. It’s a bubbling, frothing, brain-melting froth, an attack of gurgling electronics and beeps, and it’s pure Gintas K.
auralaggravation.com/.../27/gintas-k-broken-kontrol/

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gintas k Lithuania

Gintas K (Gintas Kraptavičius) a sound artist, composer exploring digital, live, computer music, granular synthesis sound aesthetics. Participant of Transmediale.05, Transmediale.07, ISEA2015, ISSTA2016, IRCAM forum workshop 2017, xCoAx 2018, ICMC2018, ICMC-NYCEMF 2019, NYCEMF 2020, Ars Electronica Festival 2020. Winner of Broadcasting Art 2010, Spain; 2019 USF International Call for Scores, USA ... more

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