Las tres piezas estan compuestas a partir de grabaciones de campo hechas en diversos lugares de la ciudad y fueron realizadas para la presentación final de resultados de este taller. Estas y otras piezas realizadas por el resto de participantes (unos 50min en total aprox) fueron reproducidas en loop en una instalación multicanal abierta al público en uno de los estudios de la radio house Nalepastraße, lugar escogido para la programación del último día del festival.
Además de mis propias grabaciones, en el track ‘01_first_approach’ utilicé algunos fragmentos de grabaciones realizadas por mis compañeros Kim Laugs y John Wollaston.
These tracks are based in field recordings made at several urban locations in Berlin and were created during those days as my contribution to a final exhibition of our activities in the workshop. These pieces altogether with others created by some of the participants (spanning a total running time of 50min aprox) were presented publicly on 5th July 2008 as a continuous-loop multichannel sound installation in one of the studios at the radio house Nalepastraße, the chosen location for the programme on the last day of the festival.
In addition to my own field recordings I used source material by my colleagues Kim Laugs and John Wollaston in the track titled “01_first_approach”.
Of course the bold has always been a simultaneity of most different spaces and times […] what is unprecedented about today’s situation is the fact that computers simultaneously occupy two times and two spaces thereby synchronising them: The macrodimension of perception and language on the one hand, the microdimension of the electronic circuits on the other. Like a tunnel into the invisibly small, they connect the laws of matter with those of our cultures. Like a fury of disappearance that, reemerging from its void, permits the possibility that presence and absence, one and zero, may play with each other. That is what is new about new media.
The drone (bourdon) effect re?ects the presence of a constant layer of stable pitch in a sound ensemble with no noticeable variation in intensity. Linked to music in its designation (the drone is a permanent bass note over which other elements are laid), the drone effect can also be observed in urban and industrial soundscapes. Many technical systems generate constant sounds that are close to a drone, even if the frequencies concerned are not limited to the bass range that originally characterized it.
Sonic Experience; Ed Jean-François Augoyard and Henry Torgue
McGill-Queen’s University Press (2005) (p.40-46)
Este volumen de la serie está dedicado especialmente al ‘drone’, además de servir como complemento a un pequeño proyecto de investigación que llevé a cabo recientemente en colaboración con mi colega Miguel Negrão tras una invitación de Raviv Ganchrow para hacer una presentación especial sobre ‘música drone’ dentro de sus sesiones semanales tituladas ‘Sound & Space’, que forman parte del programa formativo del Instituto de Sonología, en el Royal Conservatory de La Haya, Holanda. La presentación la llevó a cabo Miguel el 9 de mayo del 2008. El documento mostrado en esa presentación y una lista con algunos recursos relacionados están disponibles en este link. Un segundo set dedicado al ‘drone’ será lanzado pronto en esta misma serie y también es posible que aparezcan futuras versiones ampliadas del proyecto, así como una traducción al castellano, aunque por ahora no es un plan inmediato.
Escucha recomendada (para sentir un máximo efecto): volumen muy alto + oscuridad + un potente equipo con subwoofer o auriculares en su defecto.
This volume of the series is specially devoted to ‘drone music’. In addition, it works as an illustrative complement to a small research project I did recently in collaboration with my colleague Miguel Negrão, following an invitation by Raviv Ganchrow to give a lecture about ‘drone music’ within the context of his weekly ‘Sound and Space’ lectures, part of the study program at the Institute of Sonology, in the Royal Conservatory of The Hague, Netherlands. The presentation took place on 9th May 2008, delivered by Miguel, who has made available online the keynote document and a resources list with related reading material. A second set devoted to drone is due to be released in a forthcoming volume of the 20020 series. Extended and richer versions of this project and a spanish language translation may appear eventually, not being scheduled as an immediate plan though.
Recommended listening (for a maximum effect): loud volume + darkened room + good audio equipment with subwoofer (or headphones).
_tracklist )))
sleep research facility | ‘2.1’ | dead weather machine (manifold records, 2004)
bernhard günter | ‘stone circles’ | details agrandis (table of the elements, 1998)
yen pox | ‘deliver’ | deliver 7” (drone records, 1995)
lull | ‘slow fall inward’ | cold summer (sentrax, 1994)
bj nilsen | ‘breathe’ | va - spire : organ works past, present & future (touch, 2003)
la monte young | ‘for brass’ (1957) | der zweck dieser serie is nicht unterhaltung vol. 1 (unofficial release, 2003)
eliane radigue | ‘adnos i’ | adnos (table of the elements, 2002)
catherine christer hennix | ‘electric harpsichord no. 1’ (mid-1970s) | (ubu.com, 2003)
ellen fullman | ‘work for 4’ | body music (experimental intermedia, 1993)
pablo sanz | ‘ph13_drone’ (20020.org, 2008)
eric la casa | ‘01’ | air.ratio (sirr records, 2006)
eliane radigue | ‘kyema’ | trilogie de la mort (experimental intermedia, 1998)
marhaug + asheim | ‘clavaeolina’ | grand mutation (touch, 2007)
aube | ‘ne tuoi occhi’ | reworks stefano gentile (silentes, 2005)
boris | ‘interference demon’ | dronevil - final (inoxia records, 2006)
sunn o))) | ‘nn o)))’ | øø void (rise above records, 2000)
spacemen 3 | ‘ecstasy in slow motion’ | dreamweapon (live, 1990)
time machines (coil) | ‘2,5-dimethoxy-4-ethyl-amphetamine’ | time machines
time machines (coil) | ‘5-methoxy-n,n-dimethyl’ | time machines (eskaton, 1998)
brendan murray | commonwealth (23five, 2008)
oren ambarchi + martin ng | ‘procession’ | reconnaissance (staubgold, 2000)
paul panhuysen | a magic square to listen to (plinkity plonk records, 2004)
jean-françois laporte | ‘mantra’ | soundmatters (23five, 2007)
michael j. schumacher | ‘still’ | room pieces (experimental intermedia, 2003)
francisco lópez | untitled single piece 7” (drone records, 1996)
chas smith | ‘descent’ | descent (cold blue music, 2005)
sachiko m | bar sachiko (improvised music from japan, 2004)
tucker martine | brokenhearted dragonflies: insect electronica from southeast asia (sublime frequencies, 2004)
_______________________________________________
mixed and arranged in Madrid. August 2008.
signal/noise es una serie de experimentos con live video realizados en 2005. Un tiempo después rescaté algunos fragmentos de las grabaciones originales e invité a varios amigos a crear una pista de sonido para ellos.
signal/noise is a set of live video experiments I made in 2005. Some time afterwards a few friends were invited to create a soundtrack for several fragments taken from the original recordings.
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