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Tendencias Post-Digitales

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Tendencias Post-Digitales kim cascone (conference + live) coeval (live) paul webb (live) cnoi (audio session) madrid laptop orquesta (live) error (visual support) organizan: colaboración y puntos de venta anticipada: Colegio Mayor San Juan Evangelista Caños del Peral, 9 Jesus del Valle, 8 Gran Vía, 40 6ª Planta Amaniel, 22 www.discosdelsur.com [email protected] www.geometrikrecords.com [email protected] PresentaciPresentacióóónn CRC 3 Tendencias PostPost---DigitalesDigitales 4 Programa 5 Kim Cascone 7 Paul Webb 10 Coeval 13 Madrid Laptop Orquesta 16 Radar ((ElectronicElectronic Sounds BarBar) ) 18 CcCcäääpitaliapitaliapitalia.net.net 21 PresentaciónPresentación CRCCRC 3 En sus orígenes y primeros años de desarrollo, los Desde nuestra humilde perspectiva, el momento pioneros de la música electrónica buscaban nuevos actual se caracteriza por un agotamiento sonidos y estructuras para organizar estos a intelectual prácticamente generalizado, donde la través de las capacidades y posibilidades que fatiga que manifiestan ciertas propuestas es ofrecía la emergente tecnología electrónica. Otros evidente, a la vez que otras de gran valor soñaban con la democratización de este arte, solo permanecen sumergidas en un injusto anonimato. posible gracias a la popularización y accesibilidad El espíritu del artista electrónico se disuelve poco a de unos nuevos instrumentos que podían ser poco en festivales y sellos discográficos que han fabricados en serie. Con aquellos pioneros se implementado un modelo de negocio donde priman produce un fenómeno singular, en el que se las aproximaciones más masivas. aprecia el interés incipiente del músico hacia temas de corte técnico y por otra parte, vemos como el La Asociación CRC es un foro de debate, técnico en sus investigaciones profesionales se divulgación e investigación en torno a la música topa con las posibilidades musicales de sus electrónica y el arte electrónico en general. Abierto invenciones. Este creador simbiótico, en el que se a todos: artistas, espectadores, oyentes y por combinan arte y técnica, es el antecedente más supuesto, curiosos. Nuestro objetivo es la difusión claro del artista electrónico. y búsqueda de nuevas claves. No pretendemos una ruptura con el pasado, todo lo contrario, pues Ya ha pasado más de medio siglo desde entonces. ese pasado compone nuestra memoria en el Las previsiones más optimistas e imaginativas presente. lanzadas a lo largo de estos cincuenta años por un nutrido número de apóstoles electrónicos se han cumplido, quizás rebasando sus expectativas. CRC, Julio 2002 Incluso aquellas reticencias más viscerales que www.ccapitalia.net/crc cuestionaban la capacidad del instrumento [email protected] electrónico como transmisor de sentimientos y emociones han sido superadas. Hoy somos testigos a un auge de artistas, festivales, patrocinios, mercadería, clubs y otras “movidas” que han hecho suya la etiqueta de música electrónica. Pero que nadie se engañe, hoy asistimos a un falso auge, más parecido a la decadencia romana que a un momento de auténtico esplendor. X32+X26+X23+X22+X16+X12+X11+X10+X8+X7+X5+X4+X2+X1+X0 CRCCRC asociación de arte post-digital TendenciasTendencias PostPost--DigitalesDigitales 4 Aunque en la ciudad de Madrid nos encontremos Antes mencionamos a los DSPs, protagonistas en una situación deficitaria, no está en nuestra indiscutibles junto a la Inteligencia Artificial en este intención organizar un festival más de música encuentro. Ambas disciplinas comparten un electrónica. En la concepción, desarrollo y elemento común: el software. Herramientas objetivos de “Tendencias Post-Digitales” queremos software para modelar y procesar el sonido en apartarnos de las fórmulas al uso para este tipo de tiempo real y aplicaciones y agentes software para eventos. Con este encuentro pretendemos dar a organizar el sonido. conocer de una manera reposada y quizás algo condensada lo que a nuestro entender son -por el En “Tendencias Post-Digitales” tendremos momento- las últimas tendencias de la música oportunidad de disfrutar de las capacidades del electrónica. software para trabajar con el sonido, la Inteligencia Artificial y las posibilidades de un prometedor Desde que Russolo publicó su manifiesto en 1916, nuevo mundo de sonidos. Lo que aquí se da cita la infatigable búsqueda de nuevos sonidos y la son una serie de trabajos de investigación técnica investigación de sus posibilidades estéticas no ha y artística que pretenden contribuir a la evolución y cesado. Cuando se temía llegar a un punto donde enriquecimiento de la música electrónica en este todas las técnicas de síntesis hubiesen sido comienzo de siglo. inventadas, la aparición y constante abaratamiento de los procesadores digitales de señal (DSP) abrió una puerta de