Pensé en no verme, y temblé
Inspired by Vladimir Guicheff’s piece ‘pense en no verme’; ‘pense en no verme, y temblé’ gestures towards the connection between visual reflection and echo. At the same time, the sound installation explores the spectral qualities of the tam-tam (as it has a main role in Guicheff’s composition) by reacting in real-time with live synthesis based on the aforementioned sound qualities. Made out of 38 platonic solids of twelve pentagonal faces, the five sound sculptures are inspired by the 5 performers' spots and the reflection-echo behavior proposed by Guicheff in his piece.
Reception Bells is a piece for five reception bells and live electronics. The set up consists of two performers reading the same text—which is handed out among the audience—, five reception bells—differently tuned from each other—and live electronics.
The starting point for Reception Bells is a text which is read silently by two performers on stage behind a table. Each performer plays a certain bell every time they come across a specific vowel phoneme, the bells are recorded and their signal is analysed in a SuperCollider patch.
Once a performer plays a specific bell, the fundamental fre- quency of this bell will be applied to a sawtooth synthesizer. Subsequently, this sound will be convolved with the ‘impulse response’ made out of the performer’s pre-recorded phoneme associated with this specific bell and finally sent to one louds- peaker.
Finally, there are five loudspeakers extracted from 1990s’ tele- visions, with the five different outcoming signals (one for each bell).
11 Piezas para cuarteto de saxofones
1 pieces for saxophone quartet originally conceived as an electroacustic piece, finds its place in the saxophones after a large process. Each piece is related to a painting or photogra- phy which portrays an intense moment of uruguayan history.
Collaboration between School of Music of the University (Uru- guay) and Hochschule für Musik und Tanz Köln with the FUKIO Ensamble.
Coordination: Vladimir Guicheff
11 piezas para cuarteto de saxofones
1 el dirigible graf zeppelin sobre montevideo/the graf zeppelin
2 acto de resistencia al golpe de estado del presidente gabriel terra, previo a su suicidio/president gabriel terra resistence to the coup, before committing suicide (1933)
3 interludio I/interlude I
4 máximo santos recibiendo atención medica luego del atenta- do en el teatro cibils/máximo santos receiving medical attention
after the attack in the cibils theater (1886)
5 vista aérea del hundimiento del acorazado graf spee en aguas del río de la plata/ aerial view of the sinking of the batt- leship graf spee in the waters of the río de la plata (1939)
6 manifestación en apoyo al presidente juan idiarte borda/rally in support of president juan idiarte borda (1897)
7 interludio II/interlude II
8 el asesinato de venancio flores/the murder of venancio flores
9 presidente johnson asistiendo a la cumbre de jefes de estado americanos en punta del este/president johnson attending the summit of american heads of state in punta del este (1967)
10 interludio III/interlude III
11 fusilamiento de luna y bejarano en la cárcel de miguelete/ fusillade of luna and bejarano in the miguelete jail (1892) signals (one for each bell).
with 7 hermanos
“Pieza Invernal” (“Winter Piece”) is the result of a collective composition process
undertaken by group of sound artists and musicians named “7 Hermanos” (Sofía Scheps,
Guzmán Calzada, Lucía Chamorro and Marcelo Rilla).
In “Pieza Invernal” we don’t start from sound as much as we aim to arrive at sound. We
want to rediscover it as a brother of heat. Thus, the performance space is prepared as a
technological scenery in which the mechanical components have ambiguous and mutating
In our attempt to recreate an elementary abstraction, we purposefully work with a certain
degree of ineffectiveness. The pendulum analogy is multiply re-constructed, but with
measured precariousness. Thus, a rather common acoustic demonstration leans out,
although it is often betrayed by the sensuality of the materials involved.
This is a configuration very prone to casual coincidences, where accidents may resemble
“good results”. We get to hear the voice of luck, whenever
with Alexandru Pantazica and Manuel Vázquez
Keyboard tale is a project which involves music, digital literature and performance. It deals with the emergency of a performativity of silent reading—or subvocalization—and involves typing and music as part of the experience. In this manner, it fosters the awareness of compounded motor-skills (comprising reading, subvocalization, listening and typing) as a prominent behaviour present in everyday life. It aims to be not only a piece but also an environment for writers and musicians.
The proposed piece involves one reader-performer who types a provided text and listens to a live electronic piece simultaneously. Thus, the reader-performer constitutes the performer and audience at the same time. They are provided with a text divided in blocks which would be written with this structure in mind. Those blocks are generally sentence-length and should be typed by the reader-performer in order to advance to the next block within the piece. The webpage-based environment will upload with the first text-block and the instructions for the piece. As the reader-performer types the text, the pressing and releasing of the keys is used to control live electronics. Every letter key corresponds to a filtering algorithm which will be programmed based on the acoustic qualities of the correspondent phonemes.
with Sofía Scheps
Nesting in the thought of the sound living in space, and the spa- ce living in sound, weaving physical-acoustic, psychoacoustic, contextual and affective concepts, a site-specific piece is created, where the presence builds and modulates an acoustic space through the notions of path and proximity.
The piece is presented in the format of “Minimal Scenes”; three brief pieces that pose reflections around the presence and movement in space, as modulating tools of a re-constructed/amplified acoustic space.
“In its countless alveoli space contains compressed time. That is what space is for.”
Gaston Bachelard, The Poetics of Space
(...) works with the interaction between sound and graphic dimension of the act of printing, and the role of characters as generators or as a consequence of music. There are two de- pendent objects, where each one is the score and the performance at the same time. On the one hand, the computer errors that result in the printing of certain graphic elements, are the score of music. Moreover, it is tempting to speculate about the graphic part by listening to the sounds that will be occuring in the printer. Therefore, the sound can be the score of the graphi- cal dimension of this work.
Strands of Polyphony
work in progress
Nadie encendía las lámparas
Nadie encendía las lámparas #2 (2019) is an installation com- posed for the Symposium Transformations of the Audible at WEST, an art space in the former U.S. Embassy in The Hague (The Netherlands). The installation took place in a room where I set up two loudspeakers, a storage room of the art space which I used because I was interested in working with the acoustic properties of some objects I found there as well as the room itself.
The piece incorporates an audio programming patch which analyzes a musical recording—the audio source in this case— and plays sine-wave oscillators under certain circumstances. The patch analyzes in real time the fundamental frequency
of a certain audio source—a recording of a piece of music in this case—and uses this signal to trigger several sine-wave oscillators when the fundamental frequency of the audio sour- ce coincides with the resonant frequencies of the rooms. The sine-wave oscillators’ frequencies are extracted from the main resonances of the room. Each oscillator uses an envelope with a very soft attack and release, and sounds for around three seconds. The analyzed audio file is not played in the room, but only works as a signal for triggering sine-wave oscillators within the patch
Nadie encendía las lámparas #2 involved a process of experi- mentation with all the available objects in order to find interactions between them and the room’s resonant frequencies.
The objects inhabiting the room vibrate sympathetically with specific sine-waves, depending primarily on their frequency. On the one hand, the melody resulting from the sequence of sine-waves was split up between the objects, as if the hoquetus technique had been applied to them. On the other hand, such objects provide a wide variety of timbral qualities, which work as an orchestration of the sine-wave melody.