São Paulo (USP) - Belfast (SARC)
17h00 BRT (São Paulo) - 20h00 GMT (Belfast)
Sonic Arts Research Centre: http://www.sarc.qub.ac.uk
Projeto MOBILE: http://www.eca.usp.br/mobile
VAV, by Chris Brown
Ser Voz (To Be Voice), by Michelle Agnes, Lílian Campesato, Julián Jaramillo and Vitor Kisil
Scratch-Shot, by André Damião
Cipher Series, by Pedro Rebelo
Summer Snail, by Felipe Hickmann
1. VAV (2008)
Belfast: Eduardo Patrício and Rui Chaves
São Paulo: Julián Jaramillo (HUB), Kooi Kawazoe, André Bandeira, Vitor Kisil, Boris Duque, Pedro Paulo Kholer, Marcos Luis Duarte.
Players generate chains of sound events, as in Hot Potato, but any player can stop or start a chain. Shared parameters used to produce all sounds evolve through group interaction using control/trigger messages. Each player produces a mono signal sent to Chris (The Hub) who moves them in separate 3D trajectories using an ambisonic (multi-speaker system) mixer. This controlled dynamic texture can be contrasted by players becoming "guerillas" who improvise freely, but whose spatial position is fixed. (Extracted from Chris Brown’s specs and adapted to particular conditions).
2. Ser Voz (To Be Voice (2012)
Michelle Agnes, Lílian Campesato, Julián Jaramillo and Vitor Kisil
Belfast: Michelle Agnes and Lílian Campesato
São Paulo: Julian Jaramillo and Vitor Kisil
Absent and present voices are protagonists of this audio-visual experience. The purpose of "Ser voz" is to create a kind of abstract vocal theater. Rhythmic patterns, imitative sounds, onomatopoeia and spoken texts are the work main materials, and are produced by two couple of performers, that are separated physically, but interact together via network resources. The read texts consists in fragments of Rimbaud, T.S. Eliot, Lope de Vega, Borges, Octavio Paz, Neruda and Oswald de Andrade. This excerpts alternates with highlights of The Pleasure of the Text (Roland Barthes), that unifies the piece, referring to the corporal aspects of the voice: “the language lined with fresh, a text where we can hear the grain of the throat, the patina of consonants, the voluptuousness of vowels, a hole carnal stereophony: the articulation of the body, of the tongue, not that of meaning, of language. […] It granulates, it crackles, it caresses, it grates, it cuts, it comes: that is bliss”.
3. Scratch-shot (2011-2012)
Belfast: Robert Casey and Paul Wilson
São Paulo: Cesar Villavicencio and Vitor Kisil
This piece was composed specially for this concert. It plays with the Idea of a long-shot, or take, in a film, being fractionated (scratched) into small portions of time. The piece uses the process of loop to stretch or condense this single scene, and the idea is that by manipulating this very common form of discourse would be a way to feel the time passing.
4. Cipher Series (2010-2012)
Belfast: Robert Casey
São Paulo: Miguel Antar
Cipher Series is a collection of graphic scores that are displayed to audience and performers in accordance to a fixed temporal structure generated for each performance. The performance plays on the role of notation as a mediator of listening, setting up a performative condition based on interpretative strategies based on engagement by both the performer and the audience. The change from one graphic score to the next has immediate formal implications for the music and acts as a way of articulating shifts in musical material or interpretation strategy. Although there are no instructions on how to interpret the graphic scores, their temporal placement and public display exposes the performer as someone who proposes relationships between musical and graphic structures in an otherwise freely improvised context. Cipher Series has been designed for open instrumentation and can be played in a solo, ensemble or network performance situation. The work was premiered at EIMAS, Brasil 2010.
5. Summer Snail (2010-2012)
Art: Ivana Lemos
Programming: Eduardo Patrício
Belfast: Robert Casey and Paul Wilson
São Paulo: Miguel Antar and Rogério Costa
“O summer snail
you climb but slowly, slowly
to the top of Fuji”
These are the opening lines for Summer Snail. They are from a haiku, written by Japanese poet Kobayashi Issa somewhere between the 18th and 19th century. They are the first step in a path full of ramifications, alternative routes leading to textual instructions, graphic notation and new haiku - all the objects of improvisation, of creative engagement to a transient musical context.
