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- Ao som dos fluxos da informação: processos de sonificação nas artes sonorasPublication . Paquete, Hugo; Bastos, Paulo Bernardino; Marcos, AdéritoThis essay tries to analyse the impact of the sonification processes in the sound arts, analysing their first and second order modes proposed by Scot Lancaster. This is achieved exploring the definition of their new production methodologies, philosophical implications and conceptual significance taking as examples artistic practical artworks analysed as speculative critical systems I, II, and III. It also explores the artistic trends that have been observed since 1990 in the post-digital aesthetics outside the aesthetics of failure. These artistic practices consist of generating art works based in the data-flows from geology, electromagnetism, nature, economics or other disciplines and practices to convert them into sound events originated outside the physic of sound as non-vibration forces. That is associated in my argument as data-event-sound with a new ontology. This allows a secondary ontology outside the forces that animate the understanding of sound as vibration. The sound is presented as translation of the data-information-flows establishing a relationship with the concept of appearance and form explored by Susanne Langer, opening the understanding of the work of art as a system of interdependent relations in the meta-medium of the digital-art. It generates new ways of understanding sound as mutation in which digital, biology, culture and spiritual establish interconnections between the computer as a digital domain in a landscape of code, promoting complex regimes of laminar-perception. These connections of meaning must be discussed in sound studies because they represent asymptomatic effects of the digital in life, art and the post-digital aesthetic momentum.
- Radiação obscura: fluxos energéticos sonificados no limiar da experiência sonoraPublication . Paquete, Hugo; Bastos, Paulo Bernardino; Marcos, AdéritoThis essay analyse the impact of the sonification processes in the sound arts. This is achieved exploring the definition of their production methodologies, philosophical implications and conceptual significance taking as examples my artistic experiments with sonification of light and electromagnetic fields explored in my projects that are presented in this analyses. The sonification as an artistic practice consist of generating art works based in the data-flows. Originated a sound event outside the physic of sound as non-vibration force. That is associated in my argument as data-event-sound connected with a new ontology outside the forces that animate the understanding of sound as vibration. Opening the understanding of the work of art as a system of interdependent relations in digital-art. Generating new ways of understanding sound as mutation in which digital, culture and spiritual establish interconnections between the computer as a digital domain in a landscape of code, promoting complex regimes of laminar-perception.
- Relações entre o pós-digital e o complexo industrial do capitalismo: reformulações sobre a tecnologia como ideologia e lixo digital na artePublication . Paquete, Hugo; Marcos, Adérito; Bastos, Paulo BernardinoThis essay presents a mapping of the historical concepts that contributed to the emergence of post-digital aesthetics and their connections to the concept of post-media in historical terms. It also analyzes the transition from techno-positivism to discourse of resistance against the effects of the capital technological industrial complex and how these advances in technology influence artistic discourses, practices and are the leverage of art and technology which is nothing more than a representation of the aesthetics of capital. Following art and capitalism as an ideology of innovation. Is proposed an unstinting theory about technology, geology, and the importance of these conditions to the post-digital aesthetics in terms of material disposable and conceptual articulation. Producing a reconfiguration of the post-digital conceptual approach as I propose beyond the dysfunctional aesthetics and connected with the concept of radical ecology centred in the usability of electronic garbage and technical obsolescent technologies in the arts.
- Zoonose: leptospirose e os ritmos espirais como infeção sonora e musicalPublication . Paquete, Hugo; Bastos, Paulo Bernardino; Marcos, AdéritoO presente artigo técnico e ensaio procura analisar o impacto dos processos de sonificação nas artes sonoras, colocando em análise os seus modos de primeira e segunda ordem, na definição das metodologias de produção, tendo como base o código genético da leptospirose, utilizado no desenvolvimento de elementos sonoros e musicais com o software Iannix integrados na performance Zoe:Actant (2017), apresentada no Arquipélago Centro de Artes Contemporâneas dos Açores. Este projeto iniciou-se entre os meses de março e maio de 2017 num contexto de residência artística, denominada Salutem: à tua saúde, no Hospital do Divino Espírito Santo, em Ponta Delgada. Houve colaboração e envolvimento com profissionais e utentes daquele centro hospitalar, em especial com o centro de investigação centrado no estudo da leptospirose e o centro de análises de fluídos mais comuns - sangue, urina, fezes e expetoração – e, ainda, o centro de virologia.
