In memory of 9/11 which happened exactly 20 years ago.
Binaural production - listen with headphones!

Generative soundscape based on a two-dimensional random walk between four binaural soundscapes, recorded on Sep 11th, 2021 in Salzburg, Austria:

1) the arrival hall of the railway station Salzburg
2) a rehearsal of a mass at the Cathedrale of Salzburg
3) on the stairs between the cathedrale and the fortress
4) pedestrians in the famous Getreidegasse in Salzburg

Released: 11 Sep 2021

H.E.A.D.

L.I.V.E.

Info

L.I.V.E. (Love Interacts Very Empathically) - BINAURAL

TOWARD  SILENCE  --  17

Recorded in my garden (Creuse, France) on October 25th, 2022 at noon. Only one group of common cranes going South.

Unfortunately, the day was a bit windy.

Recorded with a Nagra Ares BB+, a pair on Sennheiser MKH8020, AB.

221025 · Noon · Passage of a group of common cranes (Grus grus)

From the bandcamp EP “UNFOLD” (https://martinhoogeboom.bandcamp.com/album/unfold) with
Jukka-Pekka Kervinen: guitar/trumpet/electronics
Ulrich Langenbach: cello/viola/guitar/tapes
Martin Hoogeboom: objects/treatments/electronics

Mixed by Martin Hoogeboom
Mastered by Rupert Clervaux

Jukka-Pekka Kervinen: https://soundcloud.com/jpkervinen
Ulrich Langenbach: https://soundcloud.com/ulrichlangenbach
Martin Hoogeboom: www.martinhoogeboom.com
Rupert Clervaux: www.rupertclervaux.com

A Martin Hoogeboom Project (DS1388/2023)

UNFOLD

UNFOLD I (Jukka-Pekka Kervinen/Ulrich Langenbach/Martin Hoogeboom)

music for elevators

Whazzuwuz

VI - Rugitus v.02 - 09:22 (2016)

composed in a private studio. premiered at the Música Viva 2016 Festival; selected and presented under the international competition BANC D'ESSAI 2016, INA-GRM - Paris | France; 
also circulated in the following festivals in 2016: Visiones Sonoras (Mexico), Audio Art Festival (Poland) and DME (Portugal).

Rugitus v.02 - synopsis

Since the inception of musique concrète and elektronische music, more than 6 decades ago, and due to the extraordinary developing and democratization of DSP technology, the academic electroacoustic community has developed tools of great potentiality that allow fascinating sonic manipulations, especially, and more recently, in the spectral domain. Various aesthetic schools have emerged since the early days and one can generally and historically speak of the French school of musique électroacoustique (GRM and other centers), of the Canadian school of electroacoustic music and soundscape composition, the computer music school of North America, etc.... With the technical advancements achieved also resulted what one can entitle as “sonic trails / footprints”, for in some pieces one cannot fail to rapidly grasp / identify certain processes / parameters of GRM tools (be it the doppler effect, the freeze, the pitch shifter, the delays, etc....) or from other software, as Metasynth, for example. This sonic trail compromises, to a certain extent, the experience of the reception of the piece, for it encapsulates the listener (in particular whom is also a composer) in the technical medium, turning the listening into a non-acousmatic situation (not considering the source of the sounds but, in this case, the provenience of the manipulation). Nowadays, some acousmatic music pieces seem to be valued in favor of technical virtuosity that tends to valorize more the musical gestures in their spectral complexity and causality, then the experimental musical potentialities of textural and timbre creative conjunctions. Brilliant spectral and granulated organic abstracted sounds, squishing watery like sounds, wondering around in the stereo or 8 speakers acoustic eld are often heard in contemporary pieces. Harsh, “degraded”, noisy and / or clean sounds (meaning without processing) are not consensual or abundant in most pieces. Long gone are also the early techniques, at least in an extensive use, which Schaeffer presented in pieces as “Etude aux chemins de fer”; or Henry in “Variations pour une porte et un soupir”.

