MUSLAB -Planeta Complejo- Vol. 5 Multimedia DVD

The Phonographic production MUSLAB -Planeta Complejo- Vol. 5 Multimedia DVD, is a selection of sound pieces from the MUSLAB exhibition. MUSLAB is an International Electroacoustic Music Exhibition that aims to bring together and disseminate the creation and sound exploration of artists from different countries around the world, promote the creative process and contemporary artistic communication, to bring new audiences closer to contemporary sound creation, and create an international community network through the development of different cultural activities, training in new technologies and sound art concerts.

MUSLAB – Planeta Complejo, presents a selection of sound pieces, audiovisual and photographic works made by creators from all over the world, through which our different cultural identities are analyzed through a relationship of endemic social processes and globalization. A social study where cultural identity is seen from contemporary art. The proposal is based on the fact that a fundamental characteristic that enables evolution in nature is diversity, since if there is diversity, there are possibilities of genetic exchange and mutation, therefore, adaptation to a changing environment, this phenomenon is reflected in contexts. both biological and also social and cultural. Thus, diversity guarantees evolution and adaptability, hence the importance of cultural identity and endemic aspects compared to global ones.

OXO (2020) – Julie Mansion-Vaquié (1982) FRA

Julie Mansion-Vaquié is a lecturer at the Université Côte d’Azur, specializing in Popular Music. She’s interested in scenic re-creation, the relationship between sound and image, and questions of spatialization (XR2C2, PrÉ). She co-directs the MSc Scoring for Visual Media and Sound Design and is a member of CTELA laboratory, IASPM (FR), LPCM, Les ondes du monde and Studio Instrumental. Holder of a DEM in electroacoustic composition (SACEM prize), finalist in the Klang! 2015 competition, and double prizewinner in the Petites Formes 2018 competition, her works of various kinds (instrumental, mixed, video-music, electroacoustic pieces) are regularly programmed in France and abroad. www.facebook.com/julie.mansionvaquie

It’s all about chemistry… It’s about reaction… From micro to macro… It’s about life…

Sons d’Anthropocène #5 (2018) – Michel Titin-Schnaider (1960) FRA

Born in Paris in 1960 he developed an early interest in experimental music. As electronics engineer, he spent his career working for major industrial groups. At the same time, and as a pure self-taught composer, he developed his own home studio. In 2007, he set up the Aventures Electro Acoustiques association to promote electroacoustic music through cross-disciplinary projects. He edited 16 CDs. He organizes since ten years the danse/acousmatic festival “En Chair et en Son”. In parallel he creates experimental movies, always based on his music. These visuals are always created “after” the music composition. www.michel-titin-schnaider.fr

The ‘Sons d’Anthropocène’ project brings together films inspired by the derisory nature of human activity on a geological timescale: ruins, machines invaded by nature, decomposing objects… From a formal point of view, my approach as an audio-visual artist consists of experimenting with a different creative approach: taking as a starting point a musical composition created without any ‘visual afterthought’, and then, in a 2nd stage, looking for what this acousmatic music can suggest in terms of visual material. The aim here is to provoke a video-sound Anastrophe: to reverse a process that too often stems from the image and into which the music has to be inserted after the event.

Infinity (2023) – Erik Deerly (1963) USA

Erik Deerly is an artist focusing on synesthetic experiences and explores perception. He is a professor and the Director of Visual Arts at the University of Louisiana at Lafayette. His recent exhibitions include showings at the CICA Museum in South Korea, VIDEOMEDEJA International Video Festival in Serbia, Maracay International Film & Video Festival in Venezuela, and the 2023 International Electroacoustic Music Exhibition in Ecuador. His most recent sound art album, “A Sense of Place,” was released in 2022. His animated audio/video work, “Vía Onda Corta,” premiered at the El Ojo Iluso Film Festival on June 20, 2024. www.erikdeerly.com

“Infinity” is the first of a 30-minute, five-episode series called Non-Sequitur (2023). This project features choreographed abstract visuals and sound in an immersive presentation. The visual and audio components were composed and ultimately performed in the studio simultaneously using Ableton Live with Max. Non-Sequitur premiered July 12, 2023, at the Experimental Film & Video 2023, CICA Museum, Gimpo-si, South Korea.

