sonic update - Conference for One [zero111]
- Artist: sonic update
- Title: Conference for One
- Format: Net Release
- Release Date: Aug, 2010
|1||Conference for One||37:06||MP3||Flac|
sonic update is a project initiated by composers/performers/improvisers Nikolaus Gerszewski and Gustavo Aguilar in which the utilization of an instrument's full sound-producing capacity mimics and informs the duo's interest in the social and communicative aspect of making music. In his notes for the original version of Conference, which was scored for percussion sextet, Gerszewski writes:
"The piece is essentially a soundscape that makes use of tambourines, shakers, guiros, spring drums, harmonicas, cabassas, sleighbells, slide whistles, bowed cardboard tubes, and the crumpling of newspaper. My aim was to produce, through manual means, sounds that resembled those typically produced electronically. The title, Conference, refers to the fact that the performers are sitting at tables while playing, much like many of today's electronic music processors (e.g. laptop performers) might do. Yet what is lost when there is no corporeal match between electronically produced sounds and their human interlocutors? Could I recuperate that match by asking performers to interject that corporeality?"
In this latest version of Conference (now aptly titled Conference for One since Aguilar is the lone performer), Aguilar tries to create a non-hierarchical and thoroughly re-embodied and interdependent social interactivity between a laptop and a human.
Conference for One is sonic update's first release.
A duo formed by Nikolaus Gerszewski and Gustavo Aguilar, Sonic Update debuts with a net release that explores the social aspects of a performance’s interaction between a human and a laptop – minus the latter. In fact, all we hear in the 37 minutes of Conference For One derives from various kinds of percussion instruments, harmonicas, slide whistle, cardboard tubes and “the crumpling of a newspaper”. Composer Gerszewski’s challenge (namely creating emissions similar to the ones generated by a computer via the above mentioned means) is not exactly victorious, as the purely acoustic quality of the sources is too evident; but the deriving performance – by Aguilar alone – corresponds to an outstanding piece of music per se, without any kind of intellectual connection. It starts unhurriedly and in absolute rarefaction, then the points begin to be gradually connected, one after another, initiating a series of repetitions and cycles that include irony, musicality and sense of spacing in large doses. Sounds that appear and disappear in a sort of see-saw, producing a wonderful poor man’s minimalism of sorts. The spontaneity of this process renders it akin to slow breathing during a sleeping phase and, indeed, the slide whistle makes me think about someone snoring sonorously. But every single timbre utilized results absolutely nice to these ears. An unassuming and truly lovely work, highly recommended to anyone. ~ Touching Extremes