David Dunn

Inscape 3

Performance, 2009

Duration: 3’45”

 

Inscape 3 is an arrangement for solo violin and electronic sounds of Inscape 2 (1995) for solo voice and electronic sounds. In both cases the works are a setting of the same poem (Pied Beauty) by Gerard Manley Hopkins. The electronic sounds for both works are the same. The fully notated violin part mostly doubles the electronic sounds, matching as close as possible the precise just intonation of the electronic tones. The electronic sounds are computer-generated sinewaves whose durations and envelopes were determined by extracting the envelope shapes of phonemes and mapping them onto the appropriate sinewave frequencies. These frequencies, as indicated in the score, were derived from a phonetic analysis of the Hopkins text from which specific structural attributes could be translated into a musical structure. The numeric value of the frequency of occurrence for each phoneme has been mapped into an inverse hierarchy of natural number values, corresponding to harmonics in the harmonic series. Further digital signal processing techniques, as varying rates of delay and echo, were subsequently applied to the edited sequence of sinewaves in order to articulate other embedded structural relationships in the original text.

 

David Dunn, composer. From 1970 to 1974 he was assistant to the American composer Harry Partch & remained active as a performer in the Harry Partch Ensemble for over a decade. He has worked in a wide variety of audio media inclusive of traditional & experimental music, installations for public exhibitions, video & film soundtracks, radio broadcasts, & bioacoustic research. Presently he is a Professor Emeritus of the University of California Santa Cruz. His compositions and soundscape recordings have appeared in many international forums, concerts, broadcasts, and exhibitions. Besides his multiple books, recordings and soundtracks, he has been anthologized in over 50 books and journals.

 

Much of his current work is focused upon the development of listening strategies and technologies for environmental sound monitoring in both aesthetic and scientific contexts. Dunn was the recipient of the prestigious Alpert Award for Music in 2005 and the Henry Cowell Award from the American Music Center in 2007. He lives in Santa Fe, New Mexico. 

 

https://daviddunn.bandcamp.com/track/inscape-3

 

Rafael Vargas Bernard

Hybrid Code Selector .444b 

Performance, 2023

Duration: 10'00" 

 

Elektron Syntakt, Elektron Digitone, Arturia MiniFreak, and a plant-based oscillator (An Oregano Brujo plant with its capacitance measured by a modified soil moisture sensor interpreted by a Teensy 4.0 microcontroller and firmware coded in C++ 

Hybrid Code Selector .444b parallels my personal cultural and creative hybridity and the need to constantly code-switch in my communication and artistic practices with hybrid audio generation processes; playing techniques at the intersection of composition, improvisation, and chance; and conflicting cultural music idioms. An Oregano Brujo plant, with a sensor and a microcontroller, will act as one of the instruments played in this piece as an organic-digital hybrid electromagnetic-field-capacitance-controlled oscillator. This piece is an extension of my new, more music-than-noise-leaning polyrhythm-based project, Maulfongo. First time to be performed.

— Rafael Vargas Bernard

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Rafael Vargas Bernard, born in Mayagüez, Puerto Rico, studied computer engineering at the Georgia Institute of Technology, sculpture at the Escuela de Artes Plasticas de Puerto Rico, and La Práctica at Beta Local. His work explores functional and non-functional systems (including power structures, economic systems, and generative systems) and societies relationship with these. His work has been exhibited at Exit Art (New York), Peripher (Zürich), and Las Naves (Valencia), and is part of the permanent collection of the Museo de Arte Contempor neo de Puerto Rico.

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Julio Roloff

 

Fourbells

Pre-recorded quadraphonic computer music

Duration: 7’00”

 

Wooden

Pre-recorded quadraphonic computer music

Duratiom: 7’00”

 

Fourbells is a pre-recorded quadraphonic computer music based on sampled and processed bells sounds for four channels. 

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Wooden is a pre-recorded quadraphonic version of a computer music originally created for eight channels based on sampled and processed marimba sounds.

 

Julio Roloff is a composer of experimental classical music. Known for his scores for percussion instruments as well as for his electro-acoustic and computer music for solo tape and for acoustic instruments and electronics, his catalog includes chamber and symphonic music and music for stage and films.

