Papers by Alejandro Albornoz
Actas del XIII Congreso Iberoamericano de Acústica FIA 2024, 2024
Esta ponencia describe las obras radiofónicas educativas basadas en Soundlapse, una iniciativa de... more Esta ponencia describe las obras radiofónicas educativas basadas en Soundlapse, una iniciativa del proyecto de investigación "Herramienta espacio-temporal para aplicaciones creativas y educacionales de grabaciones de paisaje sonoro de humedales" financiado por Fondecyt para 2022-25 de la Agencia Nacional de Investigación y Desarrollo de Chile. Este proyecto estudia paisajes sonoros de los humedales urbanos de Valdivia con el objetivo de caracterizar y resaltar su valor mediante un método de time-lapse sonoro. Con obras electroacústicas que incluyen paisajes sonoros del proyecto, se realizaron conciertos didácticos, en Villarrica, Valdivia y Castro durante el Festival de la Ciencia 2022, luego de lo cual se identificó la necesidad de obras dirigidas específicamente a estudiantes de educación básica y media, para acercarles así a estas temáticas y los medios artísticos en cuestión. Así se desarrollaron miniaturas acusmáticas para introducir los conciertos de paisajes sonoros mencionados. En su primera etapa, las piezas están enfocadas en estudiantes de educación básica y abordan temas como el sonido, la música electroacústica, el paisaje sonoro y los humedales urbanos de Valdivia,
vinculándolos con objetivos de aprendizaje de los planes de estudios de Música y Ciencias Naturales. Una encuesta sencilla analiza la efectividad de las piezas para mejorarlas o adecuarlas.
Actas del XIII Congreso Iberoamericano de Acústica FIA 2024, 2024
La composición espacial es crucial en la música acusmática, como resaltan Chion [7], Roads [19] y... more La composición espacial es crucial en la música acusmática, como resaltan Chion [7], Roads [19] y Smalley [24]. Esta investigación busca establecer un análisis neutro del componente espacial en obras acusmáticas. Aunque muchos estudios se enfocan en la percepción del espacio, pocos examinan la estructura espacial en las grabaciones, como indican Chion [6, 7] y Smalley [24, 25]. Basado en el modelo tripartito de Nattiez [14], se puede analizar la estructura musical espacial a nivel neutro, comparándola con los niveles poético y estésico para descubrir nuevas correlaciones y contradicciones. Este proyecto desarrollará un sistema conceptual y tecnológico para extraer información de obras acusmáticas (estéreo y multicanal), evaluando la distribución del contenido espectral y las dinámicas en su espacio interno [7]. El objetivo es identificar el uso discursivo del espacio en niveles como macro-forma, meso-estructura, secciones y objetos sonoros [19], explorando estilos y su evolución en la práctica composicional. Como paso inicial, se ha creado un catastro de diferentes aproximaciones al análisis de la composición espacial acusmática, reflejadas en diversas taxonomías y glosarios presentados en esta ponencia. Palabras clave: composición espacial, música acusmática, modelo tripartito de Nattiez, análisis neutro.
Revista de Teoría del Arte, Departamento de Teoría de las Artes, Facultad de ArtesUniversidad de Chile, 2023
This brief essay describes and analyses the 1974 electroacoustic piece "¡Ahora!" by Iván Pequeño,... more This brief essay describes and analyses the 1974 electroacoustic piece "¡Ahora!" by Iván Pequeño, addressing its sonic structure and political conceptual compositional form. The text, in Spanish, is included in the special edition of the Revista de Teoría del Arte of the Universidad de Chile, released in 2023 as a commemoration of the 50th anniversary of the Coup d'Etat in Chile.
This paper arises from a group discussion took place at the 2018 Livecoding Moot in Sheffield abo... more This paper arises from a group discussion took place at the 2018 Livecoding Moot in Sheffield about the role of visualists in algoraves, with the particular aim of improving collaboration and giving visualists a more equal status both conceptually and practically. The current situation is one of imbalance, in which visualists are often relegated to a secondary role. Some suggestions for improving the situation are examined, including challenging certain social practices, and employing technical approaches aimed at fostering a more balanced collaboration.
