Live performance for EMS Synthi 100, magnetic tape and computer setup (2021)
Radio Concert No.2 is a result of a continuous experimentation with combining the synthesizer EMS Synthi 100 and computer setup in a context of live performance that has been initially dedicated to a live radio broadcast. I have started developing this idea in a Radio Concert No.1 from 2018 and with this new piece, I have taken the idea much further. A complex synthesizer such as Synthi 100 is adapted to a virtuosic real-time sound manipulations that involve the use of computer as a complementary tool. Computer controllers that allow great deal of physical expressiveness in shaping the sound in real-time (such as Sensel Morph, foot pedal, TouchOSC app), interact with the synthesizer and allow rapid changes and complex organization of the material on the spot, that makes improvisation possible and fruitful. I like characterizing my approach lately as doing the inversion of the music-concrete – I don’t use any concrete sounds in my work, but with granular and micro-sampling techniques, I am recreating certain quality that we relate to concrete sounds. Radio Concert No.2 has couple of different recorded iterations as well as live video-version. This is an excerpt from 30min. video. This work the last piece that I made before leaving my job as head of Radio Belgade’s Electronic Studio.
Premiered at Espace Multimedia Gantner, Radio Belgrade, OUTRA festival, Heroines of Sound More info: https://www.svetlanamaras.com/radioco…
Join KQED’s Spark and take a listening lesson from sound artist Loren Chasse, as he mines the aural riches that surround us.
“On Instagram, Facebook, or Twitter the standard setting for videos is “mute”. More than 120 years after its invention silent cinema has become the default mode.
Today’s practice is supposed to make video consumption smoother. But it could also make us think about the frightening power silence could only attain with the advent of cinematic sound. In muting we might hear something far more unsettling than what words and images can show.”
“As a species we’re builders of borders & escapists. We construct structures that contain and we long to escape them. At least, that is what we think we are doing but we often invent new systems to deal with the old systems. In escaping we simply replace one uniform with another. One border with another. Perhaps it’s in our nature to constantly need these straight lines.
I’d like to talk about borders. Faulty borders.”
The recent republishing of this short video to Vimeo provides enough of an excuse for us to post here. Originally made in 2013 for Mill’s Where Light Ends album this short film provides visual and musical accompaniment to Dr. Mamoru Mohri‘s account of his first spaceflight, which took place in 1992 on the space shuttle Endeavour.
“Right now, for the preservation of life, the citizen is being asked to isolate by staying remote and staying still. Stillness and fixity after an age of speed and motion – it’s quite a shock. Later art can analyse this time; now it can only chronicle it, notice the way in which, in unprecedented times, new phenomena surprise us.
Here’s one. In a sudden and involuntary response to stillness, people are starting to travel without moving. People are voyaging in their minds to visualize places remote from the ones they inhabit. Stillness and fixity, it seems, have unleashed the volition and freedom of our imaginations. Our minds are supplying what the world cannot: waking visions, nighttime dreams, compensating for our circumscribed existence – healing us by making associations. Overnight we’ve become nomads of the imagination – our minds reaching out to others across the world.
Here is Elsewhere is an essay film about this psychological phenomenon, asking whether transformations in perception will enable us to think and live differently in the future.”