 

A retired music professor and producer born in Havana, Cuba and a naturalized American Citizen, he received his musical education at both the Conservatory Amadeo Roldan and the Ignacio Cervantes Professional School of Music in his native city where he studied double-bass, percussion, and music theory. Later he earned a Bachelor Degree in Music Theory and Composition from the School of Music of the Higher Institute of Art of Universidad de la Habana. Aesthetically, his music is characterized by the influence of the master composers of the Twentieth Century, multicultural elements from Classic Rock and Jazz to Afro-Cuban music, a transparent language and the creative use of new, advanced and experimental techniques in composition.

Roloff is a member of the South Florida Composers Alliance (SFCA) and of the experimental music ensemble "Punto" and has collaborated, among others with Subtropic New Music Festival, Miami International Performance Festival, Florida International University, Miami Dade College, Koubec Center, the University of Miami, Sound Art Workshop (SAW), the Miami Beach Audiotheque and Listening Club, the Foundation for Contemporary Art (FCA), Tiger Tail Productions, Kendall Sound Art Series, Edge Zone Art, Inlets Ensemble and Compositum Musicae Novae.

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José Hernández Sánchez

What Was I Thinking?

Performance, 2023

Duration: 10’

 

Wearing a brain activity sensor on his head, the artist will be manipulating computer-generated sounds with his brainwaves.

 

José Hernández Sánchez creates what he calls composed situations — music compositions that extend to other media like performance and film.

His pieces have been presented internationally at festivals and venues such as Miami Performance International Festival, Subtropics Festival, NWEAMO Festival (US), Festival Internacional de Música Contemporánea (Colombia), Festival Internacional de Música Contemporánea de Lima (Peru), Primavera en La Habana (Cuba), Microscope Gallery NY, Spazio Unimedia, Venice Italy. Institutions as New York University, and the International Aesthetics and Philosophy of Music Congress (Ecuador) have invited him as speaker on Aesthetics and Contemporary Music. José held a faculty position in Music Composition at Javeriana University in Bogotá, Colombia from 2004 to 2010.

 

Emilie Berteau

34

Film, 2014

Duration: 9’33” 

 

A man slowly and inexorably climbs a staircase, attracted by a deceptive light.

I directed and produced three independent films: one documentary short, one experimental short, and one feature-length documentary called 88, capturing the journey of a pilgrim from Shikoku in Japan. My movies were selected and awarded in several festivals. I am currently developing a film project in Florida.
 

Rene Barge

Prism Break

Performance, 2012 

Duration: 5’20"

 

“The sound works, prints, and videos that I produce are glimpses into patterns that I perceive; they bear evidence of multiple filters and distortions via alternately human, natural and artificial agents. They are prisms of interactions with specific environments in that they show multiple aspects of change at once, analogous to a post-studio, post-digital cubism. — Rene Barge

 

Rene Barge collaborates with sound artists Gustavo Matamoros and David Dunn as FM

He also direct the Creative Design Project for Youth (CDPY). CDPY seeks to enhance the knowledge, proficiency and competitiveness of art and design students by engaging them in real-world experiences that augment their proficiencies and portfolios with exhibited and published original works commissioned by partnering community programs and arts organizations. CDPY was established in the Fall of 2005 with an Access To Artistic Excellence grant from the NEA’s Media Arts Program.” 

 

Richard Garet

The Other Side 

Live Performance, [Material Sound], 2023

Duration: 30’

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Richard Garet’s approach to working with sound focuses on interacting with materials' sonic properties as both source and instrument. Furthermore, Garet crafts his material to depict and arrive at the expression of each sound's accurate significance to subsequently apply idiosyncratic compositional methods for the listening experience. Such materials are amplified EMF emissions, modified audiocassettes, dysfunctional tape players, circuit boards, sonification of light, and computer processing among other explorations, and with no particular hierarchy.

 

Richard Garet is a contemporary multimedia artist born in Montevideo, Uruguay. He holds an MFA from Bard College, NY. Garet has lived and worked in the United States since 1996. Richard Garet's work is recognized in the context of sound and visual arts and has been exhibited in galleries and institutions globally.

Garet examines the ontological interplay inherent in his materials, encompassing the activation of background noise, the orchestration of imagery and sounds, and the conduction of experiments using outdated and current technological apparatuses. Through this intricate exploration, employing diverse media and materials to convey his artistic message, Garet's work culminates in abstractions, resulting in multidimensional artworks that challenge traditional artistic categorizations