This paper presents two analytical categories which were applied to works included in my portfoli... more This paper presents two analytical categories which were applied to works included in my portfolio of compositions as part of my PhD dissertation presented at the University of Sheffield in December 2018. Each piece was analysed using five taxonomies. Three of them are classifications provided by well-established systems: sound object theory (Schaffer 1966), spectromorphology (Smalley 1997), and space function levels (Vande Gorne 2010). Every category within each type of analysis, is represented graphically by means of the EAnalysis software (Couprie 2014), showing their distribution across five corresponding timelines, allowing a visual comparison between them. An explanation of these well-established systems is presented to understand the way they are used in the analysis of the portfolio, providing in this way a context for the original two categories proposed. Likewise, the remaining two taxonomies can be read comparatively with the others and were proposed by me and focus on vocal and linguistic materials which are present in the works. They are voice type and speech sound type, making reference respectively to the inclusion or absence of semantic content and to a categorization of phonetic elements within each piece. In order to test them beyond the analysis of my own compositions, they have begun to be applied to some compositions from the repertoire, one of which is shown as an example in this article.
Proceedings of the Electroacoustic Music Studies Network (EMS) Conference, Leicester, England., 2021
This paper presents two analytical categories which were applied to works included in my portfoli... more This paper presents two analytical categories which were applied to works included in my portfolio of compositions as part of my PhD dissertation presented at the University of Sheffield in December 2018. Each piece was analysed using five taxonomies. Three of them are classifications provided by well-established systems: sound object theory (Schaffer 1966), spectromorphology (Smalley 1997), and space function levels (Vande Gorne 2010). Every category within each type of analysis, is represented graphically by means of the EAnalysis software (Couprie 2014), showing their distribution across five corresponding timelines, allowing a visual comparison between them. An explanation of these well-established systems is presented to understand the way they are used in the analysis of the portfolio, providing in this way a context for the original two categories proposed. Likewise, the remaining two taxonomies can be read comparatively with the others and were proposed by me and focus on vocal and linguistic materials which are present in the works. They are voice type and speech sound type, making reference respectively to the inclusion or absence of semantic content and to a categorization of phonetic elements within each piece. In order to test them beyond the analysis of my own compositions, they have begun to be applied to some compositions from the repertoire, one of which is shown as an example in this article.
Organised Sound, 2020
This article assembles and summarises the main ideas presented in the doctoral thesis entitled ‘V... more This article assembles and summarises the main ideas presented in the doctoral thesis entitled ‘Voice and Poetry as Inspiration and Material in Acousmatic Music’ by the author and describes his idiosyncratic method for acousmatic composition based on Chilean poet Vicente Huidobro’s aesthetic theory, which is a system that aims at creating artistic works by taking materials from reality and combining them in unexpected ways. The objective of this combination is an equilibrium between rationality and intuition in order to obtain a poem independent of the real world, in the sense of a poetic outcome which avoids traditional mimesis. This creative system, known as Creacionismo, has a central role between various other theoretical, artistic and mainly poetic sources informing the author’s creative process. Huidobro’s creative system has been applied by the author to acousmatic composition procedures generating the notion of acousmatic-creationist as a nomenclature for the process. This p...
This paper arises from a group discussion took place at the 2018 Livecoding Moot in Sheffield abo... more This paper arises from a group discussion took place at the 2018 Livecoding Moot in Sheffield about the role of visualists in algoraves, with the particular aim of improving collaboration and giving visualists a more equal status both conceptually and practically. The current situation is one of imbalance, in which visualists are often relegated to a secondary role. Some suggestions for improving the situation are examined, including challenging certain social practices, and employing technical approaches aimed at fostering a more balanced collaboration.
Organised Sound, 2020
This article assembles and summarises the main ideas presented in the doctoral thesis entitled ‘V... more This article assembles and summarises the main ideas presented in the doctoral thesis entitled ‘Voice and Poetry as Inspiration and Material in Acousmatic Music’ by the author and describes his idiosyncratic method for acousmatic composition based on Chilean poet Vicente Huidobro’s aesthetic theory, which is a system that aims at creating artistic works by taking materials from reality and combining them in unexpected ways. The objective of this combination is an equilibrium between rationality and intuition in order to obtain a poem independent of the real world, in the sense of a poetic outcome which avoids traditional mimesis. This creative system, known as Creacionismo, has a central role between various other theoretical, artistic and mainly poetic sources informing the author’s creative process. Huidobro’s creative system has been applied by the author to acousmatic composition procedures generating the notion of acousmatic-creationist as a nomenclature for the process. This p...
