Radiação obscura: evento data-sonoro e o som extra vibratório.
Hugo Paquete: CIAC: Centro de Investigação em Artes e Comunicação e ID+ Instituto de Investigação em Design e Cultura. Universidade Aberta
Portugal
Adérito Fernandes-Marcos: CIAC, INESC-TEC e LE@D. Universidade Aberta
Portugal
Paulo Bernardino Bastos: ID+ Instituto de Investigação em Design e Cultura. Grupo: Praxis and Poiesis: from arts practice towards art theory. Universidade de Aveiro Portugal
Abstract
This essay analyze the impact of the sonification processes in the sound arts. This is achieved exploring the definition of their production methodologies, philosophical implications and conceptual significance taking as examples my artistic experiments with sonification of light and electromagnetic fields explored in my projects Obscure Radiation: events of decay and extrude, 2018 that is presented in this analyses as a graphical notation “data” visualization system. The sonification as an artistic practice consist of generating art works based in the data-flows. Originated a sound event outside the physic of sound as non-vibration force. That is associated in my argument as data-event-sound connected with a new ontology outside the forces that animate the understanding of sound as vibration. Opening the understanding of the work of art as a system of interdependent relations in digital-art. Generating new ways of understanding sound as mutation in which digital, culture and spiritual establish interconnections between the computer as a digital domain in a landscape of code, promoting complex regimes of laminar-perception.
Keywords
Artes sonoras, Sonificação, Arte Digital, Data-Evento-Sonoro, Pós-Digital
New commission work.
No Body lives here (ODO) (2020)
Interactive Theater Installation for 5+ audience members and one AI character
ODO is a journey through world of imagination. An AI character “lives” on stage in Plato’s Cave. ODO can’t leave the stage, ODO is offline… Every visitor of the installation means the world to him. He collects stories and narratives to understand, how our world works.
ODO is theater, opera and choreographic architecture. The stage is the orchestra pit of an ancient Greek tragedies where 5 audience members like the chorus interrogate the main character. ODO is a world builder who creates imaginary worlds with our help.
ODO uses AI algorithms to conduct natural conversations with the audience and Deep Learning to create Haiku Poetries. ODO has sensors to hear and see the audience, using Face Recognition Algorithms and Crowd Cluster Tools to understand emotions and our physical behavior. With all means ODO tries to get in touch with us!
Chris Ziegler repeatedly works for ODO under the label movingimages with Karlsruhe author Michael Hewel and composer Hugo Paquete from Portugal. The Frankfurt choreographer Paula Rosolen was invited for the choreographic dramaturgy of the interactive stage. A team of programmers at Arizona State University in Tempe (USA) developed a narrative and “sensitive” chatbot between the usual task and theme based chatbots with AI and Deep Learning, Facial Tracking and a novel software for analysing audience movements.
The production is supported by the ZKM Karlsruhe (Hertz Laboratory), Arizona State University / Synthesis Center, the support program of the Landesverband Freier Theater Baden Württemberg e.V. with funds from the Ministry of Science, Research and Art, the Department of Culture of the City of Munich and the special program Konfigurationen of the Fonds Darstellende Künste Berlin.
http://www.movingimages.de/?type=performing&txt_id=161&lng=eng
Como um palimpsesto, esta exposição explora a investigação de/pela arte em camadas sobrepostas com alguma liberdade de justaposição de conteúdos, tornando a galeria do Museu Municipal num laboratório de experiências estéticas onde as conexões e vestígios emergem e se tornam matéria e emoção. Neste contexto, cada obra sofre uma expansão de sentido em diálogo com as outras obras da exposição permanente e com o acervo da coleção do museu.
Este projeto é organizado em torno do encontro de artistas nacionais e internacionais e suas explorações plásticas, pensamento e obras, que resultam de um período de residência na Cultivamos Cultura, em S. Luís (Odemira, Beja), onde se introduzem interseções de outros artistas que colaboram com o ISCE DOURO em Penafiel.
Patente até 9 fev'20
*ao domingo a entrada é gratuita
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Composition 01: Apoapsis, Hugo Paquete. 2019
Duration: 18:12 min
Multichannel fixed composition.
