DLLYDE for WFS at Festival Sonar – Barcelona [ES]

The WFS speaker system will be shown in the 2012 Festival Sonar from 14th to 16th of June,  travelling from Game of Life Foundation – The Hague [NL] to MACBA – Barcelona [ES]. Around the facilities devoted to Rita McBride’s work, for this occasion it will be celebrated concerts and lectures during three days as a sort of ‘sample board’ of the creative possibilities of the system. This is the lineup of composers participating in the show/installation:

Arthur Sauer | Iannis Xenakis | Ji Youn Kang | Barbara Ellison | Yannis Kyriakides | Roc Jiménez | Kees Tazelaar | Ángel Arranz | Miguel Negrao | Bjarni Gunnarsson | Yutaka Makino | Robert Henke | Joris Geurts | Erik Nyström | Alo Allik | Trevor Wishart | Joris Voorn | McBride | Siamak Anvary | Makam | Funckarma | Jeroen Visser | Machinefabriek | Nick Fells | Wouter Snoei

About our specific participation, De la luz y del espacio necesarily has been deeply re-spatialized in a version for Wave Field Synthesis system [WFS]. This 4-channel tape faces here a very interesting, indeed complex aural territory of experimentation, inasmuch as several original ideas reallized for a small number of outputs find suddenly there an extremely wide field, full of spatial possibilities. 3D sound movements at the moment are nor possible neither developed, though… yet.

DLLYDE is a piece composed in 2011 and it is the last and fourth of the series [d]espacio, based on four avant-garde architectures. In the specific case of DLLYDE, it is remarkably,  probably interesting on one hand the resonant character of the piece, since it was thought as an acoustical extension of the real spaces of the model in which the piece is based on [Bodegas Qumrán], in such a way architecture was experienced in person prior to the composition, extracting [recording] samples literally within the building by means of  acoustical techniques. On the other hand, it is equally remarkable the potential itineraries and virtual spaces to which it is possible to layer and re-espatialize in physical terms the whole piece in subsequent plans of complexity.

The spatial virtuality of the system is merely huge. The technical, overviewed description [192 speakers,  24 amplifiers, 12 subwoofers, 24 DA converters, 8 audio interfaces, and so and so forth] looks like a sort of electronic tree, fractal-like huge device extremely well estructured/organized that makes possible the graphical time-space routing of several sounds simultaneously via computer, recreating in precise terms the correspondence of a sound with an specific point onto the space. But not only that: sounds could really move, so that it could simulate actual movement, and even more, it is possible the allocation of certain sounds [literally] out the system [= out of the space in which the audience is supposed to be seated while music is performed]. In the case of DLLYDE, there were deployed around 60 gestures like in the video below. There you could see a few of them, as isolated samples, implemented in WFSCollider, an application designed for this purpose:

It is given the personal circunstance as well that the designers of Bodegas Qumrán, the architecture bureau Konkrit Blu, are based in Barcelona, so this fact probably could add an extra charm to the performance that somehow transfers back again in a very different way the spaces’ resonances they created concrete-made time ago.

Further information at:

http://www.sonar.es/es/2012/

http://gameoflife.nl/en/

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De la luz y del espacio, tape inspired in Bodegas Qumrán

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As the date of the concert gets closer, this last week, we will speak about De la luz y del espacio, the fourth piece of our acousmatic series with video projection. This is the last piece of the [d]espacio series,  and it has therefore a clear role: being the anti-rythm of all the rest.

The piece is based on two key concepts derived from the interiors of Bodega Qumrán´s building by Hernández/Solís: the first concept is light undergoing a very studied program, turning into constructive matter, such as glass and concrete,  thanks to its rich functionality. The second concept is the architectural program in its strict sense, which aims to fulfill the building´s practical requirements – those of a factory -, as well as the continuity of the main material – concrete -, which re-adapts its interior volumes, generating poliedric gestures, inviting the visitor to perceive rich acoustic spaces. This is so partly because of the resonating characteristics of the main material (concrete), and partly because of its volumetric characteristics.

The premiere of this piece took place last november in the South-Korean city of Busan. The premiere of [d]espacio in Salamanca, and its later performance in The Netherlands, will show the piece integrated in the series for the first time.

SAH – video

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Yisios combines the names of Isis and Osiris, the most important gods of the Egyptian mythology. Syblings and spouses, children and parents of gods, they represent the everlasting duality between the masculine and the feminine the opposite forces that drive Nature´s great wheel.

This duality has been the basis for the creation of the video for “SAH”, the third piece of the acoustic series [d]espacio, with music by Ángel Arranz.

This video by Beatriz del Saz replicates the visual structure of Bodegas Ysios´ façade, and has 3 straightforward, clearly differentiated parts. In this case, music and video evolve in a separate way, and the structure of one does not influence the structure of the other.

