Perdu dans le consonance chromatique.
(Lost in chromatic consonance)
Sketches always struck me as a way to capture the soul of a certain environment. It’s not all about the perspective nor about the fidelity. You sketch what you need to draw for keeping that vivid memory inside the limits of a humble piece of paper. That memory can be visual; sonic, or both; uniperceptual or multiperceptual; nostalgic, etc. You do what you have to do to ensure that you possess a memory aid worth being held by your hands and cherished by your temporal lobe. The aim of this project is to break the barrier between the subject and the linear concept of sketching, and its foundation starts by transposing that same idea to sound recording. Using spectrums of field recordings, the subjects were asked to represent their own version of the spectrum – let’s call it sound sketches – without listening to the recording itself. That image was then used to generate sounds, which were mixed with the original field recordings and, during the process, making the subject a composer of its own sound piece. The final pieces are nothing but a representation of what registering image and sound can be all about: a balance between visual precision and perceptual abstraction, a chromatic consonance. I would like to thank to all the people who applied to the task (you’ve done beautifully) as well to the others that time made it impossible to join. May this inspire every single one of you to embrace all the surroundings both in sketching and life.
Participants: Irina, Amr, Andrea, Kholoud, Younis, and Juan.

06 Les Docks

05 Notre - Dame De La Garde

04 Les Calanques

03 Cours Julien

02 La Friche Belle De Mai

01 Vallon Des Auffes

There’s something quite extraordinary in the link between a person and a building. Besides the theory of the early interactions of minerals being responsible for all life on earth, apparently there’s nothing more we have in common with the architectural and material physiognomy of a building. However, the social symbioses associated with that link are their own encouragement to transcend physical barriers and to explore that ancestral relationship. In conjunction with distinct senses and abstract notions, Tektonestesia explores that connection, leading the user to its own reflections and perspectives.

Tektonestesia

Soundification in MAX of three images of a Calabi-Yau Manifold generated with Wolfram Mathematica.

CYManifold

Autorretrato

ENG
Music of Changes was created by John Cage, in 1951, for David Tudor. With coin flips he established several musical criteria using the 64 hexagrams of the I-Ching. 
An interpretation is a shift of perspective in function of its receiver. This piece is a Sonification of a page of the book Notations, by John Cage, on where the notation of Music of Changes can be found and it is not meant to be a traditional reading of the Cage’s original composition but a reflection of what defines a perspective, twisting the concept of what a code; a language; and a notation really is. 

PT
Music of Changes foi criada por John Cage, em 1951, para David Tudor. Com moeda ao ar, definiu os diferentes critérios musicais utilizando os 64 hexagramas do I-Ching.
Uma interpretação é uma mudança de perspectiva em relação ao receptor. Esta peça é uma Sonificação da página do livro Notations, de John Cage, onde se encontra a partitura da Music of Changes, e não pretende fazer uma leitura convencional da partitura de John Cage mas sim uma reflexão sobre o que define uma perspectiva, distorcendo o próprio conceito de o que é um código; uma linguagem; um registo.

João de Nóbrega Pupo

Popular tracks