HugoPaquete / Noise and chaos
Hugo Paquete (b 1979) Intermedia and sound artist, which in his research uses concepts about space, entropy, noise and microtonality as a visual and audible ecosystem according to spatial and psychological characteristics, (acoustic, architectonic, sculptural, perspective, communicative, evocative and environmental). The result is an audible interaction, open and indeterminate to the present time scales nano and macro in an ontological level. Territory of hyper-sensation and experimentation, observation and enclose the body in the listening act, turning it active and explored referential and resonator propulsive in a psycho-acoustic level. In his works he uses technical elements and practices from the field recording to computer generated sound synthesizing and audio spacialization. Denoting interest in stochastic probabilities between computer algorithmic and programming interaction with software and object oriented composition and performative expression.
Noise and chaos into a singular emergent meaning
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— 11 September
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Space and imatrialism.

Although the old classification of solids and fluids is no longer very interesting, it is still the rock solid that is extolled in the making of concepts. But wait, listen to the rocks, press your ears close and listen to the seething multitude; every particle is aquiver. And when rocks are heard as quivering beings, as ‘musical’ beings, who knows what will have happened in the world, who knows what will be happening?” (Lomax, 27:2005)

Hugo Paquete

2014

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— 11 September
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"Mereology (from the Greek μερος, ‘part’) is the theory of parthood relations: of the relations of part to whole and the relations of part to part within a whole. Its roots can be traced back to the early days of philosophy, beginning with the Presocratic atomists and continuing throughout the writings of Plato (especially the Parmenides and the Theaetetus), Aristotle (especially the Metaphysics, but also the Physics, the Topics, and De partibus animalium), and Boethius (especially In Ciceronis Topica)"
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— 08 September
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Laboratório de Experimentação e Práticas Visuais - VISUA

Laboratório de Experimentação e Práticas Visuais - VISUA

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— 08 September
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"Mereological nihilism entails the denial of what is called classical mereology, which is succinctly defined by philosopher Achille Varzi.
Mereology (from the Greek μερος, ‘part’) is the theory of parthood relations: of the relations of part to whole and the relations of part to part within a whole. Its roots can be traced back to the early days of philosophy, beginning with the Presocratic atomists and continuing throughout the writings of Plato (especially the Parmenides and the Theaetetus), Aristotle (especially the Metaphysics, but also the Physics, the Topics, and De partibus animalium), and Boethius (especially In Ciceronis Topica).
As can be seen from Varzi’s passage, classical mereology depends on the idea that there are metaphysical relations that connect part(s) to whole. Mereological nihilists maintain that such relations between part and whole do not exist, since “wholes” themselves only exist at the subatomic level.
Nihilists typically claim that our senses give us the (false) impression that there are composite material objects, and then attempt to explain why nonetheless our thought and talk about such objects is ‘close enough’ to the truth to be innocuous and reasonable in most conversational contexts"
— Achille Varzi
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— 26 July
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"there is evidence to suggest that our world and everything in it… are also only ghostly images, projections from a level of reality so beyond our own it is literally beyond both space and time."
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— 26 July
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"

Gustav Metzger: Auto-Destructive Art Machine Art Auto-Creative Art (1961)

Each visible fact absolutely expresses its reality.

Certain machine produced forms are the most perfect forms of our period.

In the evenings some of the finest works of art produced now are dumped on the streets of Soho.

Auto creative art is art of change, growth movement.

Auto-destructive art and auto creative art aim at the integration of art with the advances of science and technology. The immediate objective is the creation, with the aid of computers, of works of art whose movements are programmed and include “self-regulation”. The spectator, by means of electronic devices can have a direct bearing on the action of these works.

Auto-destructive art is an attack on capitalist values and the drive to nuclear annihilation.