- Orbital eccentricity: sound performance, using commercial and military satellites with real time tracking dataPublication . Paquete, Hugo; Marcos, Adérito; Bastos, Paulo BernardinoThis music performance starts with an inquiring about the possibility to generate sound and music elements using commercial and military satellites, established in a process of acquirement and conversion of satellite movement data sonified in real time, merged to midi-data language. Used to control hardware and software musical instruments. It‘s importance, reflects on the autonomy of the satellites as objectual performers, actants that generate sonic content in an ecology of casual movements and programmed computational music rules. The routes and trajectories are mediated elements to think about composition in a performative dynamic environmental system, manipulated in real time by the performer in direct dialogue with the external technological body. The satellite as an actant suspended in the edge of the human perceptive border that articulate a direct relation with the planet Earth as a place with external telematic objects. It represents the human activity in the boundaries of the universe limits. This performance starts with the production of hardware and software that captures the movement of public and military satellites. In technical collaboration and partnership with Christopher Zlaket (1992) from the Arizona State University who specializes in interface design and David Stingley (1993) of MIT who specializes in computer science. The sonic qualities are dependent of improvisational approaches developed in real time, pointing to aesthetic elements about dynamics, granulation, noise, and drone. Pointing to post-digital and micro sound aesthetics traditions and proposing ruptures.
- Velocidade terminal: tempo cronoscópico dos corpos orbitais na composição sonora e musicalPublication . Paquete, Hugo; Bastos, Paulo Bernardino; Marcos, AdéritoThis essay presents the construction processes, methodologies, meanings and challenges in the construction of the Dromology of Orbital Bodies project of my own developed between 2019-2020 and which is still ongoing. The project aims to track military and commercial satellites by converting that information in real time by sonicating the date received from the hacked satellite. Therefore, this essay presents the technical challenges in the habit of building the conditions of the project as well as some of the results obtained. Also presenting the dimension of meanings associated with the project from a philosophical and critical point of view, in a combination of conceptual reflection and project exploration where concepts such as chronoscopic time, cyberpunk, and gray colony and acoustemology are related as a reading of a time where the sonorous happens mediated by technology. These concepts influence the production, composition and musical performance processes that I develop with special interest in systems where unpredictability operates alongside real-time relationships and systems, using granularisation and a sound and compositional aesthetic historically informed in noise and micro. post-digital rhythmic.
- Dromologia dos corpos orbitais: projeto de desenvolvimento de hardware e estratégias de composição sonora, com recurso ao movimento de satélites e a outros objetos humanos exteriores à terraPublication . Paquete, Hugo; Bastos, Paulo Bernardino; Marcos, Adérito; Zlaket, Christopher; Stingley, DavidEste artigo propõe construir uma reflexão crítica e técnica centrada na tecnocultura e nos modos de produção artística pós-digitais. Efetuando-se uma extrapolação dos processos de sonificação na arte digital partindo de um projecto pratico onde esta envolvida a produção de hardware e software que captura o movimento de satélites públicos e militares para utilizar os seus valores de deslocação, velocidade, entre outros, em elementos sonoros e musicais. Este projeto é desenvolvido em parceria com os meus colaboradores Christopher Zlaket (1992) da Arizona State University especializado em design de interfaces e David Stingley (1993) do MIT, especializado em ciências da computação. O objetivo é transformar, por processos de sonificação elementos de valor estético centrados numa investigação que lida com a articulação entre saber técnico, construção de interfaces, programação e sua aplicabilidade nos domínios das artes sonoras, performance musical e instalação multimédia.