Proyectos

de los ojos abiertos

para viola y dispositivo de parlantes múltiples

escrita para Alexander Bruck Santos

De los ojos abiertos une y confronta la viola y el conjunto de parlantes como fuentes acústicas específicas, cada una implicando un modo de emisión sonora específico y un conjunto de contenidos afectivos asociados. El material electrónico es expuesto como una serie de artificios, materiales fuertemente referenciales a diversos procedimientos de producción sonora electrónica. Desprovista de cualquier gestualidad o intención de operar en algún tipo de lógica fraseológica o de tipo linguistica, estos materiales, cual "telas sonoras", son imbricados y friccionados una contra otro. La multiplicidad y variedad de parlantes utilizados refuerza aun más la exposición de las características acústicas de cada una de ellos, enfatizando su materialidad como fuentes acústicas que interactúan en un espacio determinado.

Estreno:
Sonology Discussion Concert no.4 Lugar: Kees van Baren Zaal - Royal Conservatory, Juliana Van Stolberglaan 1, The Hague. Marzo 15, 19.30hs

Skin

for 3 percusssionists, 8 snare drums and 5 loudspeakers

“`Where are we to put the limit between the body and the world, since the world is flesh?´[the philosopher] Merleau-Ponty asks. That limit is the skin, which is not actually a limit at all but a place of constant contact between the outside and the inside” Jennifer M. Barker, on “The Tactile Eye” (2009)

“Skin” builds on the confrontation of the sound of the snare drum as a main timbral component of jazz and popular musics with the snare drum as a plain exciter of a given acoustic space. The loudspeakers extend the drum’s sound in a play of references to spatial and technological qualities, building an intertwining of their own timbral characteristics and their peculiar affective imprints.

Premiere (work-in-progress):

kOnStruct.2 - Produced by Slagwerk Den Haag - www.korzo.nl/nl/producties/konstruct2
Place: Korzo Theatre - Prinsestraat 42, Den Haag June 16th, 20.30

El mismo
for piano and two-channel soundtrack
Dedicated to Bruno Mesz

Sounds emitted through loudspeakers bear the mark of specific processes. They embed spatial and tactile qualities linked to the way these sounds have been created, either arising on a strategy of synthesis or from the procedures and conditions involved in a recording process.
In "El Mismo", I look for isolating those characteristics peculiar to certain reproduction and manipulation technologies that hence become signs in themselves. The process by which they become signs is genealogical, it involves a path of previously acquired experiences.

Our experience of the sound of a piano is constructed out of the experience of a century of history of recorded pianos in media.
One of the objectives of the piece is to arrive at a series of questions:
How is it different to hear an acoustic piano than to hear a recorded one? What is the relationship which arises between a sound coming out of a loudspeaker and one generated by an acoustic instrument? How do the characteristics in the transduction equipment affects our aprehension of the sound material?

Premiere:
- Den Haag, thursday 1st, Koninklijk Conservatorium, Arnold Schonberg Zaal, 19.30hs
Teodora Stepancic, piano
- Buenos Aires, tuesday 6th, Centro Cultural Recoleta, 20hs.
Bruno Mesz, piano

Degrees of reality
for piano and 6-channel soundtrack

This project couples my work in the development of a particular language of articulation of extended and conventional techniques on the piano with my recent work in the relationship between electronic media, acoustic sources and space.
It is conceived as an evolving work-in-pogress in which I interact as player/improviser with a multiple channel soundtrack comprised of recordings of my own piano material through diverse microphone strategies and spatial renderings.

new piece for Modelo62

for ensemble and 6 loudspeakers

Affectio
electronic work for multiple loudspeaker setup

“In a first determination, an affection is the following: it's a state of a body insofar as it is subject to the action of another body. What does this mean? “I feel the sun on me,” or else “A ray of sunlight falls upon you”; it's an affection of your body. What is an afection of your body? Not the sun, but the action of the sun or the effect of the sun on you. […] Every mixture of bodies will be termed an afection. It's clear that my perception of the sun indicates much more fully the constitution of my body, the way in which my body is constituted, than it does the way in which the sun is constituted. I perceive the sun in this fashion by virtue of the state of my visual perceptions. A fly will perceive the sun in another fashion.  In order to preserve the rigor of his terminology, Spinoza will say that an affectio indicates the nature of the modified body rather than the nature of the modifying body, and it envelopes the nature of the modifying body.” Gilles Deleuze, lecture on Spinoza, 24/1/1978, Vincennes

Jason Kahn - Gabriel Paiuk duo

Netherlands-Belgium concerts

Gabriel Paiuk and Jason Kahn began working together in Buenos Aires in 2004, investigating the micro-structures between Paiuk's piano and tools inner workings and the disjunction of Kahn's analog and digital electronics. Paiuk and Kahn's first CD, “Breathings,” was released on the now defunct Cut label in 2006 and featured Paiuk on prepared piano and Kahn on computer, recorded in Paiuk's home in Buenos Aires in 2004. Their second release, an online edition on the Homophoni net label in 2008 was recorded in Buenos Aires in 2007 and features Kahn this time on analog electronics.
24/5: LOGOS, Ghent
25/5: Studio LOOS, Den Haag
26/5: SCHUNCK, Heerlen