Tuesday, 3 April 2018 at 8:00 p.m. Kino Šiška, Komuna Hall
Wednesday 4. April at 8.00pm, Galerija, Layerjeva hiša, Kranj (coproduction Layerjeva hiša)
Mauricio Valdes G-StringPorn
Seppo Gründler Doing What Happens Anyway
Mauricio Valdes & Seppo Gründler Quetzalapanecayotl
Mauricio Valdes G-StringPorn
For electric guitar and soft-core robots
This artwork is part of a series of guitar and electronics artworks based on a semi-automatic music follower for the free improvisation. The software is a combination of descriptors and timeline cues, which control a chain of sound manipulators, real-time generated synthesized sounds, plus some electroacoustic sound triggers.
Technically, the piece it’s a combination of extended guitar techniques with some exaggerated phrases, without a compositional logic, nevertheless, the artwork is a scheme of a guided session which could be considered a “piece” of music in abstraction. The name comes from the fact that during the session, I am supposed to play only on the G-string of the guitar.
Seppo Gründler Doing What Happens Anyway
(extended guitars, electronics, gadgets)
The title Tun Was Geschieht [Doing What Happens Anyway] is a quote from The Man Without Qualities by Robert Musil. The structured improvisation with electronic-guitars starts with one of the possibilities to trigger a sound on one of the guitars/strings. A network of electronics, computers, gadgets, etc. reacts on small and tiny changes. The resulting and following sounds and acoustic dramaturgy develop in real-time alongside the evolving sounds, reactions of the things and playing techniques. The acoustic impressions are created instantly, in the area of conflict between the flow and the immanent structure. Besides visuals support the listeners in trying to understand whats happening on stage.
Mauricio Valdes & Seppo Gründler Quetzalapanecayotl
With a common interest in the extension of the electric guitar, improvisation, and the development of collaborative platforms; each of the sound artists/composers starts to build a collided piece that involves the generation of mechanisms of control from a different starting point; on one side the attempt to overcome the predefined ways due to technical, musical and/or aesthetic restrains from Gründler’s approach, and the predefined musical forms, abstracted in a sequence of sound manipulators at Valdés’s software called Arenero.
While these two projects explore dimensions of the electric guitar, transforming its register, timbre, brightness, noise, etc. and aim towards touchless interaction with technology, they have an interesting dichotomy; one lets the sound develop by itself, while the other controls and shapes the sound once it is produced.
In short, the program consists of presenting the practice of these musical practices.
