Roc Jiménez de Cisneros (Barcelona, 1975)
March 14-18, 2011
Roc Jiménez de Cisneros (Barcelona, 1975) is an artist and composer. Since 1996 he is the core of a computer music project called EVOL and his work has been released on internationally acclaimed experimental music record labels such as Mego, Entr’acte, Lucky Kitchen, Diskono, Scarcelight, fals.ch or his own ALKU. His music displays a radical and playful approach to algorithmic composition and explores the application of concepts from geometry and physics to various synthesis techniques. Heavily inspired by cosmology, quantum theory, noise and rave culture, he describes his recordings, installations and performances as “computer music for hooligans”.
http://alkualkualkualkualkualkualkualkualkualku.org
Edge effects and recursive archives
by Roc Jiménez de Cisneros
Keywords: archival, meta-archive, recursion, juxtaposition, mapping, synthesis, nature, calls, autonomy, imitation, emulation, edge effect.
{mp3remote}http://www.sonm.es/media/audio/podcast/roc-mix.mp3{/mp3remote}
This mix was made exclusively using archival material found in the SONM collection – recursively using archives within the archive. The sources are tracks from historical compilations, biology-related documents, unfinished/unpublished pieces, and from periodical audio-publications dedicated to the archival and critical review of the works of amateur and academic composers and instrument makers. In some cases the recursion runs three levels deep, e.g. a collection of instruments in a museum documented in a magazine compilation and found in the SONM archive. All tracks are simply juxtaposed, without overlap. This edge effect technique was chosen to highlight the similarities and contrast between the wide variety of sources.
The edge effect in ecology is the effect of the juxtaposition or placing side by side of contrasting environments on an ecosystem. This term is commonly used in conjunction with the boundary between natural habitats, especially forests, and disturbed or developed land. (Retrieved from “http://en.wikipedia.org/wiki/Edge_effect“)
“There is substantial discrepancy among recent studies about the existence and intensity of edge effects. Most studies have focused on seeking simplistic and static patterns. Very few have tested mechanistic hypotheses or explored the factors that modulate edge effects. Consequently, studies are very site-specific and their results cannot be generalized to produce a universal theory of edges. Although estimates of the intensity and impact of edge effects (…) little can be done to ameliorate edge effects unless their mechanics are better understood” (Edge effects in fragmented forests: implications for conservation, Murcia, C. in “TREE”, Vol. 10 #2, February 1995).
Track list (time author, “title” (source, year):
00:00 Vincent Carruthers, “s/t” (Frogs and Frogging in Southern Africa. Struik Publishers, 2001. ISBN: 978186872607)
00:59 Q. R. Ghazala, “In the Arms of Angels” (From the pages of Experimental Musical Instruments, Volume IX, #1, 1993)
02:26 Michael Prime, “Priory Gardens” (1998)
03:05 Peter Cusack “Ice Pressured” (2003)
03:08 Maggi Payne “Motor Rhythms” (unpublished, 2005)
03:20 Maggi Payne, “Motor Rhythms” [reversed] (unpublished, 2005)
03:35 Konrad Boehmer, “Aspekt” (Institute Of Sonology 1959-69 Early Electronic Music, 2009)
04:31 Andrew Timar, “Crickets with leafhopper, close-up” (Musicworks #40 – Sonic Mappings, 1987)
05:23 “Andrew Timar discussing cricket recording experiences” (Musicworks #40 – Sonic Mappings, 1987)
06:52 Rainer Linz and Alistair Riddell, “ASP3” (From the pages of Experimental Musical Instruments, Volume XII, #4, 1996)
09:09 Frederico Richter, “Metamorfoses” (Música Eletroacústica Brasileira Vol. 2, 1999)
09:33 Alec Bernstein and Daniel Carney, “Computer controlled piano player system” (From the pages of Experimental Musical Instruments, Volume VII, #1, 1991)
10:02 Thuunderboy, “At Last” (Thuunderboy!, 2002)
10:35 “The Darktown Strutters Ball – Automatic instruments from the collection of the Music Museum” (From the pages of Experimental Musical Instruments, Volume VI, #2, 1991)
11:36 Vincent Carruthers, “s/t” (Frogs and Frogging in Southern Africa. Struik Publishers, 2001. ISBN: 9781868726073)
13:33 Jonathan Chang, “Predator calls and game calls” (From the pages of Experimental Musical Instruments, Volume X, #4, 1994)
15:12 Mark Rudolph, “Beautiful but marred by the blemish of a perpetual dissatisfaction” (Tellus #22 – False Phonemes, 1988)
15:31 Gordon Monahan, “Speaker Swinging (out-take from the LP recording sessions in June 1987)” (Musicworks #40 – Sonic Mappings, 1987)
16:35 Wendy Chambers, “New York New York” (From the pages of Experimental Musical Instruments, Volume I, #5, 1986)
16:38 Henry Lowengard, “Software-o-phones” (From the pages of Experimental Musical Instruments, Volume IX, #4, 1994)
17:42 The Kanary Grand Band, “The KGB Adapted to human ears and human speed” (Musicworks 59, 1994) 23:10 Dajuin Yao, “Warbling Orioles Returning” (Cinnabar Red Drizzle, 1999)
25:50 Q. R. Ghazala, “In the Arms of Angels” (From the pages of Experimental Musical Instruments, Volume IX, #1, 1993)
NOTE: Many of these tracks were taken from ferric oxide and chromium dioxide cassette tapes. An effort was made to preserve fidelity and dynamic range despite some inevitable variation in the quality of the original recordings and the limitations always inherent in cassette tapes as a recording medium.
