SuperCollider Summer Workshop [+info]

Tres intensos días sumergido en líneas de código que suenan con Nick Collin… Al final del segundo empecé a perder el hilo. Creo que seguiré dedicándome a Puredata, ya que, sobre todo para manipular, retorcer y trocear clips de audio, me resulta más amable.

En cualquier caso fue una buena experiencia desde el punto de vista de la organología contemporánea.

Curiosamente un mes antes había estado leyendo The Cambridge Companion to Electronic Music editado por el propio N. Collins y Julio d´Scrivan. Son especialmente interesantes los apartados “Artist´s Statements”:

“[…] I have spent astronimical amounts os time on the design and creation of tools, mostly electronic and computer-based, to create what precviously could not be made or to do so by method not tried before. I love this work almost as as much as the music itselfEach tool (instrument, medium technique) is like a langiage, able to express some things inexpressible by others of its kind […]” Laurie Spiegel.

“[…] It is a mistake to think that because acousmatic music is percived via a single sense, that the other senses lie dormant […]” Denis Smalley

“[…] New music is now limited by the limits of our understanding of the perception of music by the human ear and brain […]” Max Mathews

“[…] The artist of the period of Romanticism talked so much about silence because the industrialisation of the ninetheenth century made natural silence become more and more precious. For me, silence and technology, electronic music and natural sounds are conected. All my work somehow is based on these apparent opposites. I try to integrate them instead of depicting them as a necessary choice between black or white […]” Christina Kubisch

Por cierto, si a alguien le interesa el material del curso lo puede descargar de aquí