Dispersive velocity of the masses
Time: 16 minutes
This composition is configured as a formal operation on reflecting different dynamics inherent to sound spatiality inacousmatic music.
It is important to mention that for this composition conceived a dynamic logic organization of force and mass, that move in different directions upward and downward. Accentuating and also aspire an object dynamic that displace large sound masses suspended in the air in a space of tension in a fine line between order and chaos. Where in the process of being built while manipulated expectations and intentions deconstruct a constant dynamic tension-filled. Details of reactive actions force the logic of a physical event. In a programmatic acoustic peaks.
Where the use of cinematic sound design logics is an articulation of these methods with the use of low frequencies, (subs) that travel the area and effect the taxation of sound material in the bodies.And its origins,intentional bias in a physical sensorial level of disorder.
For this composition as for other work that I am developing I am concerned with this relationship between physical sound material that reflects both how sound moves in space as its characteristics and origin of raw sound. Reflecting their own materials by symbolism in their origin and psycho acoustics effectsand physical reaction in the listener. This factor should have come to be a predominant in my research.
Other factor its maintains a dynamic form of logic in the compositions in this case reflects the actual shape of the space where this piece was conceived, a surface of the 48 sound speakers theklangdoom in the ZKM.
This factor was important because it reflects the sculptural scale and formal possibilities in how the sound moves and articulates the various elements.
For the conception of this composition developed patch to assign a personal sound character to the composite material.
I used some processes and algorithmic composition tools such as Eckel, who is a free vst midi messages that generates random and can be connected with different sound generators.
Some of this composition sounds and samples were processed to obtain granulation additive and subtractive synth and modulations of octaves which articulate a temporal logic of expectation, impasses, against time.
A symbolic or conceptual origin for this composition was to understand the movement of the past and seeing how objects being suspended can make air travel and move to an open space. Therefore one of the parts of the composition hear a wind instrument which refers to this symbolic space of the air.
I am interested also in a progressive temporal relationship where different frequencies will be modeling sounds between artificial and real, in a ballet of shapes that interlock, intersect and annihilate, subjective impacts, on action reaction, where the approach of the final cuts the tension of listening based on chaos and random process, a disorder of great air masses moving heavy objects of matter. For the Revelation of synesthesia is anticipated
that a final in a vacuum.
Hugo Paquete born in Matosinhos Portugal 1979 is an intermedia artist, which in its research
uses technical means such as a sound installation, video, performance, electro-acoustic
composition and computer base music.
Exploring the phenomenology of visual and sound perception and cognitive understanding of time based media.
As a composer, Hugo Paquete primary concern is the manipulation of listeners' perceptions of the passage of time and the notions of psycho-acoustic space.
Shift focus toward spatial and timbral aspects of the music as a sculptural element.
One of his interests it’s the construction of new sounds and a notion of Time and dynamics, space and place. He explores the sound as a sculptural element, for that he design patchs combining different techniques as algorithmic composition, field recording and sound collage.
Composing base one computer-assisted generated music.
He Invite instrumentalists to developers some of his compositions where the signal processing and manipulation of the sound sources is essential in the construction of their sample data.
For sound signal processors focus is attention in free software, virtual instruments.
Has been present their research in solo and collaborative art activities nationally and
Internationally, especially when the disciplines of image and sound meet.
He mainly composes electroacousic works directly to recorded media; he also performs live with electronic devices and computers, and developer sound and visual installations. Not only incorporates space according to its spatial characteristics in the narrow sense (acoustic, architectonic, sculptural, perspective, communicative and ambient).He is active as a freelance performer and, as well as a workshop lieder instructor of sound art and other related practices.
- Akusmatik / Experimental / Live-Elektron