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Kasper T. TOEPLITZ
“DATA_Noise”


Artiste: Kasper T. TOEPLITZ

Label: RECORDINGS OF SLEAZE ART (FR)

Format: CD


Category: CD
SKU: rosa 11

14,00€

Out of stock

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Kasper T. Toeplitz, live electronics, generative video, lights. Myriam Gourfink, stillness.
Electronic composition played live by Kasper T. Toeplitz and Myriam Gourfink. Noise and stillness. Also generative video, and the noise of circulating data.
What it is not : DATA_Noise is certainly not a dance piece with musical accompaniment, using some sort of the so-called “new technology” – sensors, computers – to be more “modern”. DATA_Noise is a musical project, a composition written for synthesized electronic sounds, and meant to be played live, using the computer as the main instrument which creates by many means such as different synthesis or transformation techniques (scanned, granular, wave- terrain synthesis, waveshaping etc…). One of those techniques will be the use of a dancer, performing an extremely slow dance (of an entierely written choregraphy), and whose minimal movements, as seen by different sensors, will have a disruptive function on the behavior of the music-making computer – a way to introduce some “noise” in this very often too precise a machine, a way to maybe re-introduce some of the noisiness of the world into this electronic composition.

DATA_Noise : un projet de Kasper T. Toeplitz (concept, composition & programmation) en collaboration avec Myriam Gourfink (danse).
DATA_Noise : une longue construction électronique, une architecture de bruits et de textures de plus de 50 minutes, jouée ”live” et entièrement synthétisée en temps-réel par Kasper T. Toeplitz.  Cette volonté de réellement tout jouer dans le moment, en une vaste polyphonie constituée de diverses couches de matières évoluant à des vitesses différentes, crée à chaque interprétation de la composition, des miroitements et des micro-évènements légérement très légérement autres, des variations du même. L’interprétation live est encore accentuée par la présence d’une seconde musicienne, en fait une danseuse, Myriam Gourfink, dont les mouvements microscopiques tels que perçus par des capteurs, parasitent les machines créant le son, leur ajoutant une sorte d’infime instabilité, ou une autre parcelle de vie, de réel, dans le flot puissant, grondant, de la musique, le gigantesque éboulis de sons jusqu’au repos dans le bleu.

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