19:30 - 24:00 (+1 GMT)
Sky Medialoft, AEC Linz
Streams from: Baltimore, Berlin, Hamburg, London, Mexico City, Montréal, New York City, Tokio, Vancouver, Weimar, and others...
19:30 - 6:00 (+1 GMT)
on Radio Ö1, Austria and digital via Satellite, first time in dolby 5.1
A Chamber concert in memory of the victims of 11-M Madrid bombings, comprised of four interpreters using the voice in various ways and formulations, both live and recorded, and featuring a set of technological tools and moving images stemming from a digital camera, as well as from various videos created by means of a subsequent journey through the places where the terrorist bombings took place. Both types of images are transformed live.
As the title suggests, the voice constitutes the central material of the piece. The montage of language residues through digital editing was one of its starting points, created with a vast range of recordings which gave as a result phonetic aggregates that, on the one hand, resulted in sequences and loops and, on the other, provided some of the raw materials for the live voice in the process of being written down in scores. Besides, fragments of popular songs are used at very specific moments. Along with this occasionally fragmented polyphony, other recordings from two marvellous singers -Esperanza Abad and Belma Martín-, who have been intimately related to the output of these authors, are featured.
The speech part consists in the reading, at certain points, of lists featuring the age, name, occupation and nationality of the 192 people who died in Madrid as a result of the 11-M bombings, for the tragic event took place when this first version of "Vox-Vocis" was being proposed.
Together with the voices, musical interventions created by means of an invented instrument consisting in miked metal sheets and sensors of various kinds unfold. The piece is constructed through an almost "organical" addition of modules in which the thickening of materials is as important as the stimulus and connections that are progressively established. In this sense, the work should permit, through the 64 minutes of its total duration, a division in five large groups of modules, and even the occasional dialogue with other vocal or instrumental interpreters.
On the technological side, three state-of-the-art G4 PowerBooks, networked through MIDI, are used. One of them triggers previously edited video sequences, effects their live transformation by means of Jitter and their interaction with a digital video camera, and influences some of the audio transformations by means of that very camera. The other two computers deal with the whole of the real time audio -from previously mixed sequences to live voices, metal sheets and samplings- through the use of Max/MSP. The result of the above is a work in which the participants and the emergent factors of the network's complexity interact to maintain their own dynamic equilibrium.
Spatialization is carried out through 8 audio channels with the help of a MOTU 828 device, which allows the two computers dealing with sound to control these processes at will on a permanent basis.