Improvisación IVb_101656.mp3

Patch Shop Boy - Live performance may 31st 2025

Binaural production - listen with headphones!
Generative soundscape based on a two-dimensional random walk between four binaural soundscapes recorded at the Conservatorio di Milano on May 27th, 2025:
1) Inside the conservatory yard
2) Walking through the conservatory
3) In the cafeteria of the conservatory
4) On the roof terrace of Babila Hostel, next to the conservatory
Info: https://essl.at/works/HEAD.html

Info

C.O.N.S. (Come On, Nice Stud!) - BINAURAL

For 5 non-tempered metallic instruments, 5 tom-toms and 1 bass drum.

Performed by Sisco Aparici

The Swiss artist Jean Tinguely (1925–1991) created kinetic works—artworks in motion—whose central theme revolves around machines: how they function and move, the sounds they produce, and what they can evoke. I've been fascinated by machines ever since I was a kid, so when I came across Tinguely’s mechanical sculptures, I was blown away by his work.

The starting point for composing this percussion piece was receiving the catalog of the Tinguely Museum in Basel as a gift. Another machine-related aspect of this piece is that it was written with the assistance of algorithmic composition in the SuperCollider programming language.

Following my ear while exploring Tinguely's catalogue, I intuitively developed a stochastic Lindenmayer system that creates asymmetries (syncopations), implementing the "rhythmic oddity" method of Central Africa . Lindenmayer systems have been used to emulate the growth of algae, trees, and fractals. To compose the sequence of sounds, I utilized Markov chains and Brownian motion.

Mastering: Gregor Zielinsky
Editing: Sergio Luque
Recording: Juan José Bosque

Dreaming about Tinguely's Mechanical Sculptures for solo percussion

BASS13102024 (edit) - Difluência 17

The 'focus on' programs highlight artists or initiatives that are related to the theme of the 7th edition of the Festival Oscillation ::: The Weather.
This radio feature is about the latin american project 'Paisajistas Sonoras' by composer and sound artists Ana María Romano Gómez and Vanessa Valencia Ramos.

Playlist:
Thais Aragão (Brasil) - ESPIGÃO - BEIRA MAR (LATINOAMÉRICA SE ESCUCHA - Álbum 1)
Christine Renaudat (Francia/Colombia) - Represa de Urra - (2016 - LATINOAMÉRICA SE ESCUCHA - Álbum 2)
Cecilia Castro (Argentina) - Ansenuza: 5’33 - 2016 (LATINOAMÉRICA SE ESCUCHA - Álbum 1)
Elsa Oviedo (México) - Paisaje sonoro del túnel de la Mina de Acosta - 2017 (LATINOAMÉRICA SE ESCUCHA - Álbum 3)
Natalia López Lombo (Colombia) - Temple City - 2016 (LATINOAMÉRICA SE ESCUCHA - Álbum 1)
Lena Ortega y Guillermo Guevara (México) - Bosque Vacío / Las Joyas - 2024
Rocío Calvo (España/Francia) - Palta - 2022
Adina Izarra (Venezuela/Ecuador) - BOW - 2023
Irazema H. Vera, Zoila Ochoa Garay (testimonio), su hijo Arthur Cruz (testimonio), su familia interactuando con ella (Perú) - Yo soy Murui Buue - 2025

Ana María Romano Gómez is a Colombian composer, sound-interdisciplinary artist, teacher and researcher. Within her research interests the soundscape occupies a great relevance, she has participated as organizer, collaborator and exhibitor in multiple projects around the soundscape with different approaches: environment and climate change, ecosystems, socio-political perspectives.
Vanessa Valencia Ramos is a Peruvian producer, sound producer and audiovisual communicator, originally from the Constitutional Province of Callao. Her work focuses on sound narratives, exploring sound art and acoustic ecology through the recording of soundscapes.

Focus on: Paisajistas Sonoras

The focal point in these elided consecutive excerpts from a continuous dawn recording is the dawn duet and solo singing of the Kangaroo Island subspecies (lashmari) of the Western Whipbird (Psophodes nigrogularis), also known as the White-bellied Whipbird (Psophodes leucogaster). Background species include: Crescent Honeyeater, Galah, Grey Shrike-thrush, Kangaroo Island subspecies (KI) Crimson Rosella, KI Grey Currawong, KI Superb Fairy-wren, among others. The recording was made near the edge of a waterfall that was completely dry, overlooking a deep valley winding down to the ocean just over a kilometre away.