infinitas posibilidades para creación y manipulación de nuevos sonidos. Por otra parte, al igual que Russolo “escuchó” el sonido de la ciudad moderna para descubrir nuevos sonidos hoy hemos hecho un ejercicio similar. En esta ocasión, nuestra atención se dirige hacia esos sonidos marginales y molestos que a veces se producen en cualquier dispositivo digital cuando este no funciona adecuadamente. Estos sonidos constituyen la materia prima de una nueva estética en la música electrónica conocida como “Microsound” o “Glitch Sound”. X32+X26+X23+X22+X16+X12+X11+X10+X8+X7+X5+X4+X2+X1+X0 CRCCRC asociación de arte post-digital ProgramaPrograma 5 A modo de presentación de “Tendencias Post-- Actuación de Paul Webb Digtales”,, loslos fundadoresfundadores dede lala AsociaciAsociación CRC Su propuesta artística se basa en una performance harán una breve introducción al evento, con el en vivo de “Difusiones de Sonido Emergente por finfin dede situarsituar aa loslos asistentesasistentes enen elel contextocontexto Agentes Sónicos Interconectados, Autónomos e Interactivos” (Emergent Sound Diffusions by adecuado y estado del arte, desde la Networked, Autonomous and Interacting Sonic perspectiva de artistas, sellos y herramientas perspectiva de artistas, sellos y herramientas Agents). software Ordenadores conectados que generan su propia Adolfo García de Ccapitalia.net música electrónica usando sistemas de Jesús Sevillano de Radar (Electronic Sounds Bar) programación que contienen múltiples agentes de Juan C. Blancas de Coeval sonido interactivos. Sus interacciones crean Alberto Gutiérrez de Ccapitalia.net improvisaciones de sonido emergente a tiempo real (los agentes escuchan, responden e interactúan entre ellos). Estos sistemas producirán comportamientos y estéticas impredecibles que se distancian de los planes originales o Ponencia de Kim Cascone:: TheThe AestheticsAesthetics ofof preconcebidos del artista. No habrá humanos en la Failure: "Post--Digital" Tendencies in performance. Son improvisaciones totalmente Contemporary Computer Music creadas por la máquina (los sonidos que salen vienen de la inteligencia de la máquina operando con plena autonomía, con sus propios sistemas de Como teórico de la música electrónica experimental reglas y códigos). El artista solamente es contemporánea ha publicado numerosos artículos necesario para el sistema. El trabajo trata temas de importante repercusión, de todos ellos, diversos que incluyen el sonido digital, los métodos merecen especial atención sus frecuentes interactivos, la meta-composición, la inteligencia intervenciones en ¨Computer Music Journal¨ , artificial, la cibernética y los sistemas complejos. destacando su artículo The Aesthetics of Failure: "Post-Digital" Tendencies in Contemporary Computer Music. Descanso e Intermedio Técnico de 15 minutos Su amplia formación académica y conocimientos técnicos hacen que hoy en día Kim Cascone sea considerado toda una eminencia en el campo de la música electrónica experimental y especialmente dentro de lo que él propiamente define como música ¨Post-Digital¨. Su ponencia girará en torno a su artículo The Aesthetics of Failure: "Post-Digital" Tendencies in Contemporary Computer Music. En ella, Kim nos presentará las bases históricas del “Microsound” y “Glitch “ y las posibles direcciones en las que estos géneros se pueden desarrollar. X32+X26+X23+X22+X16+X12+X11+X10+X8+X7+X5+X4+X2+X1+X0 CRCCRC asociación de arte post-digital ProgramaPrograma 6 Audio Session a cargo de Cnoi Actuación de Coeval Bajo este seudónimo se esconde Jesús Sevillano, Proyecto constituido por J.C.Blancas y J.A.Gaspar. responsable de Radar (Electronic Sounds Bar), Procedentes de la música electrónica avanzada de uno de los pocos lugares en Madrid donde la los años 90, lo que inevitablemente les lleva a apuesta por la divulgación de la música electrónica introducirse en tendencias más vanguardistas en sus múltiples vertientes se viene plasmando dentro dicho circuito. Dada su inquietud por las desde su inauguración en el año 1997, con la nuevas tecnologías digitales, hoy en día organización de actividades de carácter investigan en sistemas de diseño y procesamiento independiente, en las que tanto músicos noveles del sonido mediante aplicaciones informáticas. Su como consagrados han tenido un lugar para dar a peculiar manera de fusionar densos ambientes con conocer sus creaciones sonoras en numerosas texturas digitales hacen de este dúo uno de los actuaciones en directo. Ha participado, asimismo, más destacables dentro del panorama nacional, en la edición de discos de algunos de estos especialmente en lo que se refiere al llamado artistas así como en el proyecto “Ballet Radar”, en ¨Glitch Music¨. el que más de una veintena de conocidos músicos de distintos campos de la experimentación electrónica y electroacústica - entre
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