Coalescence (2021) – João Pedro Oliveira (1969) PRT

João Pedro Oliveira holds the Corwin Endowed Chair in Composition for the University of California at Santa Barbara. He studied organ performance, composition, and architecture in Lisbon. He completed a Ph.D. at the University of New York at Stony Brook. His music includes opera, orchestral compositions, chamber music, electroacoustic music, and experimental video. He has received over 70 international prizes and awards for his works, including the prestigious Guggenheim Fellowship in 2023, the Bourges Magisterium Prize, and the Giga-Hertz Special Award, among others. His music is played all over the world and is recorded in over 70 CDs. www.jpoliveira.com

Coalescence is the process of joining or merging of elements to form one mass or whole. In this visual music piece, both visual materials and music join and separate themselves in distinct units, forming shapes and sounds that are the combination of elements joined together.

Transformaciones irreversibles / Irreversible transformations (2019) – Edgardo H.E. Martinez (1958) ARG

Electroacoustic music composer and university teacher. Currently professor at the Instituto Superior de Música, Universidad Nacional del Litoral, Santa Fe Argentina. (http://www.ism.unl.edu.ar ). Professor in: Electroacoustic Music Composition (until March 2023), and Music Theory and Analysis. Electroacústica, Universidad Nacional del Litoral). Electroacoustic and instrumental music compositions performed in Argentina, USA, Canada (presented by GEMS, Group of the Electronic Music, McGill University), France (Bourges 2000, 2001, 2002, 2003, 2004), Italy, Spain, Czech Republic, Mexico, Brasil and China. His work “…desde el desierto” (2001) had a “Menzione d’onore” in the 4th International Competition of Computer Music “Pierre Schaeffer”, de Italia. Finalist at the IV Concorso Internazionale “Città di Udine” 2001/2002 in the Electroacoustic Music category and at the Musica Nova 2004 competition, Czech Republic. edmar6291@fibertel.com.ar

This work is an evocation of the textural compositions of the 60´(20th century), of which Ligeti was one of its main exponents. The images were generated from contemporary musical notation and from a score fragment of Volumina by G. Ligeti.

Not Silent Poetry (2019) – Neil Milton (1980) UK

Neil Milton is a writer, DJ/ producer and artist. Developing on his fine art practice, his latest works explore audiovisualism. Inspired by collage, experimental film, expanded cinema and VJing, his work is a dialogue between sound, [moving] image and text. In particular, he explores the relationship between words and their sonification, text as semantic signifier and aesthetic image. Previously immersed in club culture, thematically he is engaged by issues of consciousness, altered states, spiritual transcendence, meditative bodily expression, and furthering communication. He is also interested in the therapeutic aspects of sound and its use as medium for exploring neurodivergence. www.neilmilton.com

The work is audiovisual dialogue. It alternates a BSL poet reciting; an audio recording challenging the primacy of communicative modalities; and a projection of mute lips conveying related theory. Through subtitling, it highlights the difficulties understanding sign language, and the unreliability of lip reading, whilst exploring interpretation and translation. Drawing on Derrida’s theory, it challenges the phonocentric view of language: that people can only express fundamental humanity through voice, excluding non- vocalic languages (sign language), the modality of deaf communities. This is ‘audism’. By limiting translation, it highlights the importance of accessibility, foregrounds linguistic discrimination and confronts reliance on hearing.

