{"id":9962,"date":"2017-11-08T14:57:03","date_gmt":"2017-11-08T13:57:03","guid":{"rendered":"http:\/\/blog.cronicaelectronica.org\/?p=9962"},"modified":"2017-11-08T14:57:03","modified_gmt":"2017-11-08T13:57:03","slug":"david-lee-myerss-superpositions-reviewed-by-the-wire","status":"publish","type":"post","link":"http:\/\/blog.cronicaelectronica.org\/?p=9962","title":{"rendered":"David Lee Myers\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Superpositions\u00e2\u20ac\u009d reviewed by The Wire"},"content":{"rendered":"

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\nEarly in his career, New York based audiovisual artist David Lee Myers discovered guitar effects boxes. He has since become adept at channeling internal electronic feedback by wiring together systems where inputs are fed at their own outputs, guiding electrons through hidden, ouroboric pathways. Superpositions, a new cassette for Portuguese experimental label Cr\u00c3\u00b3nica, demonstrates a diverse range of sounds that may be produced using this basic principle, from the teetering dissonance of \u00e2\u20ac\u0153Double Slit\u00e2\u20ac\u009d to the cosmically suggestive \u00e2\u20ac\u0153Rheomode\u00e2\u20ac\u009d in which descending tones chase each other ever downward. The word rheomode was coined by theoretical physicist David Bohm to describe a new way of using existing language to center processes over objects. It is also an apt description for Myers\u00e2\u20ac\u2122s music, thriving in a perpetual state of flux and self-discovery. Emily Pothast<\/em><\/p>\n