Electro-Acoustic Chords

Electro-Acoustic Chords


DA Restrepo-Quevedo, PhD.

Director TadeoLab Universidad de Bogotá Jorge Tadeo Lozano

Roberto Cuervo Pulido, PhD.

Professor Pontificia Universidad Javeriana

Jorge Bandera, MA.

Professor Universidad de Bogotá Jorge Tadeo Lozano

Rusollo (1913) proposed in his work "Art of Noises" a clear differentiation between sound and noise. Under this approach, we could admit that every sound has natural characteristics, except for those produced by musical instruments, which are created by human beings using a mathematical logic that guarantees the stability of the harmony. However, it is important to consider that references to sounds produced by natural phenomena such as earthquakes or hurricanes are related to a more aggressive but still natural type of sound. This brings us to a second category: noise. According to Herbert Simon (1976), noise is dependent on the artificiality inherent in the human capacity to create and intervene in natural environments. From this perspective, any action involving a machine generates noise, which can be aggressive as well as subtle or friendly, but always repetitive and constant.

"Acordes Electro-Acústicos" is an audiovisual-experimental work that seeks to explore the relationship between sound and noise, composing chords that are at the intersection of both categories. The DARC Band Collective develops a sound work of six continuous movements, intertwining the different forms of vibrations that these interventions contain: Rumbles, Whistles, Whispers, Stridencies, Metals and Voices. These sounds will be performed live with digitally processed electric instruments and biophonies, that is, sounds-noises produced by nature, which will be represented visually and in real time through parameters of acoustic interpretation of parameterized code. With this work, the Interinstitutional Collective seeks to compose a soundscape that promotes a concrete listening that concentrates on sound textures and their acoustic attributes, and that moves away from the message and its causes, which is usually the most common in semantic or causal listening.