Timothy Didymus' "Float" was published by SSSEYO in 1997. Float, a landmark release by Timothy Didymus, featured Koan pieces written and recorded between 1995 and 1996. The principal reason Float was not released before 1997 was because of all the work required to create and test a range of pieces for 10 soundcards.
Float included an enhanced CD that featured the Koan pieces and the Koan software required to play them, and, thankfully, audio recordings of some of them, too (Timothy has kindly allowed us to feature below a number of the recordings and you can hear them below). The recordings were made direct from soundcard to DAT, and with no after effects, over dubs or treatments applied - making them all the more remarkable.
We first met Timothy in 1993/4 when he helped us record Koan Plus. It was our incredible luck and good fortune to have met him as he developed an interest in creating Koan music with Koan Pro and became one of our early beta testers. It turned out he was not just good it it, he was brilliant to such a degree that he deserves his rightful place in the history of generative music - as a pioneer right at the very beginning and one who remains active right to this day.
Generative Music Historians / Collectors
Judge for yourself just how significant Float was to the history of generative music. If we remember correctly, only a thousand or so were ever made, so if you bought or own a copy, and have kept it, you are a very lucky person indeed!
Further Timother Didymus related links:
Featuring works by Timothy Didymus, Mark Harrop, Andrew Garton, Brian Eno and other generative artists, this was derived from the huge Koan generative music software retrospective entitled “Floating Points im de KlangPark”, curated by Timothy, that was a 48 hour, 250,000-watt, public acoustic ambience exhibit presented at Ars Electronica’s 2003 “CODE – the Language of Our Time” at the Linz’s Klangpark on the banks of the Danube. The Dark Symphony audio was generated entirely by four, independent Koan music engines.
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