In structural film sound does exactly the opposite

“If one of the main functions of sound in traditional filmic mimesis is to ‘naturalize’ the image and anchor it in the real, in structural film sound does exactly the opposite. It openly contradicts the visual track, abruptly appears and disappears, or changes tone, quality, or intensity without a clearly visual motivation.”

“Structural Film: Noise”, Juan A. Suárez, in Still Moving: Between Cinema and Photography.

SismografoSeries Vol.29 _blank

A mixtape made for Sismógrafo Series. The only condition was to use music published with free licences.

Tracklist:

1 Yan Jun – In for Rain [van Dieren/LUFF]
2 Bangkai Angsa – Byzantine [self-released]
3 INM.IN – Suffer Means You’re Alive [self-released]
4 COG : NULL – UGG ADDBOOTS NOISE [self-released]
5 Scrap Heap – Tentative [Oceanbase]
6 Vhom – pobv_3m58s_009 [Experimedia]
7 Salakapakka Sound System – Homoerotic Rallies of the 3rd Reich [self-released]
8 Alexei Borisov & Olga Nosova – _ASTMA IgE Untitled 14 [Picpack]
9 Apophallation – Sexual Side of Depression [Dadaist Audio]
10 Rioteer – Heavy Metal Sleep Deprivation [Vatican Analog]
11 Å – Monacal (Cistercian Period of the Abbey) [self-released]
12 Uton – Spiritual Brain Treatment [We Have No Zen!]
13 Clemens – Dead Ends [tecnoNucleo]
14 Noise Attack – Schizoid [CSIndustrial 1982-2010]
15 Sophina La Kitty – Meowzbow [self-released]
16 Katie Gately – Hymncycle [self-released by Schemawound]
17 Valentina Vuksic – Xwoaf from Floppy on Compaq Armada E500 [Zeromoon]
18 Origami Subtropika – 2 minutos [Zeromoon]
19 Marta Zapparoli – Turbulence of the Soul [Zeromoon]
20 Post-Avantist– Repeat This Mantra [self-released]
21 Yukiga Futte Uresii – Nymphomaniac Block Spiral [self-released]

@ Festival APOLLO 4 [20 – 26 novembre, Boucau, Anglet (France)]

apollo

Festival APOLLO 4 . art & musique

avec AA tigre, _blank, Sandra Cuesta, Gérard Dalla Santa, Alain Fleig, Guilh’em All, Emmanuel Lagarrigue, Béranger Laymond, Leve, Mikel R. Nieto, Pavane, Hugo Pernet, Sajjra, Cindy Sherman, Meredith Sparks, Deborah Turbeville.

BOUCAU . Apollo . 20-26/11

ANGLET . Baroja . 26/11 + 14/01

BAYONNE . DIDAM . 01/12-17/01

En écho à une mélancolie propre à la saison hivernale, l’esprit absorbe la poésie des souvenirs, la nostalgie des lieux, l’esthétique des films noirs, les corps en présence, les voix intérieures. Une zone grise se dessine, incertaine, insaisissable, où s’agglomèrent des fragments de l’existence et d’où s’échappent des envies d’ailleurs.

Une exploration entre art contemporain et musique.

Pour commencer…

Vendredi 20 novembre, 18h30: Inauguration de l’exposition Partie 1, Salle Apollo, Boucau.

avec Béranger Laymond, Emmanuel Lagarrigue, Sandra Cuesta, _blank

Exposition ouverte tous les jours du 20 au 26/11, de 14h à 19h. Entrée libre.

Visite commentée le dimanche 22/11 à 16h.

Samedi 21 novembre, 20h30: Concerts, Salle Apollo, Boucau.

AA Tigre (minimal folk, Quintana del Castillo).

projet Leve (séance d’écoute, édition limitée à 250 ex. de vinyles conçus par des artistes et musiciens).

Guilh’em All (indus, musique concrète et rotative, techno approximative, Villefranche-de-Rouergue).

Computer Music Studies: (vidéos, quand le son devient image, par Mikel R. Nieto (San Sebastian) y _blank (Barcelona))

Ambiance slows et rock and roll, dans l’exposition. Entrée 6 euros.

