Episode 127 of Futurónica, a broadcast in Rádio Manobras (91.5 MHz in Porto, 18h30) and Rádio Zero (21h GMT, repeating on Tuesday at 01h) airs tomorrow, November 14th.
The playlist of Futurónica 127 is:
You can follow Rádio Zero’s broadcasts at radiozero.pt/ouvir and Rádio Manobras at radiomanobras.pt.
Next wednesday, November 19, Edwin van der Heide will speak on Interaction in Physical Space. The works Spatial Sounds (100dB at 100km/h), Radioscape, Wormhole and The Speed of Sound will be used to convey different approaches to interaction with(in) our surrounding physical space.
Edwin van der Heide is an artist and researcher in the field of sound, space and interaction. He extends the terms composition and musical language into spatial, interactive and interdisciplinary directions. His work comprises installations, performances and environments. The audience is placed in the middle of the work and challenged to actively explore, interact and relate themselves to the artwork.
Beside’s running his own studio he is part-time assistant professor at Leiden University and heading the Spatial Interaction Lab at the ArtScience Interfaculty of the Royal Conservatoire and Arts Academy in The Hague. He was Edgard Varèse guest professor at the Technische Universität Berlin (2009), won the Witteveen+Bos Art+Technology Award 2009 for his entire body of work and was an invited artist and guest professor at Le Fresnoy, studio des arts contemporain in 2011-2012.
Wednesday, November 19, 17h30 at the Faculty of Fine Arts, University of Porto.
A new CD by electroacoustician Mathias Delplanque, based this time on sounds from industrial machines – looms and machine-tools. Four pieces: three short ones and a final 40-minute track. The first three pieces are like hors-d’œuvres: sophisticated and elegant. “Part 4†is a monster. You step inside it unsuspecting, as it starts pretty much like the first three tracks, but soon it degenerates, and we’re caught in a descent, a drowning into the heart of the industrial beast. High frequencies disappear, low frequencies take over, and there’s no way to know if these are mechanical movements or organic peristalsis. And there’s simply no way out. This movement is inescapable and it reaches the only logical conclusion: extinction when everything has been consumed. It’s a work of genius. François Couture
via Monsieur Délire
Next Sunday, November 2, Arturas BumÅ¡teinas’s Quartet Twentytwentyone will perform in Brno, at the festival Exposition of New Music. More info at kinoscala.cz.
Episode 126 of Futurónica, a broadcast in Rádio Manobras (91.5 MHz in Porto, 18h30) and Rádio Zero (21h GMT, repeating on Tuesday at 01h) airs tomorrow, October 31st.
The playlist of Futurónica 126 is:
You can follow Rádio Zero’s broadcasts at radiozero.pt/ouvir and Rádio Manobras at radiomanobras.pt.
Ci sono voluti sei anni a Mathias Delplanque per ultimare il suo nuovo lavoro, Transmissions, da poco pubblicato dalla sempre attiva etichetta portoghese Cronica. Le prime due tracce in scaletta sono nate su Musée du Textile of Cholet nel 2008: suoni meccanici che diventano nei laboratori di Delplanque sinfonie sottomarine in grado di svelare i segreti dell’ignoto. Le altre due tracce dell’album sono nate dagli esperimenti degli studenti del Lycée Technique Livet (Nantes, France) che assistevano ai seminari dal titolo “Toujours une machine couplée avec une autre†tenuti dallo stesso Delplanque tra il 2009 e il 2010. Le macchine intonarumori di Russolo hanno trovato un degno erede. Roberto Mandolini
W.o.W. – Wand of Watt is a collaborative work for electric guitar and computer live-sampling and generative sound synthesis. Each resulting piece explores the conception, installation and live articulation of context-specific situations in which sound is an emerging phenomenon. The generation, capture, amplification, processing and diffusion of sound are entirely taking place on stage, in real-time.
Three different versions of this work were presented. W.o.W. #1 and W.o.W. #2, both commissioned by the Granular association, took place, respectively, at the city of Aveiro, in Espaço Performas, in October 2009 and during the 3rd edition of the Metasonic Festival, at the Goethe Institut, in Lisbon, in April 2010.
The recording now presented documents a private performance of W.o.W. #3, on the 4th of June of 2011, that concluded a four-day artistic residency developed at the Oficinas do Convento in Montemor-o-Novo. Once again, space and the daily sounds of its wide context and common use were determinant to the activity of the musicians.
Emidio Buchinho: Concept and composition, electric guitar, devices, microphones, speakers and electronics; production, sound recording and mastering; photography.
Ricardo Guerreiro: Concept and composition, computer programming, sound processing and multi-channel electroacoustic diffusion; production and mastering.
Mathias Delplanque maakt industrial. Niet van die bonkmuziek in vierkwartsmaats, al dan niet opgesmukt met metalen gitaren en nihilistische eindtijdlyriek. Hij presenteert ware industriële composities: drie korte en een heel lang stuk opgebouwd uit veldopnamen van machinegeluid.
Zo te horen is de machinerie in het Textielmuseum van Cholet in prima geoliede conditie. Het raderwerk knarst en piept nauwelijks, maar ratelt gesmeerd. En je hoort de olie- of brandstofvaten zachtmoedig pruttelen en borrelen. Zo zachtmoedig zelfs dat je je niet zozeer afvraagt waarnaar je luistert, maar waarom? Delplanque maakt ambient die in weinig afwijkt van het rumoer dat een normale, niet eens al te drukke stadse straat voortbrengt. Moet je daarvoor de oren spitsen?
De Fransman raakt de luisteraar bijna kwijt in een ietwat te loze exercitie in vooral niet opvallen. Voor het zover is, zet hij in het slotwerk van veertig minuten de troefkaart in. Op het Technisch Lyceum Livet in Nantes gaf Delplanque workshops. Hij kwam thuis met een enorme collectie opnamen van de studenten die in de weer waren met een veelheid aan gereedschappen en materialen. En juist met die rijke schakering op zijn palet weet hij pas echt danig raad.
Delplanque maakt van vele honderden samples een symfonie waarin op elk moment de ene machine in conversatie of duet treedt met de andere. In die een-op-een ‘gesprekken’ dwingt hij de focus van het luisteren naar de zeggingskracht van de geluiden an sich. Hier geen breed uitgesmeerde en gedragen wolligheid meer, maar de industriële techniek zelf die het hoogste woord heeft. Deze aaneenschakeling van machinale dialogen in miniatuur blijkt zo veelzijdig dat bovenstaande waaromvraag van tig intrigerende, sprankelende en twinkelende antwoorden voorzien wordt. Steeds weer een klein: daarom, dus. Sven Schlijper
via KindaMuzik
Episode 125 of Futurónica, a broadcast in Rádio Manobras (91.5 MHz in Porto, 18h30) and Rádio Zero (21h GMT, repeating on Tuesday at 01h) airs tomorrow, October 17th.
The playlist of Futurónica 125 is:
You can follow Rádio Zero’s broadcasts at radiozero.pt/ouvir and Rádio Manobras at radiomanobras.pt.
