Concert by Agostino Di Scipio and Music & Technology students
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Concert
By Agostino Di Scipio and Music & Technology students
Room 140, no registration needed
This event is part of the Polyphonic Performance Spaces research festival. More info on: https://www.kcb.be/en/pps2026
Audible Ecosystemics 4 (Silence study)
Sounds emerge from the (always relative) silence of the place, i.e. from the background noise picked up by certain microphones. This "sound of nothing" is sub-sampled by the computer and diffused through the speakers, heard as a cloud of small pulses, a more or less dense sound dust. It is also sampled and immediately amplified, causing the (in)famous Larsen effect (electroacoustic chain feedback). It is also sampled and returned with some delay, causing the background noise to gradually build up, with possible resonances due to room acoustics. It is finally modulated by digital noise (random numbers), creating thicker sound textures. The complete fabric of such processes brings forth a kind of self-organization, that the composer/performer can either leave untouched or try to orient somehow, in fairly open and improvised ways. To the sounds coming from the interior is sometimes added the sound of the exterior environments of the concert hall.
Craquelure (zwei stille Stücke, Giuliano Mesa gewidmet)
There are two halves of exactly the same duration (five minutes). In the first, a soft, crackling texture is heard, a kind of sonic dust rich in intermittent noise phenomena. In the second part, the same texture is heard again, overlapping with two more sound layers, namely a low-frequency rumbling sonority, and a layer of thinner sonic droplets. The initial crackling texture was generated with the composer’s own sound synthesis technique of (“iterated nonlinear function synthesis”, based on mathematical models of complex, called “chaotic” physical systems). The additional layers are created by processing the main textural material, the processing algorithms being driven by the room response to the total sound (mostly to the low-frequency turbulences). Therefore, one and the same material is heard twice, first context-less, abstracted from the real world, then in as transformed in the exchange with the performance space.
Dedicated to the poet Giuliano Mesa.
Untitled (digital signal processing, Berlin 2004)
This is the first of a series of works that I left “untitled” because they were created on the fringes of more challenging projects. However, each of them has peculiar features and is marked by a unique expressive freshness. Very concise and improvisational in nature, Untitled 2004 was born one evening in October 2004, at home (in Berlin at the time), feeding a feedback system with dynamic resonances and small noises typical of the oral cavity, with a miniature microphone inside the mouth or near the lips. I then repeated the same pattern in various circumstances, always working on the exchange between a tiny variable acoustic niche (mouth) and the larger room (concert place): spaces, within other spaces... Characteristic are small impulses of the glottis, hisses and rapid vowel transitions, as well as the grainy, pulsating, and hiccuping results of rather idiosyncratic digital signal processing techniques.
By Agostino Di Scipio and Music & Technology students
Room 140, no registration needed
This event is part of the Polyphonic Performance Spaces research festival. More info on: https://www.kcb.be/en/pps2026
Audible Ecosystemics 4 (Silence study)
Sounds emerge from the (always relative) silence of the place, i.e. from the background noise picked up by certain microphones. This "sound of nothing" is sub-sampled by the computer and diffused through the speakers, heard as a cloud of small pulses, a more or less dense sound dust. It is also sampled and immediately amplified, causing the (in)famous Larsen effect (electroacoustic chain feedback). It is also sampled and returned with some delay, causing the background noise to gradually build up, with possible resonances due to room acoustics. It is finally modulated by digital noise (random numbers), creating thicker sound textures. The complete fabric of such processes brings forth a kind of self-organization, that the composer/performer can either leave untouched or try to orient somehow, in fairly open and improvised ways. To the sounds coming from the interior is sometimes added the sound of the exterior environments of the concert hall.
Craquelure (zwei stille Stücke, Giuliano Mesa gewidmet)
There are two halves of exactly the same duration (five minutes). In the first, a soft, crackling texture is heard, a kind of sonic dust rich in intermittent noise phenomena. In the second part, the same texture is heard again, overlapping with two more sound layers, namely a low-frequency rumbling sonority, and a layer of thinner sonic droplets. The initial crackling texture was generated with the composer’s own sound synthesis technique of (“iterated nonlinear function synthesis”, based on mathematical models of complex, called “chaotic” physical systems). The additional layers are created by processing the main textural material, the processing algorithms being driven by the room response to the total sound (mostly to the low-frequency turbulences). Therefore, one and the same material is heard twice, first context-less, abstracted from the real world, then in as transformed in the exchange with the performance space.
Dedicated to the poet Giuliano Mesa.
Untitled (digital signal processing, Berlin 2004)
This is the first of a series of works that I left “untitled” because they were created on the fringes of more challenging projects. However, each of them has peculiar features and is marked by a unique expressive freshness. Very concise and improvisational in nature, Untitled 2004 was born one evening in October 2004, at home (in Berlin at the time), feeding a feedback system with dynamic resonances and small noises typical of the oral cavity, with a miniature microphone inside the mouth or near the lips. I then repeated the same pattern in various circumstances, always working on the exchange between a tiny variable acoustic niche (mouth) and the larger room (concert place): spaces, within other spaces... Characteristic are small impulses of the glottis, hisses and rapid vowel transitions, as well as the grainy, pulsating, and hiccuping results of rather idiosyncratic digital signal processing techniques.
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Where is it happening?
Koninklijk Conservatorium Brussel, Kleine Zavel 5, 1000 Brussel, België, Ixelles, Belgium
Event Location & Nearby Stays:
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Host or PublisherBrussels Arts Platform