The score resembles a board game. A computer network connects two dislocated ensembles. Each of them moves over its individual map, according to cues given by their remote partners - or might we say opponents? Both sides struggle to reach the top first, but have no control over their own paths. They can, however, interfere with the path followed by their remote counterparts, by choosing gestures and materials that "push" them through specific routes. A referee listens to the performance and triggers the appropriate squares. Reaching the end of the score will require more than patience and tenacity: strategy will play a key role in aiding the little snail through its resolute pursuit for the highest point of Japan.
Chris Brown’s music has evolved within the intersections of many different traditions and styles. Following early training as a classical pianist, he was influenced by studies of Indonesian, Indian, Afro-American, and Cuban musics, and then took off on branches provided by the American Experimentalists in inventing and building a personal electronic instrumentation. At first these were amplified acoustic devices; then he went on to build analog circuits that modified their sounds, and custom-made computer systems that interactively transformed them. More recently, he has extended this fascination with instrument building to the design of computer network systems that interact with acoustic musicians and with other computers and musicians connected over the internet.
Julián Jaramillo was born in Bogota, Colombia. He received his BA in music composition from Universidad de los Andes and his MA in multimidia from Unicamp University in Brazil. His work deals with relations between digital media and art music. Julian electroacoustic music, radio art, video and instalation pieces have been performed in Colombia, Brazil, Spain United States and France. Julian is part of Mobile group that works in the subject of music and interaction as a candidate for PHD in Musicology from Universidad de Sao Paulo. Julian lives and works in Sao Paulo, Brazil.
Michelle Agnes is a composer and improviser, holds a Ph.D. from the University of São Paulo. In 2003 was awarded with the Unesco-Ashberg scholarship for artistic residence on the IMEB, France. As composer, she has been dedicated to the instrumental, mixed and electroacoustic music, and to the filme music, cooperating with several Brazilian film makers, writing and playing for silent movies. Lives and works in São Paulo where teaches at the Faculdade Santa Marcelina and at the Academy of São Paulo State Orchestra.
Lílian Campesato is a musicist and researcher with an emphasis on experimentation of non-usual and hybrid means of sound creation, such as sound installations and performances. She holds a master degree in Music from the University of São Paulo (2007) with a thesis on sound art. She has performed as a sound artist in different local and international festivals such as Re:New Digital Arts Festival (Copenhagen, 2008), Brazilian Symposium on Computer Music (São Paulo, 2007) and Electronic Language International Festival (2007, 2008 and 2009). Currently, she is pursuing her PhD in music at the University of São Paulo with an investigation about noise in music.
Vitor Kisil is a composer, performer and researcher with expertise in diverse forms of music. Holds a master degree in Music, from the University of São Paulo, with a dissertation on Interactive Music. His master’s project won a prize by “Itaú Cultural – Rumos Arte Cibernética” (2007). He often works with groups of Interactive Art both as composer and developer of real time processing and manipulating audio tools. Currently, he is pursuing a PhD in music at the University of São Paulo, about the creation process of Interactive Music. He has performed in international festivals such as: Re:New; SMC; FILE and Festival Internacional de la Imagen.
André Damião is a brazilian composer and sound artist. Studied composition in Holland with Klaas Ten Holt and is finishing his studies on Electroacoustic Music at UNESP in São Paulo.Plays improvised electronic music with the group Basavizi and signs his electronic work as DAMI-1. Damião had some of his chamber and acousmatic pieces played at various places in Brazil,Holland and USA.
Pedro Rebelo is a composer/digital artist working in electroacoustic music, digital media and installation. His approach to music making is informed by the use of improvisation and interdisciplinary structures. He has been involved in several collaborative projects with visual artists and has created a large body of work exploring the relationships between architecture and music in creating interactive performance and installation environments. This includes a series of commissioned pieces for soloists and live-electronics which take as a basis the interpretation of specific acoustic spaces.
Pedro was Visiting Professor at Stanford University (2007) and the Music Chair for the 2008 International Computer Music Conference. He has been Director of Research at the Sonic Arts Research Centre and is now Director of Education at the School of Music and Sonic Arts, Queen’s University Belfast.
Felipe Hickmann is a Brazilian composer and performer, currently conducting PhD research at SARC (Sonic Arts Research Centre), Belfast / UK. He holds a multidisciplinary background, ranging from contemporary and popular music to film and videogames. His composition explores the matters of absence and secrecy in networked environments, and has been performed in venues in Brazil, Germany, Austria, USA and the United Kingdom.