The composition Apoapsis by Hugo Paquete developed at Zkm / Hertz Labor in 2019. Explores the idea of distance between oblique orbital points and paths, tensions and attractions between sound bodies of different granular scales that are shaped by impulses and percussive impacts. A wrapped universe of constant interactions where musical forms, sound masses and noises develop various attractions and repulsion in constant micro rithmic and harmonic turbulence. The Apoapsis concept comes from the term “apsis” which is the farthest point from the center of attraction: the high point in an orbit. This concept is fundamental to understand the work, considering that its production involved a complex system of hardware and software to generate a sonification that involves collecting in real-time “data” from satellites to convert this “data” into musical models and expressive sound forms. Thus, there is a direct relationship between the movement of commercial and military satellites and the sound generated in this work, the material used and the composition are self referential to the satellite movement. The satellite tracking system will be use in the future in performative live improvisations. Let us say that this work explores with satellite movement sonifications processes to rethink composition, involving “data” conversion, and objects that act in autonomous ways. The presented connections established a personal methodology to generate sound, formal and aesthetic possibilities in music interpretation, performing and notation, as well a reflection on notions of physic scales, sound space and residual sound elements. We can think of the dimension of a satellite in the cosmos, universe, in the space it occupies and its dynamic state in an unreachable landscape by the eye and the hear, just accessed and mediated by technology. I am interested in put the expansion of territory and imagination into discourse in my musical approach, transforming these ideas, in musical methodologies to compose and perform, extrapolation macro and micro sound, explored with sound spacialization resembling the satellites orbits. In this point, bringing the scientific and technological imagination, the fields of invisibility and deafness, and the mediation with the hyper-optic and hyper-sonic technology that we use to access other levels of sensitive experience, building interdisciplinary meninges in contemporary music and performance art practices in sound art. Turning to a sound that seeks an extreme in its granular, microscopic and impermissible representations, bringing the opposites of the scales from the macro to the micro, as spaces that mediate an entire invisibility and deafness of vibrating occult forces in the liminal perception. (Paquete,2019)
Composition 02: Periapsis, Hugo Paquete. 2019
Duration: 30:28 min
Multichannel fixed composition.
Concept: The composition Periapsis by Hugo Paquete developed at Zkm / Hertz Labor in 2019. It is a composition that relates to another one called Apoapsis, Hugo Paquete, 2019. The concept of Periapsis can be understood as for an object moving in an elliptical orbit about another celestial body, the point of closest approach is called the periapsis. The presented concept of elliptic trajectories in the two pieces was used to develop an oblique strategy to structured the music piece, and exist a direct relationship with the pitch variations and the spacialization sound approach. Both pieces use a sophisticated satellite tracking system defined as, hardware and software, build especificly for the project that converts the movement of commercial or military satellites into midi and cc messages. The “Data” generated by the satellites is converted in real time and used to compose the two music pieces, using a set of sound libraries specifically designed to work and interact with this “data” generating a musical translation. The two works explore a dramatic aesthetic, with dynamic temporal formulas, spatial variations, timpani variations and collisions between pitch, harmonic expansions and noise that generate a granular turbulence in the space. Where masses of sound generate a granulation effect through which impulses traverse, freeze and ar transformed into residual elements of pitch fragmentation and expansions. The sensation is intense, and the sound is modulated and shapes us in a complex way, with its multiple sound directions wen presented in a multichannel sound system, in that moment, we can perceive the formal directions of rapid attacks and eccentric tympanic transitions crossed by a shower of white, pink and brown noise like meteorites or grit of sand. This granular effects generate an elemental rhythmic times shifts exploring relations of actions and reaction in a micro level of sound perception. In this work I put in practice some concepts which I am dealing and exploring in my music and composition methodologies, building dynamic and detailed micro-temporal sound-events that deals with residual sound-events and ideas of micro-rithmic collisions, orbits, obliquity and data-sound events mediated by sonification processes. The detail is a very important factor in my composition and sound work to build complex sound experiences. Is important as a sound artist demonstration mastery in the way I sculpts time and sound-events, stablishing modulations in time, musical forms with meaning that can network with the listener and the surrounding worls in a complex way. (Paquete,2019)
These two multichannel sound compositions are part of a performative experiment, they need to be understand as on piece with related parts, that can be fragmented and reshaped in different ways wen performed in real time with the tracking satellite system controlling analogue and virtual hardware and software in the context of performance. They were developed using sonifications movement data collected from commercial and military satellites converted to sounds by a sonification process using the latitude, longitude and the azimuth, Using special design hardware and software developed for this project in partnership with my collaborators Christopher Zlaket (1992) of Arizona State University, specialized in interface design and David Stingley (1993) of MIT, specialized in computer science, as well as sound libraries, virtual instruments and other technical and conceptual models to achieve the desired result in terms of sound composition and aesthetic effect.