Ensuite…

Jeudi 26 novembre, 20h30: Performance AV, Ecuries de Baroja, Anglet.

avec Mikel R. Nieto y _blank: Standing in the meeting of two eternities .

Les recherches de Mikel R. Nieto portent sur la captation de sons et sur leurs mises en situation. _blank travaille sur les médias visuels et sur les interactions directes son/image. En duo, à l’issue d’une résidence de 4 jours, ils vont investir les Ecuries de Baroja pour proposer une expérience intense, dans un épais brouillard, entre projections lumineuses hypnotiques et vibrations sonores. Entrée libre. Réservation au 05 59 58 35 60.

Direction artistique: François Loustau / La Maison. Informations au 06 80 68 80 38.

Evénement Facebook.

Computer Music Studies

During last month, I spent most of my time making a series of audiovisual pieces entitled Computer Music Studies. The sound, and the title, are by Mikel R. Nieto, who provided me with twenty tracks. This work was made for Nokodek Festival.

The initial idea was to make a series of audiovisual pieces based on digital feedback. That is, using configurations in which the audio output returns to the audio input, generating an internal digital feedback which usually is nonlinear and difficult to control. The sound was generated in an autonomous way using different configurations of the same pattern. (I don’t know which audio software used Mikel, if you’re interested in the sound tracks you should ask him).

The video track is not feedback, but data bending, which I guess could be understood as a kind of digital feedback because it uses a stream of data—in this case audio data—to generate another kind of file—in this case an image file. It’s not feedback, obviously, because I’m not routing the output back as an input, but in certain sense I’m routing the ‘output’ data of one format as an ‘input’ for another. In any case, it’s not generative, it was made frame by frame.

What I did was splitting the audio tracks in fragments of around 41.67 milliseconds—the equivalent to one video frame—using Audacity. I saved all those files as .raw, then I opened them in Photoshop, and I saved them as .jpg. So, what you hear and what you see are exactly the same data.

This video is just one of the twenty pieces, the complete work is around 40 minutes. It can’t be played live, because the data bending part is almost ‘handmade’—the conversion phase is not automatic, it’s painstakingly slow—, so even it was made for a music festival it’s more like a series of films than ‘live cinema’. Machine music for machines.

Go on talking! Walk about! Don’t listen!

“Satie’s only public performance of furniture music took place during the intermission of a play (written by his friend Max Jacob) at the Galerie Barbazanges in Paris on March 8, 1920. Satie arranged for a small band to continually play repeated figures from Camille Saint-Saëns’s Danse macabre and Ambroise Thomas’ Mignon. He had hoped that the music would fade into the background while the audience conversed and enjoyed the picture exhibition in the theater hall. Contrary to Satie’s explicit instructions, however, audience members found themselves engrossed in the music, listening to it carefully and deliberately. An aggravated Satie began to scream, ‘Go on talking! Walk about! Don’t listen!’.”

Motion[less] Pictures: The Cinema of Stasis, Justin Remes.

La variedad de sones que el viento hace brotar de las oquedades

«Cuando la Tierra jadea —dijo Ziqi—, es lo que llamamos viento. A veces el viento no se levanta, mas en cuanto lo hace, rugen las oquedades todas. ¿Es que no has oído el ulular de un poderoso viento? En las anfractuosidades de las boscosas montañas encuéntranse enormes árboles de cien palmos de circunferencia, cuyas oquedades semejan narices, bocas, orejas, huecos de vigas, cercados, morteros, zafareches o charcas. Penetra el viento por estas cavidades y produce diversidad de sonidos: ora estrépito de torrente, ora el silbar de una flecha, ora semeja un bostezo, o bien profunda aspiración; a veces suena a llamada, o a gemido, a voz del profundo valle, o a atormentado lamento. Canta delante del viento y detrás le acompañan. Con brisa, armonía menor; si vendaval, armonía mayor. Cuando el vendaval ha pasado, las cavidades todas quedan silenciosamente vacías. ¿Acaso no ves cómo se agitan las ramas y las hojas de los árboles?».