Organised Sound, 2020
This article assembles and summarises the main ideas presented in the doctoral thesis entitled ‘V... more This article assembles and summarises the main ideas presented in the doctoral thesis entitled ‘Voice and Poetry as Inspiration and Material in Acousmatic Music’ by the author and describes his idiosyncratic method for acousmatic composition based on Chilean poet Vicente Huidobro’s aesthetic theory, which is a system that aims at creating artistic works by taking materials from reality and combining them in unexpected ways. The objective of this combination is an equilibrium between rationality and intuition in order to obtain a poem independent of the real world, in the sense of a poetic outcome which avoids traditional mimesis. This creative system, known as Creacionismo, has a central role between various other theoretical, artistic and mainly poetic sources informing the author’s creative process. Huidobro’s creative system has been applied by the author to acousmatic composition procedures generating the notion of acousmatic-creationist as a nomenclature for the process. This particular creative strategy balances rationality and intuition within acousmatic composition and places poetry as a driving force in the use of voice, merging artistic practice and theory in a recursive action.
Este texto presenta el proyecto composicional acusmático “Listening animals”, una obra octofónica... more Este texto presenta el proyecto composicional acusmático “Listening animals”, una obra octofónica encargada por el Laboratorio de Creación y Cognición Musical “AcusmaLab”, el cual es parte del Centro de Estudios de Argumentación y Razonamiento de la Facultad de Psicología de la Universidad Diego Portales, Chile. El encargo fue realizado como parte del proyecto de investigación “Hacia una gramaticidad de las músicas no escritas: un enfoque neurofenomenológico” llevado adelante por Federico Schumacher y Claudio Fuentes, ambos investigadores del AcusmaLab. El Proyecto “[…] busca explorar en la experiencia musical por medio de metodologías mixtas, cualitativas y cuantitativas, surgidas desde la neurofenomenología, tomando como foco la música acusmática en tanto «caso límite de escucha pura»”(CEAR, 2015)(1).
Este artículo incluye un texto autoetnográfico a la manera de un diario personal, algunas veces usando un lenguaje formal y en otras más personal y subjetivo en primera persona. A la vez describe la obra, sus vínculos con la investigación mencionada y como desde esta fueron definidos aspectos específicos de su planificación y estructura.
Palabras clave: Acusmática, octofonía, autoetnografía.
This article presents the acousmatic compositional project “Listening animals”, an octophonic piece comissioned by the Laboratory of Creation and Musical Cognition, “AcusmaLab”, which in turn is part of the Center for Argumentation and Reasoning Studies in the Psychology Faculty of the Universidad Diego Portales, Chile.
The comission was made as part of the research project “Towards a grammar of unwritten musics: a neurophenomenological approach” carried forward by Federico Schumacher and Claudio Fuentes, both researchers of the AcusmaLab. The project “[…] seeks to explore within the musical experience through mixed, qualitative and quantitative methodologies, arising from neurophenomenology, focusing on acousmatic music as a «limit case of pure listening»”(CEAR, 2015)(1).
This paper includes a autoethnograpic text in the form of a personal journal, sometimes using a formal language and others more personal and subjetive in first person. At the same time describes the piece, its links with the mentioned investigation and how from this one, specific aspects of its plan and structure were setted.
Key words: Acousmatic, octophony, autoethnography.
(1) CEAR. (2015). Fondo de la Música Nacional adjudica dos proyectos a Investigadores del CEAR [online]: Centro de Estudios de Argumentación y Razonamiento (CEAR). Available at: http://cear.udp.cl/fondo-de-la-musica-nacional-adjudica-dos-proyectos-a-investigadores-del-cear/ [Accessed 30th January, 2017 2017].
