Knurl was adapted to three modes of application: Detection, Programming and Synthesis. Respectively those modes aboard three different of sonic intervention: short, longer and long.
On the Detection mode, frequency, amplitude, duration and spectrum become data for music generation in short period of the time constrain, the applicability is instantaneous and it doesn’t require to much calculation by the performer. It is useful on moments to break tension between sound scenes.
On the Programming mode, the pace and the flow is created gradually by a code live creation. We restricted this set up
On the Synthesis mode, the performer has a list of possible synthesis that is trigerred by the buttons at the bow. The performer receives a feedback of what has been played.
This reference comes from the talks and composition classes in Brazil with Roberto Victorio, Maurício Dottori and Silvio Ferraz. Both of them composed pieces about the greek understanding of time: Kairos, Chronos and Aion. They represent, respectively, Time was measured time (Chronos) and the un-measured time of eternity (Aion) and disrupting instant (Kairos).
To design the sound of an electronic interface should allow us both applications through time-space. I was inspired to transform this concept of time on the sound zones of a performance, representing the 3 Modes of application (described before) as:
Aion: Code Mode
Kairos: Detect Mode
Chronos: Synth Mode
Added to it, the rhythm of classic poetry composition also inspired me to related each of it with differet usage of duration:
Aion: Longest ( long build phrases of live coding texture )
Kairos: Shorter (0.5 - 5 secs)
Aion: Neutral (anything up to 2 secs)
The modes are undependly of eachother and they can be streamed in the same time period. The code and synth has to be triggered by the counter buttons at the bow. The detect mode is the only one undepend of the reaction of the performance: is based of utocrelation functions.