El género en disputa. Los trabajos de diversas autoras feministas como Teresa de Lauretis o Judith Butler han venido a desestabilizar desde la década de los noventa la noción de género manejada por los movimientos feministas décadas atrás. Una revolución conceptual y política con implicaciones centrales para entender las prácticas transfeministas y los movimientos queer que apuntan hacia un movimiento feminista que profundiza en las luchas interseccionales y contra la precariedad.

7. Las Disputas en torno al Género. Judith Butler Con Carmen Romero Bachiller

"au sujet de fusion: la genèse d'un(e) . . ." (2019-21)
for amplified ensemble - flute, saxophone, percussion, piano and electronics

Live recording

OPUS 22.1 Jeune Génération

Thursday, March 10, 2022
Le Rocher De Palmer

Proxima Centauri

Marie-Bernadette Charrier, saxophone
Sylvain Millepied, flute
Benoit Poly, percussion
Hilomi Sakaguchi, piano
Christophe Havel, electronics

"au sujet de fusion: la genèse d'un(e) . . .", for amplified ensemble and electronics (2019-20)

Autour, pour piano (2019)
Jean-Frédéric Neuburger, piano
Radio France avril 2022

Philippe HUREL Autour

Nightcap

Composed 2017, recorded July 2023

Bernhard Plagg - trumpet 1
Stephan Stadtfeld - trumpet 2
Lionel Speciale - horn
Vladimir Vereś - trombone
Fabian Neckermann - tuba

Sound recording in the studio of the Landesmusikakademie Berlin, 2023
Sound engineer: Benjamin Ostarek

Program Note
Tagundnachtgleiche (Equinox) was created on the occasion of a composition competition for brass quintets announced by the publishing house Furore Verlag in 2017.
At the beginning of 2023, I decided to record the piece in a recording studio and to make it available to the public. The trumpeter Bernhard Plagg was kind enough to take on the project. He put together a brass quintet, organised rehearsal dates, etc.
The composition consists of two elements that alternate or interpenetrate each other. On the one hand, composed, notated music, harmonic and rhythmic in the broadest sense. And on the other, improvised music, mainly consisting of differentiated, nuanced noises and representing a kind of random music, like random sounds in nature.

Tagundnachtgleiche for brass quintet

©2024 ༼ つ ◕_◕ ༽つ ♥♥♥♥ X4 RECORDS
Produced & Mixed by Danny Playamaqui 

Artwork by Wou-Wou & The Wormling
https://www.instagram.com/wouwouandthewormling/

479: 🕳🕳🕳🕳🕳🕳

Eusebio: Percussion 🐙
Rogelia: BrokenBeats and sab•o•tages 👩🏻‍🦰 
Valentino Arco: Synths 🦊
Matilda: Keys 👩🏻‍🦱
Hall: Noise and Sweets ⛑   
Potoo: Basses 🦉 

"watch out for your ears" they say 🕳🕳🕳🕳🕳🕳 

Thanks to you! Much love! 💖💖💖💖
ok done 
🌸🦄💥

Cachapa Shuffle

For this assignment we were to add to last week's Beat Accrual assignment, using another member's song. I chose xiixxi's https://soundcloud.com/xiiixxi/disquiet-junto-beat-accrual-disquiet0619?in=disquiet/sets/disquiet-junto-project-0619-1. I added bass and guitar.

More on this 620th weekly Disquiet Junto project, Beat Accrual Accrual (The Assignment: Turn someone’s slow-build beat into a finished track), at: https://disquiet.com/0620/

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0620-beat-accrual-accrual/

acetabular [disquiet0620] feat. xiixxi

1 August 2023, Theater im Palais, Leonhardstraße 19, 8010 Graz

zone expérimentale basel

Clara Giner Franco, bass flute 
Manca Dornik, accordion  
Pietro Elia Barcellona, double bass

‘’Eros concerns the other in strong sense, namely, what cannot be encompassed by the regime of the ego.’’*
- 
Byung-Chul Han

Throughout the composing process I deeply hesitated  to write any words about the piece. This uneasiness was not caused by the complicatedness of the questions and intentions behind the piece. Rather, it was their inner contradictions and radical dispositions which made articulating them so difficult. They seemed to me very irrational, erratic and reactive to be helpful  to the listener throughout the listening process. 