Dijo Ziyou:

—De modo que la música de la Tierra es el sonido del viento que sale de todas esas oquedades, y la música del hombre la que sale de las flautas. Permitidme preguntaros por la música del Cielo».

—La música del Cielo —dijo Ziqi— es toda la variedad de sones que el viento hace brotar de las innúmeras y diversas oquedades. Y esa incalculable variedad de sones débese al propio natural de cada una de las cavidades. Mas, ¿acaso hay alguien en el origen de todo esto?».

Zuang Zi: «Maestro Chuang Tsé», Kairós.

She puts in earplugs every time she goes to the supermarket

“I know a person who found that the type of music played in her supermarket made her very sad. The songs reminded her of a difficult time in her life, and she saw herself focusing on the memories and not on her shopping. When she realized this, she made a conscious and intelligent choice to take good care of her consciousness. Now she puts in earplugs every time she goes to the supermarket, in order not to be distracted and depressed by the music.”

Silence: The Power of Quiet in a World Full of Noise, Thich Nhat Hanh.

Bass is the crudest mass upon which all rests and from which everything originates and develops

I recognise in the deepest tones of harmony, in the bass, the lowest grades of the objectification of will, unorganised nature, the mass of the planet.

It is well known that all the high notes which are easily sounded, and die away more quickly, are produced by the vibration in their vicinity of the deep bass-notes. When, also, the low notes sound, the high notes always sound faintly, anil it is a law of harmony that only those high notes may accompany a bass-note which actually already sound along with it of themselves (its sons harmoniques) on account of its vibration.

This is analogous to the fact that the whole of the bodies and organisations of nature must be regarded as having come into existence through gradual development out of the mass of the planet; this is both their supporter and their source, and the same relation subsists between the high notes and the bass.

There is a limit of depth, below which no sound is audible. This corresponds to the fact that no matter can be perceived without form and quality, i.e., without the manifestation of a force which cannot be further explained, in which an Idea expresses itself, and, more generally, that no matter can be entirely without will.

Thus, as a certain pitch is inseparable from the note as such, so a certain grade of the manifestation of will is inseparable from matter. Bass is thus, for us, in harmony what unorganised nature, the crudest mass, upon which all rests, and from which everything originates and develops, is in the world.

The World as Will and Representation, Arthur Schopenhauer.

Todo resuena

«Todo resuena, apenas se rompe el equilibrio de las cosas. Los árboles y las yerbas son silenciosas; el viento las agita y resuenan. El agua está callada: el aire la mueve, y resuena; las olas mugen: algo las oprime; la cascada se precipita: le falta suelo; el lago hierve: algo lo calienta. Son mudos los metales y las piedras, pero si algo los golpea, resuenan. Así el hombre. Si habla, es que no puede contenerse; si se emociona, canta; si sufre, se lamenta. Todo lo que sale de su boca en forma de sonido se debe a una ruptura de su equilibrio.

La música nos sirve para desplegar los sentimientos comprimidos en nuestro fuero interno. Escogemos los materiales que más fácilmente resuenan y con ellos fabricamos instrumentos sonoros: metal y piedra, bambú y seda, calabazas y arcilla, piel y madera. El cielo no procede de otro modo. También él escoge aquello que más fácilmente resuena; los pájaros en la primavera; el trueno en verano; los insectos en otoño; el viento en invierno. Una tras otra, las cuatro estaciones se persiguen en una cacería que no tiene fin. Y su continuo transcurrir, ¿no es también una prueba de que el equilibrio cósmico se ha roto?

Lo mismo sucede entre los hombres; el más perfecto de los sonidos humanos es la palabra; la literatura, a su vez, es la forma más perfecta de la palabra. Y así, cuando el equilibrio se rompe, el cielo escoge entre los hombres a aquellos que son más sensibles, y los hace resonar». —Han-Yu

Chuang-tzu, Octavio Paz.