The project was developed with the support and funding of the European i-Portunus project. Also with the collaboration of EMERGE - Contemporary Art Agency. I also acknowledge the FCT: Portuguese Fundação para a Ciência e a Tecnologia which support me as a researcher. Thanks to ZKM/HERTZ-Labor for all the support and collaboration. The project was develop in the ZKM/ Center for Art and Media Karlsruhe in the Hertz Labor music department. This project is a development of a theoretical research that was published in book: Cinema Avanca International Conference 2017, Edition: Cine-Clube de Avanca, Chapter: Cinema - Art, Publisher: Cine-Clube de Avanca, Editors: Cine-Clube de Avanca, pp.240-250
Hugo PAQUETE, Adérito Fernandes-MARCOS, Paulo Bernardino BASTOS, “Dromologia dos corpos orbitais: Projeto de desenvolvimento de hardware e estratégias de composição sonora”, Encontro Internacional “#18.ART: DA ADMIRÁVEL ORDEM DAS COISAS: arte, emoção e tecnologia, Portugal. 2019
The project explore two different level of invisibility one suspended in the space “big scale” and the other “microbiological scale” and I want generate a work that represent this to level of realism.
Part of this project was published In book: 16th International Meeting of Art and Technology: #16.ART: Artis intelligentia: IMAGINING THE REAL, Edition: i2ADS – Instituto de Investigação em Arte, Design e Sociedade, Chapter: Artist Talk, Publisher: i2ADS – Instituto de Investigação em Arte, Design e Sociedade, Editors: i2ADS – Instituto de Investigação em Arte,
Design e Sociedade, pp.1055-1057.
Noise İstanbul Müzik Festivali
Hiroshi Hasegawa, Dominic Guerin a.k.a.Tone Generator, Francisco Meirino, ODRZ, Batur Sönmez,KK Null, Rapoon, Alexei Borisov, Hugo Paquete
Tarih: 8-9 Kasım 2019
Mekan: Borusan Müzik Evi
Video: Özge Balkan
Noise Istanbul Festival #1 performing in Borusan Müzik Evi.
9th Nov: Hugo Paquete
Photo by Ozge Balkan
Obscure Radiation: events of decay and extrude is developed around concepts such as territorial sonification, technological unpredictability, systems and electromagnetic spectra. This work is achieved by transforming the light of the surrounding space and electrical amplitudes into sound events and composition material recorded in the residence contest, manipulated in real time in a systematic musical and visual performative experimentation depending of the setup and conditions of presentation. Superposition of registers of electromagnetic fields generated in the local context as elements of power and intangibility, which represent the electromagnetic sub-landscape of the techno-cultural network society. Underlining the cognitive phenomena around the use. The objective is to develop a work that expresses the immaterial dimensions of reality, where order and indeterminism act as forces to build an experience that is built on the threshold of noise and silence. Following by the interaction of reactive video manipulated in real time connected with the sound elements explored in the improvisation.
Author: Hugo Paquete
Duration: Variable
Year: 2018-2019
This musical performance and Multimedia project has is first presentation and develop based in Valladolid in Lava: Laboratorio de las Artes integrated in the project CreArt (Network of Cities for Artistic Creation) and European cultural fund as a resident artist in 2018. And supported by The Calouste Gulbenkian Foundation.This is a second version of the project with some audio and visual interactive evolutions. Second presentation with the support of Kauno kūrybinių industrijų centras in the city of Kaunas in Sakramentas, Lithuania. And now presented in the Noise Istanbul Festival #1, 2019.
