Medialab Prado

"Ebba Rohweder has created some works at LIEM (Laboratory for Computer-based and Electronic Music). Here, she has recorded and processed her flute interpretations for two of her sound installations incorporating texts and interviews. She has also developed her skills as a video artist by accurately blending her musical talent and the use of time..

Sergio Luque is a great connoisseur of the SuperCollider language who also researches the stochastic synthesis of sound and creates new artificial sound worlds that, at the same time, offer familiar elements and invite the audience to continue listening. Here, he introduces his work influenced by cinema, but not in a narrative sense like the one in works called  “Cinema for the ear”, but inspired in cinematographic constructive logic and in the idea of the “future” that has been brought to film through science fiction and other genres. 

Fran MM Cabeza de Vaca experiments with dance, theater and visual arts. One of the most interesting aspects is the use of interactivity and live sound processed through electronics, specifically when transforming sound produced in the stage. This sound is amplified to boost the expressiveness of the texts recited by the actors while not affecting its overall understanding. In this case, the artist and actress Ana Barcia will offer the premiere of the play “Roto el acorde” (When a Broken Chord)”."

By Adolfo Núñez

Ebba Rohweder

Copyright: Ebba Rohweder. All rights reserved

Ebba Rohweder studied in the School Folkwang Essen in Germany, a school founded following ideas of exchange and interdisciplinary work among the different arts such as music, dance, theater and pantomime. Rohweder specializes in contemporary and experimental music, explores the space as scenery, and integrates improvisations in her concerts and, then, switches to performance by using texts, movement and different materials.

She elaborates scenic compositions for soloists and ensembles, radio compositions and electroacoustic installations with history by collaborating with the survivors from the Ravensbrück Women Concentration while working with historian Fernanda Romeu on the topic of Republican women during the Spanish Civil War.

The thread unifying all her works is music extended in the space, the combination of media and other forms of expression.

Since 2004 Rohweder has been working with both, video and electroacoustic compositions. In her video compositions, music is not subordinated to the image. Instead the elements work together, destroying the hierarchical relations usual in audiovisual shows.

Sergio Luque: Brasil (Brazil)

Sergio Luque requests not to upload the video of his presentation. Instead, you can listen to the audio of the original recording of this piece here: http://www.sergioluque.com/music/brazil.zip. The artist chooses to offer the original track since it has the best quality conditions possible.

For many years, film has influenced my electronic and classical musical composition not only at an expressive level, but also aesthetical and technical. Creating scenes, juxtaposing them, editing them internally thinking about the shots as well as presenting the sound materials from various perspectives through the change in position of the camera and zoom level, etc.

In this occasion, I would like to present my piece “Brasil” (Brazil). I have always been fascinated by the machines that appear in Terry Gilliam´s films, they seem to be based in descriptions of the future done in the past. For a long time, I wanted to write a work about a retro-futuristic machine made of the most different materials, about to collapse.

With the exception of a Japanese sound, all the other sounds in this work were synthetically created from scratch by using the music programming language SuperCollider. By trying to generate a sense of ambiguity among the mechanical aspects of life and moving the inorganic, my goal here was to create a sound world in which the real became surreal and the inanimate revealed itself as alive. .
 

Fran MM Cabeza de Vaca: Roto el acorde (When a Broken Chord)

On the poems of Juan Antonio Bernier

Roto el acorde,
Suena otra música

Canción, by Juan Antonio Bernier

Since 2005, there are many plays that have been born after; inspired by or included quotes from Juan Antonio Bernier´s book “Así procede el pájaro” (This is how the bird proceeds) (Pretextos Poesía, 714). Early acousmatic and instrumental works shared the poem´s intimate and contemplative spirit.  Some of them where presented in public, but others remained unreleased and confined into a terrain of silence that could seem the natural setting for the sounds associated to this poem.

In “Roto el acorde” the spirit of these works is revisited through a new sound transcription, a selective reading illustrated by the sound emanated from the book´s pages and filtered by time, which separated me from the time I first read it, adding the murmur of souvenirs and the time that has gone by in our life.

Live electronic composition: Fran MM Cabeza de Vaca. Actriz: Ana Barcia. Poems: Juan Antonio Bernier.