What we see is dictated by what we hear

“What we see is dictated by what we hear. You can verify this by a simple experiment. Turn off the sound track on your television set and use an arbitrary recorded sound track from your tape recorder: street sounds . . music . . conversation. . recordings of other TV programs, radio et cetera. You will find that the arbitrary sound track seems to be appropriate . . people running for a bus in Piccadilly with a sound track of machine-gun fire looks like 1917 Petrograd. You can extend the experiment by using material that is more or less appropriate to the image track. For example take a political speech on TV shut off sound track and substitute another speech you have prerecorded . . hardly tell the difference . . isn’t much . . Record the sound track of one Danger Man spy program and substitute for another . . Try it on your friends and see if they can’t tell the difference.”

The Ticket That Exploded, William S. Burroughs.

Anhedonia

In psychology and psychiatry, anhedonia (/ˌænhiˈdoʊniə/ an-hee-doh-nee-ə; Greek: ἀν– an-, “without” and ἡδονή hēdonē, “pleasure”) is defined as the inability to experience pleasure from activities usually found enjoyable, e.g. exercise, hobbies, music, sexual activities or social interactions. While earlier definitions of anhedonia emphasized pleasurable experience, more recent models have highlighted the need to consider different aspects of enjoyable behavior, such as motivation or desire to engage in an activity (“motivational anhedonia”), as compared to the level of enjoyment of the activity itself (“consummatory anhedonia”).

Wikipedia

VERTIXE EXPERIMENTA ’14

O venres 19 ás 21:00 toco no MARCO de Vigo. Esa mesma noite toca tamén Alberto Bernal, que fai además un obradoiro durante o fin de semana.

Venres 19 ás 21:00
_blank + Alberto Bernal

Concerto do compositor e artista sonoro Alberto Bernal xunto coa barcelonesa _blank, que presentará unha das súas últimas obras de sonificación de datos, dun alcance inmersivo escalofriante.

Alberto Bernal
“O son que non soa”

Sábado 20 de 11.00 a 14.30 e de 17.00 a 21.00
Domingo 21 de 11.00 a 14:30.

Alberto Bernal propón un obradoiro sobre “O son do que non soa” no que se presentarán algúns aspectos técnicos, estéticos e pragmáticos dun traballo musical que parta do impulso doutros medios. Gravacións de campo, son da voz, fotografías, vídeos, movementos, datos socioeconómicos… todo iso tomarase como punto de partida para desenvolver técnicas de sonificación e recodificación que permitan xerar diversos tipos de material musical, sexa en soporte partitura ou en soporte electroacústico.

Mais información

VA – Be Angry not Afraid

A compilation by HAZE netlabel in which I’ve participated with a track entitled “Classify me, Patronize me, Categorize me, Reduce me to One Dimension”.

Compilation curator: Anna Rodina. Compilation coordinator: Dzmitry Ladzes. In cooperation with Gender Route.

Give me back my broken nights

At some point during the 2000s I used to go to gothic clubs. I’ve never been a darkwave or synthpop fan, but there’re some specific songs from the 90/00s that I like, and another ones that I find pretty kitsch and funny.

Some dark synthpop German bands, as And One, are really funny; Wolfsheim are a little too pop for me but they have some good songs; other bands, as Beborn Beton or De/Vision, are just too bland and cliché. In any case, what I find interesting is the fact of listening to that kind of dark music at night clubs; it’s a bit incongruous, to say the least, but it’s also intriguing.

The German dark synthpop from the 90s evolved into something that I find much more interesting, bands like Haujobb and Klangstabil. Haujobb, Klangstabil or Alec Empire are not darkwave or synthpop per se, but synthpop have some things in common with electronic industrial music, and most gothic clubs play both kinds of music (among a lot of other things).

I genuinely like And One, and some specific albums by Wolfsheim and Covenant, but I prefer Haujobb and Klangstabil. In fact, Klangstabil is one of my favourite electronic industrial bands—Taking Nothing Seriously is a really great album. I’ve seen a lot of these bands live here (in Barcelona) and at some German festivals, as Wave-Gotik-Treffen and Maschinenfest, and I have some good and fucked-up memories of that time…