However, at first the piece was motivated to explore perceptual roots of erotic experience caused by an encounter with the other or  one's own otherness. Unfortunately, the exploration did not  succeed. Rather it turned out to be a confrontation with the agony of Eros who is burning in the inferno of the same.

Ankara, 12.04.2023
*Han Byung-Chul et al. The Agony of Eros. MIT Press 2017.

Eros therefore Psyche (or not an Oriental rug) (2023) for bass flute, accordion and double bass

This was my contribution for Disquiet Junto Project 0629: Jigsaw Logic

Here’s a copy of my post on the Disquiet Junto 0629 discussion thread:

Wasn’t sure how to go about this project at first so I wasn’t going to participate but after thinking about it for a bit, landed on the following solution. 

I used the piece that I created for Disquiet Junto 0589: Auto Play from April 2023, Autogenic Succession. Imported the audio file into Ableton Live and let Simpler auto-slice the sound file. I then used the Max for Live MIDI device, Random Notes by Hacktive, to sequence the slices onto two tracks. It took several tries of tweaking before I was somewhat happy with the final result. The final minute is the unaltered last section from the original project. 

More on this 629th weekly Disquiet Junto project, Jigsaw Logic — The Assignment: Break a piece of your music and put it back together again — at: https://disquiet.com/0629/
About the Disquiet Junto: https://disquiet.com/junto/
Subscribe to project announcements: https://tinyletter.com/disquiet-junto/
Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0629-jigsaw-logic/

Shapeshifted Autogenic Succession [disquiet0629]

enclosures, for chamber ensemble and electronics, explores a combination of reverberant spaces via custom reverbs that echo, mimic and allude to different sections of Bachelard’s Poetics of Space. 

The tape brings together a collection of convolution reverbs containing impulse responses I have collected from my home, environment, and most intimately, from my body. The piece is made up of three movements with live electronics that act as scaffolding for the ensemble to inhabit. The score unfolds in loose time, asking performers to activate each of these three environments using their own directory of flexible, composed materials. The three main movements are separated by two miniature acoustic “doorway” movements that act as portals, moving the ensemble between intimate and expansive spaces, from corners to cavities. Tracing the path from nests and corners to intimate immensity, I combine reverbs to transport and transpose the ensemble through a number of spaces, from that of my chest cavity, to that of hybrid in/outdoor environments, grasping at both real and imaginary spaces.

Burial’s 2013 track “Come Down to Us” ends with an audio sample from a speech Lana Wachowski gave when she received the Human Rights Campaign Visibility Award. When receiving the award, Wachowski speaks to her experience coming out as transgender through the metaphor of space and access. The sample ends with Wachowski stating, “this world that we imagine in this room might be used to gain access to other rooms, other worlds, previously unimaginable.” This piece is about inhabiting a space between, the queer middle, eliding the imaginable and unimaginable, possible and impossible.

Guiding quotes from Bachelard are listed under each movement.

i house and universe
[ i follow the line of the moldings Which follow that of the ceilings ]
[but there are angles from which one cannot escape]
[when the peaks of our sky come together my house will have a roof.]

ii intimate immensity
“Immensity in the intimate domain is intensity, an intensity of being, the intensity of a being evolving in a vast perspective of intimate immensity of the world, which they transform into intensity of our intimate being.”
“Grandeur progresses in the world in proportion to the deepening of intimacy”

iii: the dialectics of outside and inside
[...Silently the birds
Fly through us. O, I, who long to grow,
I look outside myself, and the tree inside me grows.]

Written for, premiered and recorded by lovemusic collective
Recorded and mixed by David Bird

enclosures - for lovemusic

if you could wish , would you wish to rise ?
do you see the peaks of helioparticles ?
can you trust this earthly base and
will you fall to your systems ?

Eros therefore Psyche (or not an Oriental rug) (2023) for bass flute, accordion and double bass

Arda Bayram

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