During 2014, the second year of 'Arte en la Chile' magazine, precisely in June, was released the ... more During 2014, the second year of 'Arte en la Chile' magazine, precisely in June, was released the 7th issue of this publication which is devoted to spreading the current activities and heritage of the Universidad de Chile's Faculty of Arts. Within this number, the magazine included an interesting reportage titled 'La hazaña de registrar y experimentar con la tradición sonora de Chile' (Lizama, 2014) which is an enthusiastic text reviewing the the early years of electroacoustic music and computer music in Chile and their links with the Faculty of Arts of the Universidad de Chile. Regrettably, the text have some significant historical errors, specially related to the history of computer music research and works.
This paper corrects those mistakes and surveys the historical events involved within this starting point of computer music in Chile, providing a historical frame. Among these events there are the first explorations in computer assisted composition by means of algorithmic procedures, the use of a computer to control analogue synthesizers and theoretical texts on these explorations.
Through human voice and poetry in electroacoustic composition, my doctoral research project will... more Through human voice and poetry in electroacoustic composition, my doctoral research project will search the relationship between acousmatic and algorithmic approaches, looking for the feasibility of merging intuitive hand-made procedures of acousmatic tradition with automatic and non-human control of algorithmic tools. In a first stage, the expected outcomes are a series of acousmatic pieces in the musique concrète tradition, intermedia works and the subsequent texts on these developed issues. For a second stage the results of the investigations should be focused on some aspects of algorithmic composition, their tools and aesthetics, from poetic procedures (Tristan Tzara, OULIPO) to the use of computer programs in music and art in general.
As part of this, the compositional project described in this text addresses the relations that hold between human voice, meanings through language and pure abstract vocal sounds, poetry and sound poetry, all within the acousmatic framework.
As a inspirational source of artistic materials, the Latin America's poetical heritage will be addressed, especially the work by the Chilean poet Vicente Huidobro, father of the first vanguard movement in South America during the early Twenty century. However, other sources will be investigated, including other poetical traditions and different literature sources.
Huidobro, founder of the 'Creationism', the first original Latin American artistic vanguardism, was a pioneer in the creation of intermedia pieces and a referent for sound poetry and sound art. Vicente Huidobro lived between Santiago de Chile and Paris. He wrote both in Spanish and French defending the poetical image and the sound richness of words, allowing the translation of poetry from one language to another.
The expected results for this compositional task are six acousmatic pieces, forming a multichannel cycle which deals with three languages: French, Spanish and English. One central aim is to find a coherent way of structuring the sonorities defined for the pieces, the semantic content of the spoken words, the differences between the three languages used and the spatial component of the multichannel format selected. A relevant purpose is to compose a strong and lenghty work consisting in several parts, which should work as a whole and as independent modules. With this characteristics, the outcome proposed will cover most of the goals for the first stage of the entire doctoral project, which are guided mainly by musique concrète and acousmatic aesthetics.
Conclusions related to compositional work and the resulting pieces will be delivered consequently from the finished Cycle, expecting to tackle the aims defined above. Finally the results and conclusions will connect to the following steps of the creative schedule expected.
La presente tesina, es el sustento teórico del trabajo final para la obtención de la Licenciatura... more La presente tesina, es el sustento teórico del trabajo final para la obtención de la Licenciatura en Artes Visuales, en el marco de los programas de estudio de la Universidad Mayor, en Santiago de Chile.
Este texto informa sobre la idea, fundamentos y contexto de la instalación sonora títulada “Sillon fermé”, obra que incorpora el sonido como material importante en una estructura estética conformada dentro del género de la instalación artística.
Así mismo este texto refleja las inspiraciones de la pieza, que toman como referentes aspectos del arte contemporáneo, la música electroacústica la programación en ordenador y los sistemas digitales automáticos.
Esta tesina pretende dar cuenta de todo el soporte teórico desde el cual se ideó y trabajó la obra y también de ciertos aspectos que fueron hallados durante el proceso.
Palabras clave: Instalación sonora, instalación artística, cudrafonía, música concreta, música electroacústica, surco cerrado, algoritmos, sonido fijado, sonido en tiempo real.
