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Slipping Control derives from the text piece “Tztztztzt Î Í Í…” wrote last year by Ben Vida (and published as a book by Shelter Press).
Composed to act as a score, a sound piece and as raw data for electronic control source, Tztztztzt Î Í Í… became the intrinsic element that tied some different pieces of art made by Ben Vida and presented at the eponymous show at AVA Gallery (NY, USA) in april 2013.
“I was interested in the rhythm of speaking, interested in using the voice to create rhythmic patterns that would inevitably break out of time and become asymmetrical and awkward. I wanted to create one set of control sources (the text) and run them through a bunch of different systems (the video, the book, the record etc) and see how the original source material morphed and changed as it manifested in these different modalities. The process of developing each unique work involved setting of control paths for the text to be processed though. In terms of this path the first step after writing the text was to find the primary filter of interpretation and translation that would start this process of slipping control – and this is where Tyondai and Sara come in…”
A Control Path may look something like this: Text > Performer/Vocalist > Voiced Recording > Electronic Analysis > Reconfigured
Text > Audio Synthesis > LP Record.
Or maybe like this: Text > Performer/Vocalist > Video/Audio Recording > Electronic Analysis > Audio Synthesis > Video Editing > Color Synthesis > Video Installation.
Or this: Text > Performer/Vocalist > Video/Audio Recording > Electronic Analysis > Audio Synthesis > Video Editing > Color Synthesis > Video Installation > Color Field Panel Display.
Or more simply: Text > Poster.
All music by Ben Vida, with Tyondai Braxton, and Sara Magenheimer. Mastered and cut by mastered by Helmut Erler at Dubplates & Mastering, Berlin. First edition of 500 copies, color cover + printed inner sleeve + double sided insert, 140gr black vinyl.
Slipping Control trouve son origine dans “Tztztztzt Î Í Í…”, une partition sous forme de texte écrite en 2013 par Ben Vida et parue chez le même éditeur. Trois interprètes jouent les 61 pages de la partition, leurs voix reliées à divers vocodeurs, suiveurs d’enveloppes ou déclencheurs pour ensuite contrôler des éléments électroniques selon différents critères de hauteurs ou de niveau. Même si parfois complètement méconnaissable, la voix reste l’élément central de ce travail. C’est un peu comme si la poésie phonétique d’un Raoul Hausmann rencontrait des machines dévoreuses de mots ! Avec Ben Vida, Tyondai Braxton et Sara Magenheimer. Masterisé et gravé par Helmut Erler à Dubplates & Mastering, Berlin. Première édition de 500 copies. Couverture intérieure couleur + insert, vinyl 140gr.