Uploaded December 2021 | Updated September 2026, 2 weeks ago
Alvin Augustus Lucier Jr. (May 14, 1931 – December 1, 2021) was an American composer of experimental music and sound installations that explore acoustic phenomena and auditory perception. A long-time music professor at Wesleyan University in Middletown, Connecticut, Lucier was a member of the influential Sonic Arts Union, which included Robert Ashley, David Behrman, and Gordon Mumma. Much of his work is influenced by science and explores the physical properties of sound itself: resonance of spaces, phase interference between closely tuned pitches, and the transmission of sound through physical media.
Alvin Augustus Lucier Jr. (May 14, 1931 – December 1, 2021) was an American composer of experimental music and sound installations that explore acoustic phenomena and auditory perception. A long-time music professor at Wesleyan University in Middletown, Connecticut, Lucier was a member of the influential Sonic Arts Union, which included Robert Ashley, David Behrman, and Gordon Mumma. Much of his work is influenced by science and explores the physical properties of sound itself: resonance of spaces, phase interference between closely tuned pitches, and the transmission of sound through physical media.
![no pulse only color (vol. I)
Presented and curated by △ thoHk ▽
Gridlines dissolve. Time stops. This is a canvas of pure texture, frequency, and weightless gravity, where traditional rhythm is stripped away to expose the raw, vibrating spectrum of avant-garde sound. Six visionary composers, no pulse only color.
01. Katharina Klement – Vortex (2018/2021) [00:00 - 09:28] (Stereo Acousmatic Version) — Winner of the first prize at the Weimar Spring Days for Contemporary Music (Weimarer Frühjahrstage) in 2023, this purely loudspeaker-intended piece follows the Baroque concept of the elastic fold. Beginning with a narrow, sustained midrange line, it gradually folds into weightless glissandi that accelerate into spirals, turbulence, and dense, magnificent acoustic whirls.
02. Dganit Elyakim – One On 1.1 for metal percussion and electronics (2021) [09:29 - 17:56] (Percussion: Tomer Galili | Mix: Ronald Boersen) — An ongoing musical dialogue designed for a solo acoustic instrument paired with live electronics, where the computer acts as a sonic parasite, mutating Tomer Galili’s metal percussion in real time. The boundary between physical striking and digital resonance blurs entirely, morphing hard metal into fluid soundscapes.
03. Alen Ilijic – sHe knows (2024–2026) [17:57 - 29:01] — Composed and performed by Alen Ilijic, recorded by Sven Pavlović at Sunday Studios, and mixed and mastered by Charlie Beresford. This piece reflects a radical, avant-garde approach that prioritises raw, intuitive expression and uncompromising artistic truth over traditional structures. The work serves as a deeply personal act of remembrance, dedicated by Ilijic in 2026 to the memory of Dina, Evgeny, Eitan, and Aline Kapshetar, a family whose lives were lost to HAMAS terrorists on October 7th, 2023.
04. Dafna Naphtali – Scatternet (2016) [29:02 - 37:55] — Performed by Dafna Naphtali (voice, electronics, live sound processing) and originally released on the album Silver Shift. This track is a masterful study in real-time digital alchemy, using custom electronic patches to fragment and scatter her own voice across the stereo field, turning a human instrument into a complex, shimmering web of pure electronic color.
05. Guy Barash – Proteus: Electric Monologue (2008–2009) [37:56 - 46:19] — A profound musical rendition featuring text by Nick Flynn and the voice of Andrew Struck-Marcell, drawing from Flynn’s memoir “The Ticking Is The Bomb” and his poetry collection “The Captain Asks for a Show of Hands.” Named after the shifting Greek sea-god who changes his shape to evade capture, this piece slips seamlessly through shifting electronic forms, anchoring an elusive future in the raw grit of the spoken word.
06. Arie Shapira – Left-Right (1996/2000) [46:20 - 1:01:03] — A monumental electro-acoustic work from the late Israeli modernist master, originally featured on his retrospective album Electronics Plus and layered with text by poets Meir Wieseltier, Dan Pagis, Aryeh Sivan, Natan Zach, and Raya Harnik. Left-Right serves as a stark, dense sonic commentary on political polarisation, stripping away traditional harmony to expose the clashing, static friction of words, memory, and social structures.
Vol. II is already in the works and coming soon! Stay tuned for the next phase. no pulse only color (vol. I)](https://i.ytimg.com/vi/kHeBmGTQi9c/mqdefault.jpg)







![Samuel Cohen: Hatikvah
The melody for Hatikvah derives from La Mantovana, a 16th-century Italian song, composed by Giuseppe Cenci (Giuseppino del Biado) ca. 1600 with the text Fuggi, fuggi, fuggi da questo cielo. Its earliest known appearance in print was in the del Biados collection of madrigals. It was later known in early 17th-century Italy as Ballo di Mantova. This melody gained wide currency in Renaissance Europe, under various titles, such as the Pod Krakowem (folk song) (in Polish), Cucuruz cu frunza-n sus [Maize with up-standing leaves] (in Romanian) and the Kateryna Kucheryava (in Ukrainian). The melody is also very similar to a musical theme famously used by the Czech composer Bedřich Smetana in his symphonic poem celebrating Bohemia, Má vlast, as Vltava (also known under the German title as Die Moldau). Smetanas theme was based on a Czech folk song, Kočka leze dírou.
The adaptation of the music for Hatikvah was done by Samuel Cohen in 1888. Cohen himself recalled many years later that he had hummed Hatikvah based on the melody from the song he had heard in Romania, Carul cu boi [The Ox Driven Cart].
The harmony of Hatikvah follows a minor scale, which is often perceived as mournful in tone and is rarely encountered in national anthems. There is a modulating shift to Major key as the words Tikvatenu and Hatikva appear, both mingled with a romantic octave leap which gives new dramatic energy to the melodic line. As the title The Hope and the words suggest, the import of the song is optimistic and the overall spirit uplifting. Samuel Cohen: Hatikvah](https://i.ytimg.com/vi/mRmdJTiOSh8/mqdefault.jpg)