When listening to this recording (and viewing the accompanying track photograph taken at the location), it is important to embrace in mind that one is listening to an ecosystem soundscape recorded at dawn only five years after untypically catastrophic bushfires (the 'Black Summer' bushfires of 2019-2020) - an untypicality that is scientifically attributable to anthropically-caused climate change. This an ecosystem still in early stages of a struggling recovery (exacerbated by the continuation of the drought that initially catalysed the 'Black Summer' bushfires), and the focal birds that one is listening to were listed, in 2021, according to the IUCN Red List classification, as 'Endangered'. The following is a quotation from the Australian government environmental report that advised this classification:

"The main factor that made the subspecies eligible for listing in the Endangered category was the severe (>50%) reduction in population size in the previous 10 years. This major reduction in population was caused by the largest recorded wildfire on Kangaroo Island that burned for six weeks from late December 2019 to early February 2020. The subspecies’ extent of occurrence is estimated at 5,300 km2 (stable trend), and the area of occupancy is estimated to be 540 km2 (contracted). The population is estimated to have declined to 1,000 mature individuals in the wild due to the Kangaroo Island 2019/2020 bushfires, however this decline is probably not continuing. An analysis by a team from the National Environmental Science Program Threatened Species Recovery Hub shows that a large proportion of the range of Kangaroo Island Western Whipbird was affected by these fires: 51% was burnt in high to very high severity fire, and a further 11% was burnt in low to moderate severity fire. A structured expert elicitation process was used to estimate the proportional population change for this species from pre-fire levels to immediately after the fire and then out to three generations/10 years after the fire, when exposed to fires of varying severity. These results, combined with the spatial analyses of fire overlap, suggest that one year after the fire, the species has experienced an overall decline of 44% from pre-fire levels, but that the decline could be as large as 62% (bound of 80% confidence limits). After 10 years, the estimate for the overall population decline relative to the pre-fire population is predicted to be 33%, but potentially as much as 58% (bound of 80% confidence limit). For comparison, experts also estimated the population change over time in the absence of fire; by 10 years, the overall population of Kangaroo Island Western Whipbird after the fire was estimated to be 30% lower than it would have been, had the 2019/2020 fire not occurred."

Reference: https://www.environment.gov.au/biodiversity/threatened/species/pubs/81024-conservation-advice-14122021.pdf

2025.04.08 White-bellied Whipbird. Dawn Songs. Kangaroo Island. Autumn.

A Fantástica Fábrica de Patches do Dr. Porres (PhD), com Manu Falleiros (também Phd).

Binaural production - listen with headphones! A generative soundscape based on a two-dimensional random walk between four binaural soundscapes, which were recorded in Pécs, Hungary, between 27 and 28 June 2025:
1) A performance on a broken electronic organ in Toplje Church.
2) Walking through Pécs city centre at noon.
3) A restaurant with a nice view of Pécs at night.
4) A bottle return machine at a supermarket in Pécs.

H.E.A.D.

P.E.C.S.

P.E.C.S. (Precious Energy Creates Sound) - BINAURAL

Free improvisation on a MakeNoise 0-COAST modular synthesizer, patched as a chaotic feedback system. Recorded during rehearsals for the MAPPER conference on live electronics at the Klangtheater of the University of Music and Performing Arts Vienna (mdw) on 2 July 2025.

Coastlines

Coastline #79

Coastline #79 (THE MAPPER) - modular synth performance

trecho de apresentação no FIME
31 de julho de 2015

Cecilia Quinteros: r u i d o²

Festival que teve sua primeira edição em julho de 2015, com participação de artistas de diversos países, tocando em diversos espaços culturais de São Paulo.
Segunda edição prevista para julho de 2016.
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FIME had its first edition in July 2015, with artists from several different countries playing in São Paulo.
Second edition will take place in July 2016.
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O FIME – Festival Internacional de Música Experimental é organizado pelo Ibrasotope. A primeira edição foi realizada em parceria com o SESC-SP, e teve apoio do Governo do Estado de São Paulo e da Secretaria de Estado da Cultura por meio do Proac – Programa de Ação Cultural.

Cecilia Quinteros: r u i d o²

FIME

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