Rugitus is a latin word that denotes, among other things, noises, it recalls the idea of roars and strident sounds. The present piece is made essentially with a series of sounds derived from three main sources: a door, a metal sphere and a balloon. These sound objects were recorded and then manipulated by a conjunction of “old and new techniques”. One intended to integrate both the recent dsp techniques with the original métier of musique concrète, i.e., horizontal splice-collage, loop usage, juxtaposition of sounds, variation of envelops, speed, pitch, reverses, simple delays, ltering, reverb, crescendos / diminuendos, ostinatos, etc... Rugitus presents loud and quiet sonic events, intense musical gestures and imbricated textures / sound masses, towards a varied and whimsical listening experience.

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RUGITUS is part of Esofonia, which is an anthology of acousmatic pieces that illustrates part of the musical journey of João Castro Pinto (from 1999 to 2017), released by MISO RECORDS, on October 7th 2017.
Although they are referred to as acousmatic, the works that appear here are, more precisely, of a hybrid nature, i.e., they vary drastically, in terms of quantity and quality, between the maximally acousmatic and the totally referential.

More info @ www.misomusic.com/index.php?option…lang=en&iframe=1

ESOFONIA - acousmatic works 1999-2017 - RUGITUS V.02 (excerpt 2)MISO RECORDS

Music for Serge Modular, inspired by Maryanne Amacher's music and research. 

PLEASE USE SPEAKERS, NOT HEADPHONES.

Perceptual Geography (excerpt)

Phedora

Izmir

"António Ferreira – Músicas Fictícias Composições Electroacústicas e Acusmáticas" · AnAnAnA (SSS001)
Mais info: www.mic.pt/dispatcher?where=4&what=2&show=4&grupo_id=4500&lang=PT

–

As Escolhas do MIC.PT para a Rádio Portugal Muito Maior: www.portugalmuitomaior.pt/playlists.

[Playlist 08]

António Ferreira · "Quália" (2000)

João Castro Pinto is a Portuguese sound artist, composer and sound designer interested in the art of composing silence with sounds.
    
He has graduated in Philosophy at the New University of Lisbon (F.C.S.H.) and is currently finishing a Ph.D. in Computer Music @ U.C.P. / C.I.T.A.R. - Research Centre for Science and Technology of the Arts.

João Castro Pinto is a composer released and proudly endorsed by MISO MUSIC PORTUGAL's - MIC.PT (Portuguese Music Research & Information Centre) & MISO RECORDS.

João Castro Pinto’s sound work ranges between: field recordings / soundscape composition, dense droning, noise, electroacoustic, acousmatic & experimental electronic genres. 

J. Castro Pinto attended masterclasses in electroacoustic music composition with Francis Dhomont, François Bayle, Barry Truax, John Chowning, Simmon Emmerson, Trevor Wishart, Morton Subotnick, Annette Vande Gorne, Adrian Moore, Marie-Jeanne Wyckmans, etc...