Este ensayo es una breve aproximación al trabajo del artista australiano Stelarc y su trabajo de ... more Este ensayo es una breve aproximación al trabajo del artista australiano Stelarc y su trabajo de performance dentro del género denominado Body-art, en el cual ha desarrollado una obra que integra diversos conceptos provenientes del pensamiento de Marshall Macluhan y la cibercultura en la que está inmerso el arte contemporáneo occidental
"Resumen: Este ensayo es una breve aproximación al trabajo y pensamiento del artista, arquitecto,... more "Resumen: Este ensayo es una breve aproximación al trabajo y pensamiento del artista, arquitecto, diseñador, intelectual y docente argentino Tomás Maldonado, centrándose en la época en que es uno de los miembros del movimiento de las vanguardias del país transandino donde pondrá las bases para lo que se dió en conocer como Arte Concreto-Invención, una tentativa teórico práctica que vió la luz a mediados del siglo XX en Argentina. El presente texto pretende dar luces generales sobre el tema en cuestión y ser base para futuras profundizaciones.
Palabras clave: Tomás Maldonado, Arte Concreto, Invencionismo, Madí, vanguardia argentina.
"
Books by Alejandro Albornoz
'Live Coding: A User's Manual', 2022
Text in the chapter 'Exposition' of the book 'Live Coding: A User's Manual', pp. 42-43.
This is a... more Text in the chapter 'Exposition' of the book 'Live Coding: A User's Manual', pp. 42-43.
This is a personal exposition of the author's relationship with live coding, both as an artist and as organiser/educator.
TROYANO is an artist collective from Chile which formed in 2005 to do interdisciplinary research ... more TROYANO is an artist collective from Chile which formed in 2005 to do interdisciplinary research on art and digital culture. Their recent publication, Art and Digital Culture, brought together work from contributors as diverse as artists and theorists from Argentina, Brazil, Chile, Colombia, Italy, Mexico, the Netherlands, Russia, Slovenia, and the U.S. This publication grew out of two major conferences TROYANO organized in 2005 and 2006 with the support of the Spanish Cultural Center and the Museum of Contemporary Art in Santiago, Chile: Elena (2005) and Updating, Art and Technology (2006).
On page 30 (spanish) and on page 140 (english) you can find my essay "Music & Technologie in Chile: Reflections on its Developments and Cultural Implications"
Album Reviews by Alejandro Albornoz
Mus.cl, 2011
Reseña de los CD box sets Obra electroacústica - dedicados a Gustavo Becerra-Schmidt y José Vicen... more Reseña de los CD box sets Obra electroacústica - dedicados a Gustavo Becerra-Schmidt y José Vicente Asuar, respectivamente - junto al disco colectivo Panorama electroacústico.
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Papers by Alejandro Albornoz
vinculándolos con objetivos de aprendizaje de los planes de estudios de Música y Ciencias Naturales. Una encuesta sencilla analiza la efectividad de las piezas para mejorarlas o adecuarlas.
Este artículo incluye un texto autoetnográfico a la manera de un diario personal, algunas veces usando un lenguaje formal y en otras más personal y subjetivo en primera persona. A la vez describe la obra, sus vínculos con la investigación mencionada y como desde esta fueron definidos aspectos específicos de su planificación y estructura.
Palabras clave: Acusmática, octofonía, autoetnografía.
This article presents the acousmatic compositional project “Listening animals”, an octophonic piece comissioned by the Laboratory of Creation and Musical Cognition, “AcusmaLab”, which in turn is part of the Center for Argumentation and Reasoning Studies in the Psychology Faculty of the Universidad Diego Portales, Chile.
The comission was made as part of the research project “Towards a grammar of unwritten musics: a neurophenomenological approach” carried forward by Federico Schumacher and Claudio Fuentes, both researchers of the AcusmaLab. The project “[…] seeks to explore within the musical experience through mixed, qualitative and quantitative methodologies, arising from neurophenomenology, focusing on acousmatic music as a «limit case of pure listening»”(CEAR, 2015)(1).
This paper includes a autoethnograpic text in the form of a personal journal, sometimes using a formal language and others more personal and subjetive in first person. At the same time describes the piece, its links with the mentioned investigation and how from this one, specific aspects of its plan and structure were setted.
