ceramic rice pot

Sample from "Plumage (2017) for chamber orchestra. Recorded November 2016 by Nouvel Ensemble Moderne conducted by Lorraine Vaillancourt as part of FORUM 2016 at the Université de Montréal.

Program notes and score sample: www.lontanomusic.com/plumage

Used by kind permission of Nouvel Ensemble Moderne pending the album release.

Photo: Bologna, 1980 by Paolo Monti. Used under CC BY-SA 4.0.
http://gutenberg.beic.it/webclient/DeliveryManager?pid=6353800&custom_att_2=simple_viewer

Plumage (sample)

Performed by Ensemble l'Itinéraire, Spaulding Auditorium in Dartmouth College, May 3, 2017.

Photo by Paolo Monti, 1970. Used under CC BY-SA 4.0.
http://gutenberg.beic.it/webclient/DeliveryManager?pid=6362297&custom_att_2=simple_viewer

Vela Sierra

Textural study in Ableton Live with with Mellisonic's Polyphylla synth in the style of Tim Hecker.

Photo by Paolo Monti, 1960. Used under CC BY-SA 4.0.
https://upload.wikimedia.org/wikipedia/commons/2/2a/Paolo_Monti_-_Serie_fotografica_-_BEIC_6340762.jpg

Line-Point System

Playing with ceramic.

Photo credit Serie fotografica (Anzola d'Ossola, 1966) by Paolo Monti used under Creative Commons Attribution-Share Alike 4.0 International

Ceramic #1 (live take)

raycaster

for flute/picc., alto saxophone, percussion, electroacousticly prepared piano, violin or viola, cello, and fixed/live audio media

Performed by Vertixe Sonora Ensemble at the Centro Gallego de Arte Contemporáneo (CGAC)in December 2018.

Performers: Clara Saleiro (flute), Pablo Coello (saxophone), Diego Ventoso (percussion), David Durán (piano),Rubén Barros (electric guitar),Ángel Faraldo (electronics),Roberto Alonso (violin), Ailsa Lewin (cello)

PROGRAM NOTES

In computer graphics, “raycasting” is the process of tracing the intersection of a virtual surface with an invisible “ray” emanating from a spaceless point within the virtual scene. In Julião Sarmento oeuvre, I constantly sense the shadow of this unseen seer, the eye or lens that possets its existence only through a sensual self-embodiment in the materials it traces. The duality of substance and form that brings to mind, for David Barro, comparisons to Pasolini’s shifting camera angle also evokes David Hume's observation that we have no consistent, unbroken observation of the world. Our perceptual orifices provide an interrupted and inconsistent stream of information from which our perceptions of continuity are reconstructed. In raycaster, the unseen “ray” posits a playful means of bridging the phenomenological gap. I invite the performer and listener to engage in a willful act of self-deception, accepting the possibility of alternate self-realizations through microphones that serve as both substrate and perceptual prosthesis, through speakers that act both to reproduce and to actuate, and through a kind of autogenesis of physical material and monolithic noise into which we can project an alien embodiment.

Image credit: Paolo Monti, Servizio fotografico : Milano, 1970 https://commons.wikimedia.org/wiki/File:Paolo_Monti_-_Servizio_fotografico_-_BEIC_6346554.jpg

raycaster

I'm a sound artist and programmer based in Brooklyn, New York.

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