Stereo acousmatic piece composed between March and May 2021.
Inspired by the painting "Hagámonos la guerrilla interior para parir un hombre nuevo" (1970) by Chilean surrealist Roberto Matta (1911-2002)
The title can be translated as "Let's stage an inner guerrilla warfare and give birth to a new man", pointing out the urgency for a personal change as a first action leading to the construction of a better world.
In this work, I have abandoned the use of voice for a moment in order to concentrate in the colour of instrumental sounds and some daily life physical objects, searching in this way for gestures and layers with different spectral densities. The sound colour and flux address in a subjective and free manner tensions and spiritual struggles.
The main source materials are recordings kindly provided by the ensamble f(r)actura, a contemporary music instrumental group based in Valparaíso, Chile: sellomodular.cl/ensamble-fractura/

Inner Guerrilla

Mawida means ‘forest’ in Mapudungún, the language of Mapuche, indigenous people of Chile. In the mystical space of a cold rain forest, the energy of lifeforms within it coexists with supernatural entities. Industrial society and its greed threaten the delicate balance between nature, humans and spiritual forces. Mapuche people has fought during centuries for its lands, forests and seas, and pifilka, a simple wind instrument with just two notes, has been a magical tool against their oppressors.

Mawida

Despertar (Awakening) is a compositional project in progress at the moment and it has been inspired by the social outburst in Chile last October 2019. Originally this project was conceived as a multi-channel acousmatic cycle with several works, strongly driven by a narrative sense.
These pieces include just one from the original plan. Because of the health contingency, it is very difficult to carry the composition of the rest works, at least in their multi-channel format. Considering all of this, I have planned to continue composing with the following guidelines:
Compose as much as possible in stereo format.To transfer the actual freezing/pausing of the project to concrete sonic procedures such as spectral freezing, deceleration of pace and a general sense of calm sonic behaviours. To add specific audio treatments such as extreme filtering, time stretching, extreme reverberation and spectral spatialization in order to play expressively with aural materials reflecting on the notions of vanishing, erasing and overwriting. These concepts in relation with the notion concealment and pause, due to the pandemic, of social claims, evidence of social injustices and ideals of overcoming them. In this context, I am expecting to work with materials already prepared as sound palette for the trilogy and other sound objects such as previous pieces and mainly archive and field recordings.Finally, with the idea of awakening being postponed, to present a sonic word consisting of various acousmatic pieces which can be presented as individual works or as superimposed on each other in a free manner by the composer, an acousmatic performer or a curator in concerts, streaming platforms or exhibitions.

Suspensión & Fragmentación (2020) stereo

Lamento (2020) stereo

El Peso de la Noche (2019) stereo version

Stereo reduction of the Octophonic original. Voice: Mathilde Rioton.

Third place ex-aequo in the 2016 SIME Electroacoustic Music competition, Lille, France. 

Premeried: University of Sheffield Concerts cycle ‘Sound Junction’ October 2015.

Included in the CD 'Fluctuaciones' (2016), released by Pueblo Nuevo netlabel: 
https://pueblonuevo.cl/catalogo/fluctuaciones/ 

This is the second part of the octophonic Acousmatic Cycle “La Lumière Artificielle”. The whole cycle was inspired by an interview of 1919, where the Chilean avant-garde poet Vicente Huidobro, talked about a new project:
"The creationist and simultaneist poem La Lumiere artificielle, for three voices on gramophone with new procedures (...)"(1).
This plan was never done. In the future, the poet would create works with sound as central axis and in Spanish and French, becoming an important reference for sound poetry in the Spanish speaking world.
This is a work in progress, a cycle inspired by Huidobro’s statement and the idea of voices in a fixed media, dealing with these issues: languages, abstract sounds by voice, new and old technologies. This Cycle is part of PhD thesis developed at the University of Sheffield under the supervision of Adam Stanović
(1) Huidobro, 1919, cited in García‐Huidobro, 2012: 34: García‐Hudobro, Cecilia. A la interperie (entrevistas 1915-1946). Santiago de Chile: Ed. Ocho Libros, 2012.

La Lumière

Chilean electroacoustic composer and sonic artist, PhD in Electroacoustic Composition, University of Sheffield, UK.  He studied electroacoustic composition with Rodrigo Sigal and Federico Schumacher in Chile and Adrian Moore and Adam Stanović in United Kingdom. He works on acousmatic and live electronics since 2004. Currently is lecturer and researcher at the Music & Sonic Arts School at the Universidad Austral in Chile. The central topics in his research are the human voice, poetry, algorithms and language in acousmatic pieces, both in multichannel and stereo formats.

Albornoz_Acousmatic