The project seeks to explore, through a programming software and an experimental practice of sound creation with the voice, the possibilities of generating, using stochastic systems and feedback algorithms, a real time composition that is perceived as an ecosystem or a natural structure. However, the work does not attempt to model or to reproduce a behaviour; or to represent states or structures in nature, but to explore a poetic hiatus between the acquired concepts of nature and technology.
AES is part of the exhibition "Symbiology - artistic practices on a planet in emergency" held at the Kirchner Cultural Center.
The territory of the human, and the banishment of it, nest in the vocal capacities. The vocal tract exists through geometries. Through the ages, the structures of speech and singing have smoothed out the roughness, the tides, the winds and the geological faults of the vocal tract, becoming human voice.An alien auratic vocal geometry, stabilized on melodic lines, sailing a system of curves for the production of speech. The first machine is not a stick, a sharp stone, or a wheel, the first machine is the human voice. This project develops the need for another vocal geometry. Starting from a series of trans-synthetic vocal techniques (a technique that I create since 2015 that is focused on producing vocal sounds based on the images of the cyborg and the robot as an animal). Several vocal sounds where recorded using only the human voice of the performer, without post-processing. These sounds are part of an algorithmic system that spatializes them in real time, generating an ecosystemic space of vocal alterations where the difference between the machine and the natural no longer relevant. The trans synthetic vocalities techniques are based on a research of the boundaries that delimits human, animal and machine. Those boundaries are political stakes that resonates and gives live to a specific sound aesthetic. This work aims to create a composition that it is not based on individual gestures, but on a broad spectrality of inter-articulated beings. This works want to build a composition that doesn't put sounds in time grids, but consider time and it's fluctuations a multilayered terrain where vibrations, time and space are part of a complex geometry that evolves. The composition is based on algorithms that creates a multilayered network of feedback and noises as control signals for the sound spatialization. The lights are controlled by those systems too mainly to avoid the supposed cleaness of the exposition room, but above all to make explicit the relationship between light and sound waves and also to provide a rhythmic correlation with the sounds.The work attempts an exploration of the powers and geographies of the vocal tract, its capacity to nest and become machine, animal, forces of nature and intensity.
Talk about the proyect in the "9th Cooperation and Exchange Encounter”
realized at the National Technology University.