OnE with viri – lopezdonado + barret

Video

Part of the last trogotronic comp – proud to be part a w t nelson endeavour. available from:

http://pro-noise.com/album/trogotronic-compilation-ii

http://grindcorekaraoke.com/album/trogotronic-compilation-ii

http://www.trogotronic.com/wp/2013/03/29/34-movements-in-the-tinnitus-symphony/

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LopezDoNaDo performing this Friday Brisbane 15 March, 7.30 pm, Queensland Conservatorium, South Bank – Basil Jones Concert Hall ++++++ i shall see you all there @ the international premiere of 18{6{6{6}}} @ QLD Conservatorium Brisbane – Evening of March 15 2013

Image

Plutchik’s Wheel of Emotions (1980): Robert Plutchik created a
new conception of emotions in 1980. He called it the “wheel of
emotions” because it demonstrated how different emotions can blend
into one another and create new emotions. Plutchik first suggested 8
primary bipolar emotions: joy versus sadness; anger versus fear; trust
versus disgust; and surprise versus anticipation. From there Plutchik
identified more advanced emotions based on their differences in
intensities. If you look at the diagram below you can see how each
emotion relates to the other.

Those of you in Oz specially Brisbanedorfs are most welcome to attend my next live show. 1/2 hrs of Eurorack emotional distress at the Queensland Conservatorium Brisbane during the evening of March 15 2013.

BLURB as follows:

Title (short): 18{6{6{6}}}
Title (long) Spanish: dieciocho temas para seis movimientos de seis
individuos con seis sentimientos
Title (semi-long) English: 18 themes for 6 movements of 6 individuals
with 6 emotions

Performance synopsis:
You see, dear listener, there are many ways to classify emotions but 2
main systems have chiefly made it into the sacrosanct realm of
phsychology journals. Namely Plutchik’s Wheel of Emotions (1980) and
Parrots’ Classification of Emotions (2001). This is my proposal of a
lil’framework to abuse my modular synth based on 6 acquaintances’
emotions. I call it 18{6{6{6}}} which is a pseudo LISPian joke
describing how 18 eurorack modular synth patches produced 18 fragments
of sound that got labeled with Parrot’s and Plutchik’s tertiary
classes of emotions. The story goes onto how I trusted Drs Parrot and
Plutchik empirical grouping of these tertiary emotions into 6 primary
emotions. I then adventured into improvising 6 movements each using
exclusively patches that were blessed with either of 6 emotions as
perceived by my 6 close friends/colleagues. Finally, this becomes a
hypothetical imperfect parlour of 6 imperfect individuals for 6
perfect emotions and 6 imperfect music movements. To bring the spirits
up somehow the piece is summarised by a child poem that goes * Lukes
is for Love * & Joseph is for Joy & ^ Sam is for Surprise! ^ $ Ann is
for Anger $ % Sid is for Sadness % ,but, # Fred is for Fear #

Program:

18{6{6{6}}}

1st Movement: Lukes is for Love * – 6min
2nd Movement: Joseph is for Joy & – 6min
3rd Movement:  Sam is for Surprise! ^ -6min
4th Movement: Ann is for Anger $ – 6min
5th Movenet: Sid is for Sadness % – 6min
6th Movement: Fred is for Fear # – 6min
*&^$%# = Names are not actual.

Adios, J LopezDoNaDo

Todds paralysis … Soon

Working hard on a new single called todds paralysis – part of the pseudo seizure series … Stay tuned

20111105-223235.jpg

Sonnet

I recently implemented a physical contraption that I deliberately named E.U.R.A.Z.Z.I. – a CV controllable eurorack conversion of ciat-lonbarde’s tetrazzi organus. E.U.R.A.Z.Z.I. was instrumental on interpreting my 2003 graphic score and composition entitled “Sonnet”. This composition is based on the juxtaposition of, (i) numerological findings and (ii) musicality features, both systematically extracted from the poem “Sonnet” by Federico Garcia Llorca:

Federico Garcia Lorca - Sonnet

   I know that my profile will be serene
in the north of an unreflecting sky.
Mercury of vigil, chaste mirror
to break the pulse of my style.

