Bitácora de vuelo electroacústico:
La comunidad electroacústica canadiense (CEC en adelante), realiza lo que se denomina Jeu de temps / Times Play (JTTP) proyecto que se compone de: un concurso para jóvenes y emergentes artistas sonoros que viven en Canadá o son Canadienses alienígenas en otras partes del mundo, con elección de los cinco mejores compositores. Son seleccionados por un jurado internacional y emisoras de todo el planeta los presentan durante el año. Perdidos en el Espacio es uno de estos programas radiales que muestran estas obras y tenemos el honor de compartirlos a los amigos chilenos y a todos los que nos siguen en distintas partes de la tierra.
Este es el listado, en orden ascendente, son 5 premios, y al final del programa ya estaremos empezando a calentar motores con lo que se nos viene, con pasos agigantados, la gran visita de los Slowdive, en el marco del festival Otoño Fauna. Las descripciones están en idioma nativo, sin embargo la descripción de las obras prefiero entregarlas al auditor, es y será el fruto de la precepción y de la imaginación que gatillen esas sonoridades.
Partamos con la selección de ganadores del JTTP 2016
Artista: PAUL TREMBLAY
Obra: Drag 2016
In physics, forces acting the opposite way when two bodies are in movement relative to each other define the concept of resistance and friction. The narrative of the piece follows those bodies creating different actions. Through each of the movements, the bodies are translated and adapted by those different agitations and transform the physical reality of the sounds.
Paul Tremblay is a Montréal-based artist. His work is based on exploring different ways and ideas of creating an immersive non-linear narrative by incorporating different mediums like sound, drawing, sculpture and installation. He is currently studying in the electroacoustic major at Concordia and will be heading in the studio art major.
Artista: SAMUEL BÉLAND
Obra: Biodôme 2016
R. Murray Schafer has described “schizophonia” as a cognitive dissonance condition created by the situation of electroacoustic listening. Contrary to the natural world, where each sound is the result of a physical entity presented in a defined space, amplification offers the possibility of representations whose source is entirely absent and for which the scale, space and origin create contexts that do not at all resemble “reality”. A biodome is a museum of ecosystems, a sort of “pure” exterior, exotic and grandiose, in which the trees are fake, the forest painted, the light unconnected to the sun and animals live within an imitation of a natural habitat. Humans come to admire the fantasy of a world without humans. Biodôme is the representation of a space that is already schizophonic. [Trans. jef chippewa]
Samuel Béland is currently studying electroacoustic composition with Martin Bédard at the Conservatoire de musique de Montréal. In addition to electroacoustic music, he is particularly interested in the videomusic medium and algorithmic composition, as well as the sociology of art.
Artista: JÉRÉMIE RICARD
Obra: Corrosion des alliages 2016
CORROSION: Conversion of a material by a chemical reaction with an oxidant that causes a degradation of its properties. Corrosion is nothing more than the process by which metal forged by humans returns to its natural state. ALLOY: Combination of a metallic element with one or more other chemical elements. In Corrosion des alliages [Corrosion of Alloys], a collection of all sorts of metallic sounds held together with (chemical) processing elements creates new alloys. After they have been assembled, an oxidizing agent corrodes the structure, causing it to return to its original form.
From 2000–2005, the Louisevillois Jérémie Ricard studied music, recording and sound reinforcement at Cégep de Drummondville. At that time, he was introduced to electroacoustic music and their creation methods. Since then, he has been fascinated by all kinds of sounds around him and has showed a particular interest in them. Following his studies he participated in several recording and mixing sessions in the studio but his work over the past ten years has mainly been as soundman. He also played drums in several musicals projects where he took the opportunity to improve his mixing and sound recording techniques by recording each and every rehearsal. Over the years, he made some sketches of composition that tended towards electroacoustics, and finally in autumn 2015 he decided to deepen his knowledge of this musical style by returning to study at Université de Montréal.
Artista: VANESSA MASSERA
Obra: Éclats de feux 2016
Transitional work of my journey in composition, Éclats de Feux started with many sound recordings of objects and spaces found around Sheffield. As the first piece of my doctoral portfolio, this one acts as a bridge between the school of Montréal, where I come from, and the effervescence of British acousmatic. In this piece, I explored the contrasts between powerful masses and up-close solo objects, with particular sensitivity to the use of space in stereophony, as my research is focused on the interpretation and performance of acousmatic music. The title refers to the impressive bonfire nights and endless fireworks I have been exposed to in the first weeks after my arrival in the UK. “Shards of Fire”, as it translates, also represents the extreme rapidity and intensity with which one’s life may be completely changed with one single voyage.
Vanessa Massera has recently moved to the UK to undertake research in performance in electroacoustic music, with the intention of completing a PhD at The University of Sheffield. Her current preoccupations with the dissemination of experimental music have brought her to explore the present traditions we may and may not have, investigate the legacy of our community and work toward finding ways of a maximised outreach. There is often a sense of place and environmental energy in her music: places shift, spaces evolve, perspectives change. These ever-evolving environments are a natural starting point for research on the subject of performance of electroacoustic music: How does one effectively transpose one space — encoded onto a hard disk — to a second one, which is live, and in which one constantly receives new information?
Artista: MYRIAM BOUCHER
Obra: Nuées 2016
Nuées is a videomusic work that arose from the idea of flapping wings. The recordings were made with the baritone saxophonist Ida Toninato in an immense desertic and reverberant space at night. The birds were recorded mid-flight.
Myriam Boucher is a Montréal-based composer and video artist. She has been part of different artistic projects in the North American music scene, from her early experiences as keyboardist for various instrumental music bands through to her visual work, she works on the intimate dialogue between music and image. Myriam creates videomusic, electroacoustic, mixed and instrumental music, as well as audiovisual performances.
falta poco para el 13 de mayo