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Tim Wright
Algorithms for Electronics, 

Fake Woodwind and Strings
(Third Collection)

USB flash drive (E176)

Belgium £15 (including postage)

Europe £17 (including postage)

Rest of world £19 (including postage)


Audio mastered by Jacques Beloeil

Trailer [Vimeo]


“I’ve been working on an algorithmic system for live audio visual performance and composition for a few years now. AFEFWAS (3) is a sequence of five 

fragments of differing lengths and contrasting energies which are recordings of its output. At the heart of
this system is a source of random data, 

in this case generated using the Cauchy probability distribution, which can be shaped by the performer both in real 

time and by a careful choice of starting conditions. This data source is used 

to create both the audio and visual elements of the work.”

—Tim Wright,

East Witton, April 2015

See also

Out  of print


Distributed via a USB stick, Algorithms for Electronics, Fake Woodwind and Strings (Third Collection) is a five- movement audiovisual work comprising geometric shapes — predominately lines and circles—that periodically materialise, shift and vanish, simultaneously with slow-moving layers of the kind of timbres intimated 

in the title. The relationship between
sight and sound is ostensibly clear but 

a persistent line of ambiguity keeps one guessing as to the true nature of their interactions (both of which are formed from the same source of random data). Wright’s algorithms result in swathes of warm ambience as well as rapid-fire faux-
chamber music-like episodes of imitation and counterpoint, often underpinned 

by juddering slabs of bass. The fourth
movement is especially intense in this respect, focussing on strings and revelling in some lovely collections of
frequency-clashing beats that become locked in place. Engrossing stuff.

Simon Cummings at 5:4

Five pieces of audiovisual work segued into a single track with a 22-minute running time, it’s classic Wright, 

a multimedia extravaganza with truly 

eye-popping visuals. The concept and methodology is technical to the point 

of being highly scientific, but thankfully 

a priori knowledge of the Cauchy probability distribution is not an essential
prerequisite for appreciation and enjoyment of AFEFWAS as a work of multimedia art. The music: dark, shifting drones, rumbles and chilling top-end contrails crawl and scrape through galactic domains, stretching out in all directions, expanding time and space.
It doesn’t sound like any woodwind or strings, fake or otherwise, you’re likely 

to have ever heard. The sounds have
been heavily manipulated, resculpted, twisted and stretched to form something entirely different, something that’s
sinister, unsettling, uncomfortable.


The visuals: not as synapse-annihilating as those on some of Wright’s releases, such s as his 8 Switches, for example,
but nevertheless, the clinically incisive lines through overlapping circles which build ever-evolving vectors of Venn
diagrams and seeming optical illusions are striking. They also serve to emphasise that this work exists at the point at which art and science intersect.


Christopher Nosnibor at

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