Goodnight Tin Hau (2021) – Adam Stanović (1981) UK

Adam Stanović started composing electronic music 30 years ago. His works are mostly acousmatic, but have included instruments, electronics, film, and animation. Collectively, they have received prizes, residencies and mentions at competitions around the world, including: IMEB (France); Métamorphoses (Belgium); Destellos (Argentina); Contemporanea (Italy); SYNC (Russia); Música Viva (Portugal); Musica Nova (Czech Republic); Ars Electronica Forum Wallis (Switzerland); KEAR (USA); MusicAcoustica (China); Prix Russolo (France), Red Jasper Award (USA). Adam is Director of Sound and Music at the University of the Arts, London, and Co-Director of the British ElectroAcoustic Network, UK. www.adamstanovic.com

Between 2016-2020, I worked in Hong Kong, as a university examiner. During my visits, I stayed in the Causeway Bay area where, jetlagged and unable to sleep, I would spend hours wandering the midnight streets. Disorientated and exhausted, I witnessed something unforgettable – the moment when the Hong Kong day collapses into night. This moment produces a pause… a breath… a gathering of forces… But this moment was never silent. The city crackled, as if an electrical charge arced through the streets. Goodnight, Tin Hau uses recordings from my visits in an attempt to re-live that moment.

Radical Duality Ⅱ (2022) – Masafumi Oda (1986) JPN

A multimedia artist in Japan. Enrolled in Department of Philosophy, Sophia University. Having got master’s degree by writing a master’s thesis about Deleuze’s philosophy. Participated in many international music, art and film festivals including ISCM, Ars Electronica, ICMC and so on. A member of ASCAP and Japan Society for Electronic Music. www.masafumi-rio-oda.com

“Radical Duality” is a practical way based on my own ontology beyond arguments of “eternal return” (Deleuze) and speculative realism. In this practice, three elements, “Media”, “Theme”, and “Method” define creative acts, correlating to each other. Any medium used for creative activities is a variable there (in this piece, sound and image). “Method” is the factor which strongly prescribes characteristics of a creator, and is the thought about relations.
“Method” decides relations between media, and also “Media” change themselves according to “how these media relate each other”, so each artist should think about “what the meaning of the relating is”.

Study for a cosmic city (2019) – Julian Scordato (1985) ITA

Julian Scordato studied composition and electronic music at the Conservatory of Venice and sound art at the University of Barcelona. Co-founder of the Arazzi Laptop Ensemble, in 2015 he joined and currently leads SaMPL Lab, a platform based in Padua (Italy) dedicated to education, production and research in the field of Sound and Music Computing. As a technologist, Scordato has authored articles and disseminated research findings on interactive systems for music performance and graphic notation. Coordinator of the Electronic Music School of the Conservatory of Padua, since 2017 he has been professor of electroacoustic music composition and performance. www.julianscordato.com

“Study for a cosmic city” is an audiovisual work inspired by a utopian urban planning proposal described by the composer and architect Iannis Xenakis in his essay entitled ‘La ville cosmique’ (1965). In an attempt to relate computer graphics to the formalization of sound, the structures that characterize the utopian city are designed using superquadratic curves capable of describing reasonable variations of sound parameters. Parameter values extracted from buildings and paths are used to process sound materials from unidentified radio transmissions actually received around the world.

Reaching Away (2022) – Greg Pfeiffer (1977) USA

Greg Pfeiffer is a composer of solo, chamber, choral, orchestral, and computer music. His works range in style and explore various compositional methods. Known for developing a novel system for creating pitch sequences by exploring directional permutations using interval sets. See https://www.gregpfeiffer.com/pitchsystem and https://whynotpatterns.com/ for additional information. Professionally eclectic, Mr. Pfeiffer has worked as an investigator for Child Protective Services, in environmental remediation, in finance and is a New York based stand-up comedian. He holds multiple degrees in music from the University of Stony Brook. His works have been performed and recorded worldwide. www.gregpfeiffer.com

The photographs in this video were found on the Library of Congress website taken during the Greely Polar Expedition (aka the Lady Franklin Bay Expedition) of 1881-84. The video clips used were posted online by multiple contributors as free use/public domain. The result is a montage of inhospitable yet beautiful vast expanses; evoking the distance of the past, the inaccessibility of far-off places, the faint traces of our brief presence, and the abstraction of the natural world. The original music was composed about 20 years ago from layering and manipulating a single string sample.