"
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— 22 July
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Noise como media / media como glitch Caos e erro como formulação estética nas artes sonoras
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— 10 July
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Sounding Cities Invisible Places, Sounding Cities Sound, Urbanism and Sense of Place. 18–20 July 2014, Viseu, Portugal.http://invisibleplaces.org/invisibleplaces.html#audioworkshttp://invisibleplaces.org/invisibleplaces.htmlA city is a place of diversities. Its rhythms are sometimes contrapuntal, sometimes synchronous.
We live in a city of multiple destinations and routes—spaces populated 
by sounds, smells, gestures, visions, exchanges, encounters, and 
feelings. We have a better a city experience with all the senses 
awakened. However, modern cities have been designed, built and 
determined by visual aesthetics. A strict regime of the visual limits 
the innately diverse ways we sense and communicate with our home and the
world.In urban planning the “regime of the visual” makes it 
easy to neglect the invisible nature of sound. All its acoustic 
variables are essential for developing proposals for our cities. 
Technically, the physics and mathematics of sound are complex. Yet, all 
too often, we have ear-witnessed the huge discomfort of new spaces built
with little or no attention to acoustic design. Your listening is as 
important as what engineers can measure. The issue of sound quality in 
urban environments is a universal theme that affects us all, from 
hearing loss to heart disease, so it is urgent to extend this 
discussion.Invisible Places | Sounding Cities has two goals: a
symposium on sound, urbanism and sense of place endorsed by the World 
Forum for Acoustic Ecology and an exhibition of artistic events that 
aims to bring art and science to the streets. It is integrated in 
Jardins Efémeros edition IV.Raquel CastroOften acoustic 
space is ignored in the construction of a public space, yet the negative
impact this has does not seem to get many complaints. People rarely 
require more quality of the sonic world, because the average consumer 
does not have the necessary references to change this state of affairs. 
We know that the prevalence of noise or sounds that do not convey any 
social significance and are a disturbance of the quality of life, 
reduces the ability to identify with the place we inhabit. It is 
therefore urgent to think about the acoustical problems societies are 
facing today and integrate that thinking in urban planning, architecture
and management of public space, because the idea we have of ourselves, 
our personal awareness and the relationships we build in the external 
world, are inextricably linked to a space. We all exist somewhere. And 
personal identity also relates to this. Format Stream 1: Architecture and urban planning, keynote speaker Jean-Paul Thibaud Stream 2: Urban sounds, identity and sense of place, keynote speaker Brandon LaBelle Stream 3: Sound art as public art, keynote speaker Salome Voegelin Symposium program All the talks will be presented at Escola Superior de Educação de Viseu. The audio works will be presented at the Listening Room at Rua do Comércio 112.
Sounding Cities Invisible Places, Sounding Cities Sound, Urbanism and Sense of Place. 18–20 July 2014, Viseu, Portugal.
http://invisibleplaces.org/invisibleplaces.html#audioworks
http://invisibleplaces.org/invisibleplaces.html

A city is a place of diversities. Its rhythms are sometimes contrapuntal, sometimes synchronous. We live in a city of multiple destinations and routes—spaces populated by sounds, smells, gestures, visions, exchanges, encounters, and feelings. We have a better a city experience with all the senses awakened. However, modern cities have been designed, built and determined by visual aesthetics. A strict regime of the visual limits the innately diverse ways we sense and communicate with our home and the world.

In urban planning the “regime of the visual” makes it easy to neglect the invisible nature of sound. All its acoustic variables are essential for developing proposals for our cities. Technically, the physics and mathematics of sound are complex. Yet, all too often, we have ear-witnessed the huge discomfort of new spaces built with little or no attention to acoustic design. Your listening is as important as what engineers can measure. The issue of sound quality in urban environments is a universal theme that affects us all, from hearing loss to heart disease, so it is urgent to extend this discussion.

Invisible Places | Sounding Cities has two goals: a symposium on sound, urbanism and sense of place endorsed by the World Forum for Acoustic Ecology and an exhibition of artistic events that aims to bring art and science to the streets. It is integrated in Jardins Efémeros edition IV.
Raquel Castro

Often acoustic space is ignored in the construction of a public space, yet the negative impact this has does not seem to get many complaints. People rarely require more quality of the sonic world, because the average consumer does not have the necessary references to change this state of affairs. We know that the prevalence of noise or sounds that do not convey any social significance and are a disturbance of the quality of life, reduces the ability to identify with the place we inhabit. It is therefore urgent to think about the acoustical problems societies are facing today and integrate that thinking in urban planning, architecture and management of public space, because the idea we have of ourselves, our personal awareness and the relationships we build in the external world, are inextricably linked to a space. We all exist somewhere. And personal identity also relates to this.

Format

Stream 1: Architecture and urban planning, keynote speaker Jean-Paul Thibaud

Stream 2: Urban sounds, identity and sense of place, keynote speaker Brandon LaBelle

Stream 3: Sound art as public art, keynote speaker Salome Voegelin
Symposium program

All the talks will be presented at Escola Superior de Educação de Viseu.

The audio works will be presented at the Listening Room at Rua do Comércio 112.
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— 01 June
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"“Theory of Errors of Observation”, que viria a evoluir para o seu conceito de “Doctrine of Fallibilism”, desenvolvida nos seu ensaio denominados de “Fallibilism, Continuity, and Evolution” de 1931."
— Charles Sanders Peirce
0 notes
28 May
Reblog
— Tech and obscurity

Erik Davis refere  na sua obra, TechGnosis: Myth, Magic & Mysticism in the Age of Information, que estamos imersos num espaço de “electromagnetic imaginary”(Davis, 1999;41) impulsionado por forças alquimistas  que o animam com energias  essenciais  que transfiguram o espírito e  o convertem  em  eletricidade  e  numa  inconsciência  tecnológica “technological uncoscius”, onde a maquina parece animada por um sopro de vida que é uma extensãode nos e para próprios numa dimensão metafisica de indeterminismo e obscuridade.