Key words: Acousmatic, octophony, autoethnography.
(1) CEAR. (2015). Fondo de la Música Nacional adjudica dos proyectos a Investigadores del CEAR [online]: Centro de Estudios de Argumentación y Razonamiento (CEAR). Available at: http://cear.udp.cl/fondo-de-la-musica-nacional-adjudica-dos-proyectos-a-investigadores-del-cear/ [Accessed 30th January, 2017 2017].
This paper corrects those mistakes and surveys the historical events involved within this starting point of computer music in Chile, providing a historical frame. Among these events there are the first explorations in computer assisted composition by means of algorithmic procedures, the use of a computer to control analogue synthesizers and theoretical texts on these explorations.
As part of this, the compositional project described in this text addresses the relations that hold between human voice, meanings through language and pure abstract vocal sounds, poetry and sound poetry, all within the acousmatic framework.
As a inspirational source of artistic materials, the Latin America's poetical heritage will be addressed, especially the work by the Chilean poet Vicente Huidobro, father of the first vanguard movement in South America during the early Twenty century. However, other sources will be investigated, including other poetical traditions and different literature sources.
Huidobro, founder of the 'Creationism', the first original Latin American artistic vanguardism, was a pioneer in the creation of intermedia pieces and a referent for sound poetry and sound art. Vicente Huidobro lived between Santiago de Chile and Paris. He wrote both in Spanish and French defending the poetical image and the sound richness of words, allowing the translation of poetry from one language to another.
The expected results for this compositional task are six acousmatic pieces, forming a multichannel cycle which deals with three languages: French, Spanish and English. One central aim is to find a coherent way of structuring the sonorities defined for the pieces, the semantic content of the spoken words, the differences between the three languages used and the spatial component of the multichannel format selected. A relevant purpose is to compose a strong and lenghty work consisting in several parts, which should work as a whole and as independent modules. With this characteristics, the outcome proposed will cover most of the goals for the first stage of the entire doctoral project, which are guided mainly by musique concrète and acousmatic aesthetics.
Conclusions related to compositional work and the resulting pieces will be delivered consequently from the finished Cycle, expecting to tackle the aims defined above. Finally the results and conclusions will connect to the following steps of the creative schedule expected.
Este texto informa sobre la idea, fundamentos y contexto de la instalación sonora títulada “Sillon fermé”, obra que incorpora el sonido como material importante en una estructura estética conformada dentro del género de la instalación artística.
Así mismo este texto refleja las inspiraciones de la pieza, que toman como referentes aspectos del arte contemporáneo, la música electroacústica la programación en ordenador y los sistemas digitales automáticos.
Esta tesina pretende dar cuenta de todo el soporte teórico desde el cual se ideó y trabajó la obra y también de ciertos aspectos que fueron hallados durante el proceso.
Palabras clave: Instalación sonora, instalación artística, cudrafonía, música concreta, música electroacústica, surco cerrado, algoritmos, sonido fijado, sonido en tiempo real.
Palabras clave: Tomás Maldonado, Arte Concreto, Invencionismo, Madí, vanguardia argentina.
"
Books by Alejandro Albornoz
This is a personal exposition of the author's relationship with live coding, both as an artist and as organiser/educator.
On page 30 (spanish) and on page 140 (english) you can find my essay "Music & Technologie in Chile: Reflections on its Developments and Cultural Implications"
Album Reviews by Alejandro Albornoz
vinculándolos con objetivos de aprendizaje de los planes de estudios de Música y Ciencias Naturales. Una encuesta sencilla analiza la efectividad de las piezas para mejorarlas o adecuarlas.
Este artículo incluye un texto autoetnográfico a la manera de un diario personal, algunas veces usando un lenguaje formal y en otras más personal y subjetivo en primera persona. A la vez describe la obra, sus vínculos con la investigación mencionada y como desde esta fueron definidos aspectos específicos de su planificación y estructura.
Palabras clave: Acusmática, octofonía, autoetnografía.
