Electroacoustic music, in case you don't know the load of the term, is music broadly composed in the contemporary classical style of electronic music and often closely related to academic work and 'practice as research'. I think I have ceased almost entirely to write in this style with laptop performances of a more 'contemporary electronica' tendency taking over. This means sometimes more than a nod towards popular electronic music, including ambient, glitch, IDM, etc. In my case it also means including free-jazz flavoured improvisation as well as lead sheet or head-tune 'structured' composition. On this page, I imagine you will recognise these elements as embryos of my present work with the Proyecto FUSIL that you will find in another page here on my site. Thanks for listening to these earlier works, anyway!

Ensayo sobre la bicicleta

... belongs to my series of ‘live code essays’ or works of live 'tweaking' sound art, which can be described as 'editing-performances'. I am interested in the boundaries (and possible misinterpretations by the audience!) between computer language and natural language projected on screen, but also in the creative flow of code editing as a performance.  Although these pieces are not traditional live coding (as much code is prepared beforehand), edits and new lines of code are compiled and performed live in front of the audience and projected on screen. Photography and text chunks are also presented algorithmically and related to the essays. The relative messiness of the screen shared with the audience reflects the coexistence of the many media formats and the way computer composers think musically.  From a conceptual perspective, the ensayos attempt a media art take on the essays of French renaissance essayist Michel de Montaigne (1533-92). In his essays Montaigne contemplates a topic and freely moves between quotation of the classics, his everyday experiences and his own philosophical musings. His writing is fresh and varied and likely to leave the reader with more questions than answers. In this he is a role model for me. I have tried to use sounds that elicit instant visual associations and play with their meaning, juxtaposing, mixing and transforming. But I am also interested in the hyper linking spirit of Montaigne's referencing and the potential for plundered media to help enrich the poetic message.


Ensayo sobre la Torpeza

... is a work of live 'tweaking' sound art which I call an 'edit-performance'. I am interested in the boundaries and misinterpretations between computer language and natural language. Although this piece is not really live coding, as the code has been mostly prepared beforehand, edits to the code are compiled and performed  live in front of the audience through an 8 channel speaker system and projected on screen. Generative text is also produced during the performance for the audience to read.

    This piece attempts a sonic art take on the essays of French rennaissance essayist Michel de Montaigne (1533-92). In his essays Montaigne contemplates a topic and  freely moves between quotation of the classics, his everyday experiences and his own philosophical musings. His writing is fresh and varied and likely to leave the reader with more questions than answers. In this he is a role model for me. I have tried to use sounds that ellicit instant visual associations and play with their meaning, juxtaposing, mixing and transforming. I have focused for this musical essay on the sounds of accidents and wrecks. But these are not only the obvious crashing sounds with which the piece opens but the suggestion of vocal stuttering and inarticulateness like a sort of glitch poetry.