[objeto de acción parcialmente involuntaria]
In February 2019 a series of exercises in analogue, digital and acoustic feedback manipulations with/through a Buchla 200 synthesizer were executed at Studio 4, Elektronmusikstudion Stockholm. The documentation emerges from interactions between the synthesizer, open microphones, indeterminate processing in different programming environments, induced crashing and resampling of software and loose cable amplification. The audio file resulting from the initial analogue to digital conversion pressed into the ten unmarked 7” dubplates was obtained directly from the synthesizer output without additional processing or edits, aside from the selection for equal time on each side of the records.
[BUCHLA 200 + MACBOOK PRO13” 2008 (OSX 10.8.5) + ES-8 + INTERNAL INPUT MICROPHONE + JACK + SUPERCOLLIDER + PD [A] + MAX 7[B]]
Recorded at Studio 4, Elektronmusikstudion, Stockholm. 2019
Commissioned by Sonic Acts and Paradiso for Sonic Acts Academy. 2020
Part of Re-Imagine Europe, co-funded by the Creative Europe programme of the European Union.
Hugo Esquinca’s research-as-intervention and intervention-as-research in sound focusses on exploring different degrees of exposure to erratic processing techniques, indeterminate occurrences, spectral de-gradation, abrupt irritation, the potential of involuntary modifications, opaque functioning and excessive levels of amplification. His work has been presented in different contexts such as Stedelijk Museum Amsterdam, National Centre for Contemporary Arts NCCA (Moscow), Fondazione Antonio Ratti (Como), Ujazdowski Castle for Contemporary Arts (Warsaw), Ploschad MIRA for Modern Art – Siberia (Krasnoyarsk), A4 (Bratislava), Goethe Institut (Athens), MAYHEM (Copenhagen), Aalto University (Helsinki), BEARS (Osaka), Haus der Kulturen der Welt and Berghain (Berlin).