This article presents the acousmatic compositional project “Listening animals”, an octophonic piece comissioned by the Laboratory of Creation and Musical Cognition, “AcusmaLab”, which in turn is part of the Center for Argumentation and Reasoning Studies in the Psychology Faculty of the Universidad Diego Portales, Chile.
The comission was made as part of the research project “Towards a grammar of unwritten musics: a neurophenomenological approach” carried forward by Federico Schumacher and Claudio Fuentes, both researchers of the AcusmaLab. The project “[…] seeks to explore within the musical experience through mixed, qualitative and quantitative methodologies, arising from neurophenomenology, focusing on acousmatic music as a «limit case of pure listening»”(CEAR, 2015)(1).
This paper includes a autoethnograpic text in the form of a personal journal, sometimes using a formal language and others more personal and subjetive in first person. At the same time describes the piece, its links with the mentioned investigation and how from this one, specific aspects of its plan and structure were setted.
Key words: Acousmatic, octophony, autoethnography.
(1) CEAR. (2015). Fondo de la Música Nacional adjudica dos proyectos a Investigadores del CEAR [online]: Centro de Estudios de Argumentación y Razonamiento (CEAR). Available at: http://cear.udp.cl/fondo-de-la-musica-nacional-adjudica-dos-proyectos-a-investigadores-del-cear/ [Accessed 30th January, 2017 2017].
This paper corrects those mistakes and surveys the historical events involved within this starting point of computer music in Chile, providing a historical frame. Among these events there are the first explorations in computer assisted composition by means of algorithmic procedures, the use of a computer to control analogue synthesizers and theoretical texts on these explorations.
As part of this, the compositional project described in this text addresses the relations that hold between human voice, meanings through language and pure abstract vocal sounds, poetry and sound poetry, all within the acousmatic framework.
As a inspirational source of artistic materials, the Latin America's poetical heritage will be addressed, especially the work by the Chilean poet Vicente Huidobro, father of the first vanguard movement in South America during the early Twenty century. However, other sources will be investigated, including other poetical traditions and different literature sources.
Huidobro, founder of the 'Creationism', the first original Latin American artistic vanguardism, was a pioneer in the creation of intermedia pieces and a referent for sound poetry and sound art. Vicente Huidobro lived between Santiago de Chile and Paris. He wrote both in Spanish and French defending the poetical image and the sound richness of words, allowing the translation of poetry from one language to another.
The expected results for this compositional task are six acousmatic pieces, forming a multichannel cycle which deals with three languages: French, Spanish and English. One central aim is to find a coherent way of structuring the sonorities defined for the pieces, the semantic content of the spoken words, the differences between the three languages used and the spatial component of the multichannel format selected. A relevant purpose is to compose a strong and lenghty work consisting in several parts, which should work as a whole and as independent modules. With this characteristics, the outcome proposed will cover most of the goals for the first stage of the entire doctoral project, which are guided mainly by musique concrète and acousmatic aesthetics.
Conclusions related to compositional work and the resulting pieces will be delivered consequently from the finished Cycle, expecting to tackle the aims defined above. Finally the results and conclusions will connect to the following steps of the creative schedule expected.
Este texto informa sobre la idea, fundamentos y contexto de la instalación sonora títulada “Sillon fermé”, obra que incorpora el sonido como material importante en una estructura estética conformada dentro del género de la instalación artística.
Así mismo este texto refleja las inspiraciones de la pieza, que toman como referentes aspectos del arte contemporáneo, la música electroacústica la programación en ordenador y los sistemas digitales automáticos.
Esta tesina pretende dar cuenta de todo el soporte teórico desde el cual se ideó y trabajó la obra y también de ciertos aspectos que fueron hallados durante el proceso.
Palabras clave: Instalación sonora, instalación artística, cudrafonía, música concreta, música electroacústica, surco cerrado, algoritmos, sonido fijado, sonido en tiempo real.
Palabras clave: Tomás Maldonado, Arte Concreto, Invencionismo, Madí, vanguardia argentina.
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This is a personal exposition of the author's relationship with live coding, both as an artist and as organiser/educator.
On page 30 (spanish) and on page 140 (english) you can find my essay "Music & Technologie in Chile: Reflections on its Developments and Cultural Implications"