Castro Pinto presented his work, regularly, since the mid 90´s, in performances / concerts / appearances, all over Europe, the U.S.A., South America and Asia, in cities such as: N.Y.C., IOWA, PHILADELPHIA, WASHINGTON D.C., MOSCOW, SAINT PETERSBURG, BUENOS AIRES, MORELIA, SEOUL, PARIS, LONDON, BERLIN, COLOGNE, DORTMUND, MANCHESTER, MUNCHEN, VIENNA, KLOSTERNEUBURG, GRAZ, KRAKÓW, BOLOGNANO, ATHENS, UDEN, LEEDS, BIRMINGHAM, ČESKÉ B., LISBOA, PORTO, FARO, etc... and in festivals and venues such as: INA-GRM MULTIPHONIES / BANC D'ESSAI (FRANCE), INTERNATIONAL COMPUTER MUSIC CONFERENCE (USA), Phill Niblock's EXPERIMENTAL INTERMEDIA FOUNDATION (USA), SOUND - IMAGE (UK), MANTIS ELECTROACOUSTIC MUSIC FESTIVAL (UK), VISIONES SONORAS (MEXICO), AUDIO ART FESTIVAL (POLAND), WIEN MODERN (AUSTRIA), ORF (AUSTRIAN NATIONAL RADIO : KUNSTRADIO RADIOKUNST), SAMMLUNG ESSL MUSEUM (AUSTRIA), PNEM SOUND ART FESTIVAL (NETHERLANDS), MUSLAB - INTERNATIONAL EXHIBITION OF ELECTROACOUSTIC MUSIC (ARGENTINA), SEOUL INTERNATIONAL COMPUTER MUSIC FESTIVAL (SOUTH KOREA), The U.I.M.A. - UNIVERSITY of IOWA MUSEUM of ART (USA), FEASt (Florida Electro-Acoustic Student) Festival (USA), MÚSICA VIVA ELECTROACOUSTIC MUSIC FESTIVAL (PORTUGAL), AVEIRO SÍNTESE ELECTROACOUSTIC MUSIC FESTIVAL (PORTUGAL), CALOUSTE GULBENKIAN CENTER FOR MODERN ART (PORTUGAL), CENTRO CULTURAL DE BELÉM (PORTUGAL), CASA DA MÚSICA (PORTUGAL), FUNDAÇÃO SERRALVES - CASA DE SERRALVES (PORTUGAL), RADIALX – INTERNATIONAL RADIO ART FESTIVAL (PORTUGAL), etc...

Conceived    and    directed    the "Hertzoscópio - Experimental & Transdisciplinary Arts Festival", dedicated to the divulgation of contemporary experimental music, video-art and intermedia (2003/ 2004 _ the first edition of the festival was co-directed with fellow sound artist and composer Nuno Morão). Was the Artistic Commissaire for HERTZ_extend#1 - Encounters of Experimental & Transdisciplinary Art, in 2005, in Barcelos.

Collaborates frequently with renowned Portuguese and foreign artists from the sound art / experimental and improv. music scenes such as: Hanna Hartman (SE), Tom Hamilton (USA), Dr. Karlheinz Essl (AT), Koji Asano (JP), Bernhard Loibner (AT), Michael Fischer (AT), Vienna Improvisers Orchestra (AT), Roel Meelkop (NL), Jos Smolders (NL), Jorge Sánchez-Chiong (VE), Philippe Lamy (FR), Gilles Aubry (CH), Thollem Mcdonas (USA), O.Blaat (JP), Nathan Fuhr (USA), Sei Miguel (PT), Carlos Zíngaro (PT), Rafael Toral (PT), Coti (GR.), D’Incise (CH), John Grzinich (EE), Anastasis Grivas (GR), Red Trio (PT), Blaise Siwula (USA), Jeremy Bernstein (USA), Kurt Ralske (USA), among many other artists.

Released several recordings [solo pieces / albums, collaborations and compilations] by: MISO RECORDS (PT), Hemisphäreの空虚 (Australia), Grimaces Éditions (Switzerland), Unfathomless (Belgium), OtO (Japan), Triple Bath (Greece), Sirr-ecords (PT), Creative Sources Recordings (PT), Cronica Electrónica (PT), Grain Of Sound (PT), Variz (PT) and Useless Poorductions (PT).

More info - personal site - @ http://www.agnosia.me | MIC PROFILE - bit.ly/MIC-PT-PROFILE-ENGLISH _ contact - agnosiia@gmail.com
MIC.PT LARGE INTERVIEW : https://nx12092.your-storageshare.de/s/minapSsW4anzCyk

ESOFONIA - acousmatic works 1999-2017 - RUGITUS V.02 (excerpt 2)MISO RECORDS

João Castro Pinto

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