segunda-feira, 10 de setembro de 2012

Radial Transference / Hugo Paquete / 2012

Author: Hugo Paquete
Title: Radial Transference
Time: 00, 20, 25
Year: 2012
Acousmatic music presented formats:
2 channels
4 channels
8 channels
Concepts and ideas: This composition pretends to understand the possible relationship between two distinct spaces that were recorded using field recording technique, their transfers and contamination on an atomic scale, reflecting the conflict, causality and turbulence. Making reference of their character and an atomist approach in the proliferation of frequencies that could resemble an electrical activity that crosses all the space and give the motto, and articulating as a transitive reality the compositional sound universe as a synthetic and dynamic locust. One of the spaces sonically mapped was a warehouse full of birds and metallic material that contain special characteristic of reverberation. When I also recorded the sound of radios and other elements used in the work construction, respecting how they propagate and react in this environment. Another was a waterfront spaces recorded in the evening with a bamboo field. These sound elements are placed in antagonistic position by the geographical position and elements, of the genesis. Representative of a variety of activity and sound elements and spatial propagation characteristics. Consecutively in the sound treating of these audio elements throw a atomic sound limit to understand Its structure of frequency, tones and amplitudes. Transforming the genesis these sounds into more abstract and suggestive elements recreating a new sound universe. Based on the image of two circles moving interacting and contaminating, recreate and grounded in an attempt to find points of tension, activity and sometimes vacuum. I intended in this composition exploring limits that coordinate between complexity and emptiness using the language of music and acousmatic, spectrographic synthe and granular treatments to process some of the sounds and decompose their frequencies, manipulating also granularly projection of some sounds in order to build small phrases that articulate and turn over the piece with rhythmic variations and noise. These variations are sometimes operated until a threshold signal processing the sound in till is lost to get turns into another sound form that apparently does not associate with reality. Process of multiple pitch variations, amplitudes and frequencies of sound building this idea of atomism, electricity and activity of small scales almost that relate geometrical and recreate a whole grain. In short a holding born out of inward linking, geographical space, temporal and elaborating a new fictional recreation of the real and the virtual, digital and analog representative of the transitions that we make nowadays between reality and Virtual distention of our existence in the politic frequencies of the nexus.



Hugo Paquete / Title: Anisotropy: Noise Surface / Year: 2012 (software art experiments)

  Hugo Paquete Title: Anisotropy: Noise Surface Year: 2012 (software art experiments)
Notes: This Video is part of a documentation about some software art experiments that I am developing for constructing and use as performative tools as interactive installation. I am very interested in the relation with normal and practical user interfaces from the common operative system design and possibility in therm of forms as aesthetic. The sound that are integrated is trigger by boxes with no information of the content of the sample. This element is important to explore the formal relation between design and function and anti-design and sound result. Opening this experiment for random and stochastic possibilities, centring the sound conclusions in casualty of possibilities. Other important factor is reflecting the in-materialization of the art object, experience and content Notes: This Video is part of a documentation about some software art experiments that I am developing for constructing and use as performative tools as interactive installation. I am very interested in the relation with normal and practical user interfaces from the common operative system design and possibility in therm of forms as aesthetic. The sound that are integrated is trigger by boxes with no information of the content of the sample. This element is important to explore the formal relation between design and function and anti-design and sound result. Opening this experiment for random and stochastic possibilities, centring the sound conclusions in casualty of possibilities. Other important factor is reflecting the in-materialization of the art object, experience and content.