The void behind the football party
I don’t have anything against soccer as a performing show. Neither am I a follower. I simply observe that some human manifestations that have lasted from antiquity have been presently exposed to a media manipulation where they have lost their intimate, direct and substantial character to be converted in an argument for consumerism. They become multiple lectures and accommodated speeches by way of present commercial interest with masks according with contexts in which one expects them to be assimilated.
May be this is why I tried to do a piece in the most transparent way, that is, trying to be removed from any emotional and cultural relationship, with an non globalized intention, but non the less overtaking an exploratory attitude towards my work.
Because there is nothing against and there is nothing in favor, I felt that the most interesting thing a could find in “soccer as a performance show” would be the statistics of the game found in the web, and that is, its numbers. The idea is to apply them as parameters that determine the evolution of a composition. I wanted to use the statistics numbers of the present world cup, but because we needed to finish the composition before hand, I decided to use the tables of the Korea-Japan 2002 world cup in the following way: for each classified time I disposed a synthesis audio module. We have 32 modules with the same configuration (I made three types of different configuration prototypes and it isn’t yet decided which of them I will use, or if I will use them all). Each module / team is affected by the attack, defense and discipline statistics tables that appear in the web page of the last world cup. The tables are read simultaneously, column by column, 12 times, which is the biggest number of columns per table. Depending on the prototype of the configuration used, this will be translated in gradual variations of pitch, timbre, oscillating frequency and oscillation depth for each module.
The result is a conjunction of pitches of different frequencies that vary gradually along with unexpected attacks at some points, and sometimes with an extreme stasis but with very rich harmonic results. The changes happen simultaneously because the table numbers are already defined. This can change in the future because I would like to adapt this project to a dynamic data base in real time, where the parameter changes of each module would change at different times and intervals determined by the games played and by their events: goals, tides, corners, free kicks, fouls, etc (the data I used for the tables). The tables would be read every time the team’s play, and static values would be given when there are no teams playing. This would then become a sort of installation with very static sound when there are no games (sound walls with complex harmonies) and very active sounds when any given match starts.
Christian Galarreta Pando is a musician and digital artist. He works in the fields of computer music and development of generative systems. Since young, he took music courses in different specialities (guitar, piano, singing, etc). Between 1995 and 1996, he took two piano courses in the conservatory of Lima, and in 1999 he studied digital electronics at the SISE where he learned different programming languages and building electronic circuits. Since 1995 he has visited recording studios where he has explored different experimentation techniques with sound. He has produced different records where he develops noise aesthetics, the fabrication of sound instruments, how to use software errors in a creative way, etc. In the middle nineties he takes part in the group Evamuss, an alternative electronic experimental music project, and he starts ALOARDI, an independent South American record label dedicated to experimental music. Besides this, he created ATATAW, a radio program on line of experimental sound, and ALONET, a free distribution of music on line. Galarreta is co organizer of the festival VAE (in the music field), one of the electronic arts most important festivals in Latin America.
I don’t have anything against soccer as a performing show. Neither am I a follower. I simply observe that some human manifestations that have lasted from antiquity have been presently exposed to a media manipulation where they have lost their intimate, direct and substantial character to be converted in an argument for consumerism. They become multiple lectures and accommodated speeches by way of present commercial interest with masks according with contexts in which one expects them to be assimilated.
May be this is why I tried to do a piece in the most transparent way, that is, trying to be removed from any emotional and cultural relationship, with an non globalized intention, but non the less overtaking an exploratory attitude towards my work.
Because there is nothing against and there is nothing in favor, I felt that the most interesting thing a could find in “soccer as a performance show” would be the statistics of the game found in the web, and that is, its numbers. The idea is to apply them as parameters that determine the evolution of a composition. I wanted to use the statistics numbers of the present world cup, but because we needed to finish the composition before hand, I decided to use the tables of the Korea-Japan 2002 world cup in the following way: for each classified time I disposed a synthesis audio module. We have 32 modules with the same configuration (I made three types of different configuration prototypes and it isn’t yet decided which of them I will use, or if I will use them all). Each module / team is affected by the attack, defense and discipline statistics tables that appear in the web page of the last world cup. The tables are read simultaneously, column by column, 12 times, which is the biggest number of columns per table. Depending on the prototype of the configuration used, this will be translated in gradual variations of pitch, timbre, oscillating frequency and oscillation depth for each module.
The result is a conjunction of pitches of different frequencies that vary gradually along with unexpected attacks at some points, and sometimes with an extreme stasis but with very rich harmonic results. The changes happen simultaneously because the table numbers are already defined. This can change in the future because I would like to adapt this project to a dynamic data base in real time, where the parameter changes of each module would change at different times and intervals determined by the games played and by their events: goals, tides, corners, free kicks, fouls, etc (the data I used for the tables). The tables would be read every time the team’s play, and static values would be given when there are no teams playing. This would then become a sort of installation with very static sound when there are no games (sound walls with complex harmonies) and very active sounds when any given match starts.
Christian Galarreta Pando is a musician and digital artist. He works in the fields of computer music and development of generative systems. Since young, he took music courses in different specialities (guitar, piano, singing, etc). Between 1995 and 1996, he took two piano courses in the conservatory of Lima, and in 1999 he studied digital electronics at the SISE where he learned different programming languages and building electronic circuits. Since 1995 he has visited recording studios where he has explored different experimentation techniques with sound. He has produced different records where he develops noise aesthetics, the fabrication of sound instruments, how to use software errors in a creative way, etc. In the middle nineties he takes part in the group Evamuss, an alternative electronic experimental music project, and he starts ALOARDI, an independent South American record label dedicated to experimental music. Besides this, he created ATATAW, a radio program on line of experimental sound, and ALONET, a free distribution of music on line. Galarreta is co organizer of the festival VAE (in the music field), one of the electronic arts most important festivals in Latin America.
Projects
Audio:Elf
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