|Instrumentation||Video and electronics (fixed media Scored Synthesizer), 2 channel sound system|
|Short Technical Description||video HD, projection (variable dimension), 9’00’’ (loop), 2 channel sound|
|Premiere||2021, December 12th|
|Premiere Details||Bosque Marino, 15 Bienal de Artes Mediales de Santiago, Santiago de Chile|
|Colour grading||Nicolas Perret|
Bosque Marino is a video work of Valentina Pini for which I created the soundtrack.
The huiro (phonetically pronounced weero, easily confused by non-native Spanish speakers with the English expression weirdo), is a seaweed baptized by the Chileans. Its scientific name is Macrocystis pyrifera. Slimy, wrapped in a gelatin membrane from which round blades filled with gas and liquid sprout like tentacles, the huiro leaves behind liquid traces. This morphological plasticity brings to mind the movement of alien creatures in science fiction films. During an art residency in the Casa Museo Alberto Baeriswyl (CAB) in Tierra del Fuego, Chilean Patagonia, I filmed sequences of still shots inside, focusing on capturing the atmosphere of the house characterized by various tapestries and dark wood furniture details: carved floret-framed paneled and inlaid table legs, with columns and sculpted paw feet capable of supporting heavy tabletops. In the video Bosque Marino, huiro, the living critter, almost imperceptibly moves as it takes possession of the furniture. It grows, clings to the legs of a table as if he was going to strangle them and reaches for the sideboard, leaving its slobbery traces on the marble support, which gradually becomes darker. The quality of materials, the agglutination of totally dissimilar elements, and the relation among living and the inert, creates a tense and uncanny feeling. I conceived this video to leave a variety of possible readings open, stimulating each brain differently. Those who like to be in control may feel disoriented or taken aback. The slimy, wobbly creature is hard to grasp, to control and to manipulate. This metaphor of possession acts as reminder of the exploitation of the forest and consequently the environmental impact caused by the Swiss settlers. Others might concentrate on the materiality of house and the seaweed, contemplating the film’s pictorial qualities, reminiscent of the chiaroscuro of Caravaggio’s still life painting. I personally prefer to offer a reverse colonization, where nature takes over the human. The video projection has been conceived as an immersive installation where the spectator, wrapped in a greenish fabric, can let himself be absorbed by the sound and the image. (Valentina Pini)
The music conveys a scenario in which nature absorbs the human, so that together they emerge as something new. The music negotiates the temporal space provided by the pre-determined cut of the video. Reading, interpreting, and appropriating this temporal structure was a central process and makes it the very foundation of the music. Much like the slow or, at first glance, almost static scenes in the video, the sounds have a slow rhythm. As with the visuals, however, on closer observation they are full of lively microstructures that allow references to the visuals, but leave it up to the viewer to decide how to read them.
The music metaphorically conveys a scenario in which nature absorbs the human, so that together they emerge as something new. The music negotiates the temporal space provided by the pre-determined cut of the video. Reading, interpreting, and appropriating this temporal structure was a central process and makes it the very foundation of the music. Much like the slow or, at first glance, almost static scenes in the video, the sounds have a slow rhythm. As with the visuals, however, on closer observation they are full of lively microstructures that allow references to the visuals, but leave it up to the viewer to decide how to read them.
The sound is synthesized with an self developed instrument (Max/Msp and Bach library bachproject.net). Technically, it is a computer program that is continuously developed since its first version during an artistic residency in Berlin (February to July 2019). It has two core functions: a polyphonic synthesizer and a representation and notation environment. The latter is divided into two workspaces. One is comparable to the interface of a synthesizer with modules, while the other is used for notation, representation and algorithmic processing. Compositionally, it is about the development and organization of artistic production space and ultimately a specific operational space of aesthetic practice. In the interplay of the different representations and the acoustic response always possible in real-time, dynamic-situational structural and experimental affordances emerge, among other things, with which one can deal in a groping-perceptive as well as strictly formalizing way. For a more detailed explanation of the instrument have a look at the dedicated webpage. (Micha Seidenberg)
The following score represents a full export of the score user interface. As the representation of the data is dynamically adaptable, the current form of representation is only one possibility of many others. The current configuration has the following aspects:
For each note, the position of the note head indicates the base frequency used for the frequency modulation. If the note head is a square it is more noisy than harmonic if the note head is a rhombus the base frequency is acutal pitch is much higher than the notated pitch (as for instance a flageolet). The envelope for the amplitude (red) and the index (cyan) are shown in the score’s background. The green markers represent the cuts of video sequences.
The score not only allows a dynamic representation of all the parameters it includes (most of them are hidden). It also is an invitation to live interpretation. There is currently a concert version of the piece where the voices are controlled by five different faders.