In the style of ancient Egyptian architecture, the video uses straight lines exclusively, which combines and develop in whimsical patterns. The colors remind of the desert landscapes of Egypt, of the white garments of the gods represented in the tombs mural paintings, of their extraordinary treasures, and naturally, of the red and rosé hues of wine: a beverage whose elaboration, as the legend goes, Osiris taught to mankind.

Still of the video SAH , [d]espacio series

Still of the video SAH , [d]espacio series

Still of the video SAH , [d]espacio series

Still of the video SAH , [d]espacio series

Still of the video SAH , [d]espacio series

Still of the video SAH , [d]espacio series

Extrusion at Salamanca, The Hague and Barcelona

Extrusion, the second piece of [d]espacio series will be performed March 6th and 8th respectively in Salamanca [ES] and The Hague within the world-wide premieres of the complete series. Later on, the 23rd, Extrusion will take part in a octofonic music session organized by Instituto Phonos of the Pompeu Fabra University of Barcelona.

We wrote about this piece time ago, so we would like to invite you here to explore it a bit in few minutes. In Beatriz’ website also you could find a summarized remark on Extrusion.

Extrusion inspired by Marqués de Riscal

<<versión en español

This week is the turn of Extrusion, the second electronic piece of our series [d]espacio. Extrusion is a piece inspired by the building Bodegas Marqués de Riscal, which is located in the Rioja alavesa, a northern region of Spain.

Frank Gehry, the Canadian architect living in the States, author of emblematic works such as Museo Guggenheim of Bilbao, created an incredible building for Bodegas Marqués de Riscal. The building we took as inspiration and compositional model is a paradigmatic hotel situated within the winery´s facilities, and transmits an overwhelming vibration, formal beauty and communication power.

Drawing music

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[d]espacio is a series of electronic pieces composed by Angel Arranz and visualized by Beatriz del Saz. The series is inspired on the buildings of four Spanish avant-garde wineries: Bodegas Protos, Bodegas Marqués de Riscal, Bodegas Ysios end Bodegas Qumrán. There is exactly one month left for its premiere in Salamanca and in the Dutch city of The Hague, so we would like to speak about the first piece of the series, entitled  Electronic Study. This piece has been composed by drawing… wait, by drawing?

HighC is an intuitive program implemented by the French ingeneer Thomas Baudel. This program is based in a hardware device developed in 1977 by Iannis Xenakis, a Greek composer and architect, considered one of the most outstanding composers of the second half of the 20th century.  This invention was named UPIC ( Unité Polyagogique Informatique du CEMAMu). UPIC was a computer device which allowed you to literally draw a series of gestures on a panel by means of a light pen. A computer registered such gestures digitally and transformed them analogically in sounds. The horizontal dimension of the plane represented Time -the sounds´ duration and location- while the vertical dimension represented the frequency of such sounds (higher or lower in pitch). The user could choose in a sound bank different timbres and wave types, as well as the envelope, that is, the amount of volume and how a sound starts and ends.

Arranz used HighC to create this piece in 2009, inspired in the building of Bodegas Protos by Richard Rogers. To that end, he takes as reference the paraboloid shapes of each of the building´s five vaults.

From these shapes, the composer developes a personal gesture which oscillates in time starting from small strokes [drawn in green in the picture above]; the gesture changes gradually and becomes thicker, adquiring a delta-shape in its beginning and ending. This delta represents the building´s triangular plan.

The set of oscillations ending in a “cloud” has been named by the composer as “seed / anti-rythm”. In this sense, Arranz represents Protos´ building as a anti-rythm, but in a very personal way.

If we zoomed the cloud zone of the original drawing, we would realise that each tiny element showed there has been made imitating the seed/anti-rhythm:

The piece dedicated to Protos is the first of the [d]espacio series, as protos (in greek,  πρῶτος) means “first”. In addition, Electronic Study is the “generator” of the three following pieces, based on the buildings Marqués de Riscal, Ysios y Qumrán, and entitled, respectively, Extrusion, SAH y De la luz y del espacio. Many of the gestures used in Electronic Study come back in an evolutioned, transformed shape, in the three following pieces.

Electronic Study was presented separately in April 2009 in the Discussion Concert Series of the Institute of Sonology of The Hague.

Electronic Study inspired on Bodegas Protos building

>> Versión en español

While preparing the premiere of the cicle of compositions [d]espacio next month in Salamanca [ES] and The Hague [NL], we are collecting some pictures we did time ago. These are from Bodegas Protos, the building that inspired our first electronic piece, Electronic Study. The piece was composed during the spring of 2009.

The piece was composed with HighC, a recreation of Xenakis’ UPIC by our dear friend, the engineer Thomas Baudel.

You can watch and listen to the piece here