El sonido no se oye como lo que es, sino como lo que representa. Cuando se ha identificado el significado, el significante no se oye más. Pero eso no es del todo así. Sí se oye aunque no se escuche. Como sí se ve, aunque no se mire. Pero se escucha mucho menos de lo que se mira. (José Manuel Berenguer)

“Discontinuidades Emóticas” arte generativo cover art del album “Emótica”

Posted: febrero 26th, 2015 | Author: | Filed under: arte sonoro, artistas sonoros, audiovisual, electroacústica, exposiciones, netaudio, netlabels, performance, proyectos, video | Tags: , , , , | No Comments »

Discontinuidades Emóticas” es el proyecto fotográfico complementario a las visuales del próximo album “EMÓTICA” del “Clan Balache”  y arte de tapa del mismo, creados ambos por Germán Gómez, arte generativo trabajado en origen sobre las ecuaciones de Roger Penrose y Robert Delauny con distintos forks de código libre.
Puede verse en: https://www.flickr.com/photos/clanbalache/sets/72157647659000345/
y el pre-order del album, en https://clanbalache.bandcamp.com/

Emotica by gg ClanBalache

Discontinuidades Emóticas by gg


[Extreme Attractors] @ Piksel

Posted: noviembre 10th, 2014 | Author: | Filed under: arte sonoro, conciertos, festivales, instrumentos, performance, software | Tags: , , | No Comments »

The 12th annual Piksel Festival, Bergen, 13-16 November 2014
I will be play [Extreme Attractors] ++info ++ audio ++ code http://noconventions.mobi/noish/hotglue/?extreme_attractors/
Festival info > http://14.piksel.no/

Experimental Computer Music audio performance based on infernal repetitions of bass lines and unpredictable bifurcations. A speed sonic trip through chaotic labyrinths with dead end road, strange noise attractors and acid dimensions. An army of raw saw wave synthesizers shooting in your face.

“In 1963 Edward Lorenz, working as a meteorologist, evolved a topological model for “describing” various state-changes in a thermodynamic system during the onset of turbulence. This model, which ostensibly plots sets of coordinates of evolving “chaos,” exposes unanticipated patterns in a seemingly random constellation of effects graphed in two-dimensional phase-space. The locus of these emergent “patterns” is known as the “strange attractor” and has a characteristic visual representation which resembles a convoluted multi-skeined cross-section of something whose contour suggests a Möbius strip or feedback-loop set in a kind of oscillation around an imaginary axis—imaginary because it only exists as a product of a statistical procedure. The distinctive feature of the Strange Attractor is that the patterns it describes never intersect—their vectors are non-repeating.” (Iza Tarasewicz, THE STRANGE ATTRACTORS Louis Armand)