w.m.o/r 32
Released August 2007
CDr edition of 200

Stock Exchange Piece                   
(Gold & Light Sweet Crude Oil)
Matthieu Saladin

The Stock Exchange Pieces are transpositions of rates and index of the Stock Exchange to sine waves, with simple substitution of units. The rates fluctuations determine the swings of resulting frequencies.
In this piece, the rates of oil and gold and their respective 50-day moving averages (MA 50) usually associated with them are transposed to sine waves by simply swapping units. For example, if the oil barrel is worth 61.43 USD, the frequency of the sine wave will be 61.43 Hz; for gold, if its index is at 648.05 USD/ounce, the frequency of the sine wave will be 648.05 Hz, etc. Thus, the swings of high frequencies correspond to fluctuations of gold and its MA 50 and the swings of low frequencies to fluctuations of oil and its MA 50.
The considered period is 50 days (from March 4 to April 22, 2007) so that the moving average of the last index is calculated from all the individual values heard during the piece. The ratio for duration is 1 day is equal to 1 min, thus the piece lasts 50 min. The index/frequencies are separated in pan, according to the following distribution: rates of gold and oil on the left, MA 50 on the right.
The sine waves move about, converge or move away from each other, mirroring oscillations of the Stock Exchange and thus generating acoustic phenomena in their movement – sonic transcription of a flow.

Instrument: sine wave generator
Recorded April 22, 2007


Stock Exchange Piece

(Gold & Light Sweet Crude Oil)

Les Stock Exchange Pieces sont des transpositions en fréquences, par simple substitution de l’unité, des taux et indices de la bourse. La variation des indices détermine la variation des fréquences résultantes.
Dans cette pièce, il s’agit des transpositions en fréquences des indices de l’or et du pétrole, ainsi que de leur moyenne mobile respective sur 50 jours (MA 50) telle qu’elle leur est habituellement associée dans la présentation des cours. Par exemple, si le baril de pétrole est à 61.43 USD, la transposition en fréquence égale 61.43 Hz ; même chose pour l’or, si son indice est à 648.05 USD/once, la transposition en fréquence égale 648.05 Hz, etc. La variation des fréquences aigues correspond ainsi à celle de l’or et de sa MA 50 et la variation des fréquences basses à celle du pétrole et de sa MA 50.
La période considérée s’étend sur 50 jours (du 04/03/07 au 22/04/07) afin que la moyenne mobile du dernier indice soit calculée sur la base de l’ensemble des indices qui se sont succédés lors de l’écoute. Rapport de durée adopté : 1 jour = 1 min. La pièce dure donc 50 min. Les indices/fréquences sont séparés dans le panoramique, selon la répartition suivante : taux de l’or et du pétrole à gauche, MA 50 à droite.
Les fréquences évoluent, se rapprochent ou s’éloignent les unes des autres au gré des oscillations du marché et engendrent ainsi dans leur mouvement des phénomènes acoustiques – transcription sonore d’un flux.

Instrument : générateur de fréquences               
Enregistré le 22/04/07                   
Contact : matthieu.saladin[at]wanadoo[dot]fr


number 591
week 35

The good thing about not having money, is that one doesn't have to worry how to make more money. I am not sure if Saladin has money, or shares, but the stock market is the starting point for his 'Stock Exchange Piece'. He took the rates of oil and gold over a fifty day period, and 'translated' the fluctuations into sine waves. So if the rate is 61.43 dollar for a barrel of oil today, then he will pick that as frequency in sinewaves and with the gold it's dollars per ounce (oil becomes low frequencies and gold higher frequencies). Each day, one minute. There is a bit which I don't understand about the 'moving averages' (MA50), but alas I can't be economic about that. That's about it. The result, one might ask, any good? Yes it is. The fluctuations don't jump around a lot, but it moves up and down, and slow as it is, the piece moves up and down in a slow. A great slow, heavy drone piece. Frans De Ward


One of my most pronounced cultural limits (…alright, "culture" is an
unrecognized concept here, but let's just pretend it exists…) is the
comprehension of the mechanisms at work in the Stock Exchange market,
something which "real world" occurrences depend on, and yet I never cared a
iota about that. Furthermore, every time I look at those sharp-dressed
operators chocking themselves while performing their specialist language of
signs, my mind decrees that pigeons could very well be designing our future
political and economic developments. Now, Matthieu Saladin found a way for
this man to appreciate at least a smidgen of Stock Exchange behavioural
implications. He associated different frequencies of sine waves to the rates
and indexes of gold and light sweet crude oil, then proceeded to generate an
electronic composition out of their fluctuations. One would expect a sonic
mayhem akin to a Wall Street chaos of bleeps, purrs and mumbles, right?
Wrong. What's left is a simple parallelism of high and low pulsating
undulations, whose interior movement accelerates or decelerates in a
gradually evolving pseudo-immobility. Picture a much colder, less rich
version of Eliane Radigue's "Trilogie de la Mort" and you'll get a vague
idea of how this stuff sounds like. A little more dope in the reproduction -
speakers are mandatory - and the oscillating pulses become strikingly
muscular, resounding presences all around the house, thickness varying
depending on the position we're in. Very installation-oriented,
intelligently minimal. And you don't even need an Armani suit to enjoy it

Bagatellen (USA)

Mathieu Saladin
Stock Exchange Piece (Gold & Light Sweet Crude Oil)

Saladin was responsible for a favorite recording of mine from the last couple of years, “Intervalles” on l’Innomable, a penetrating set of processed reed improvisations. This is different. And puzzling. Using a methodology you can read for yourself on the label site, he basically transposes the values of gold and crude oil over a 50-day stretch into corresponding sine wave units. One day equals one minute of disc time, replete with resultant fluctuations as the two sets of waves intertwine. It’s intriguing, not to say provocative, to use a source like this to generate such a pure “object”. It may also be problematic that there’s certainly no way for the listener to have known the source unless informed outside of the sounds themselves. A demonstration of the abstract nature of capital? An illustration of the insubstantiality of the global marketplace? There are, after all, any number of more or less random processes Saladin could have used aside from those he chose. Listened purely as sound (something I find a bit uncomfortable to do, given what I know), the piece quavers mightily (sporting some nice bass) over its course though with little overall change aside from a quickening or slackening of the throb. Indeed, by moving oneself a couple of feet, the listener effects far greater change than is otherwise heard throughout. One can, interestingly, almost eliminate the bass at certain physical points.

Ultimately, I enjoyed it. Art’s been made from gold and oils for a long time now, after all.

Posted by Brian Olewnick on November 14, 2007 5:57 PM

Massimo Ricci  

#18 (Deutschland, by Magnus Schaefer)