   For if ivy and the cool of linen
are the norm of the body I leave behind,
my profile in the sand will be the old
unblushing silence of a crocodile.

   And though my tongue of frozen doves
will never taste of flame,
only of empty broom,

   I'll be a free sign of oppressed norms
on the neck of the stiff branch
and in an ache of dahlias without end.

El toque de silencio (The call for silence)

Juan Talega was a singer whose roots were in Alcalá de Guadaira, but he spent his life in Dos Hermanas, a small town just outside of Seville.
His rough, no frills, gypsy voice is one of the darkest and most haunting voices in the history of this ancient art.

Juan Talega, who was born in 1891, never sung professionally until he was in his seventies and the soleares, siguiriyas, and toñas were said to have been his favorite styles.
He was the nephew of Joaquin El de la Paula, a man that would teach Juan Talega the secrets of the orthodox flamenco song. Joaquin el de la Paula was gypsy cantaor who lived his life in a small cave near the castle in Alcalá de Guardaura, singing for pleasure and rarely for money, but he was to introduce a style of soleá that is still performed today.

Joaquin was an exceptional flamenco legend, molding the song into his own creation, the lyrics being spontaneously invented as he sang
His cante was passed down to him through generations of singers, and Joaquin and his brother, Augustin Talega, passed them on to Juan.

Juan Talega spent the majority of his life working as a horse and cattle dealer and only sang at juergas and intimate gatherings; but word of his singing spread through the surrounding towns of Seville and he became one of the most revered singers of the old styles of Alcalá.
Juan Talega won the 1959 Cordoba Consurso de Cante Jondo in the toñas and soleares sections, and he was also one of the judges that resided over the third Llave de Oro contest in 1962. But he was said to be uncomfortable in these surroundings and was only really at ease with intimate private gatherings.
Antonio Gala who witnessed one of Juan Talega’s first stage appearances wrote “ Juan Talega with his facies leonina of an age old leper, was there on stage, cornered, sidestepping, cleaning the dry sphinx of his face with a large handkerchief. He was there and he was not.

Juan appeared at many of the festivals in Andalucía accompanied by guitarist Diego del Gastor, who said that Juan’s fabulous siguiriyas and soleares would leave the audience breathless.

Juan Talega sang styles of siguiriyas that he learned from his father Augustin, and these siguiriyas could be traced back to Diego el Fillo. Agustin Talega was a man who knew more styles of toñas than any other singer alive in his time and this contributed to Juans vast understanding of the cante jondo.

Juan Talegas voice had a ghost like echo of his genealogical past and his martinete and soleares de Alcalá are shatteringly eerie.
Towards the end of his life he would be found sitting on an old chair in the street outside of his home in Dos Hermanas, an olive cane in his hand, which was used to beat out the ryhthm to his song.

Singers would come from miles to listen to his mastery and to steep themselves in the old secrets of his cante. Juan Talega died in Dos Hermanas in 1971.

Reference: http://www.andalucia.com/

Odes to Merzbow 2da – The confined birds (release on aug.11)

Oh Merzbow, you that have transcended the limit of distortion until the imitation of free birds – no soul can reflect in a mirror after confining free birds – they claim that … Serial highly organized cells like onions under the microscope but laking nuclei – like small cell carcinoma of the lug; Acute is the knife and amperes shall be delivered since it is more human and highly serial like a code of conduct in a … With the institutional approval … The cage is in the past and gas expands up to the limit of … 78 eight cells times 78 sheds times 78 arcanes is not a cabalistic number to be proud of. Oh Merzbow I empathize and dwell on the sound of your theoretical birds – /Oh Metzbow, there are lines within the dreams of animals – they look like cognitive flowers and are not visible to them. It is shamefully ignored that these geometries belong to sound realms. I was one that had to be there – I could no sample the noise they were making upon the … Prepare the electrodes and get a shower because it is practical after every serial bloodbath … I have heard the noises they make and there are 78 in town

The music/film release early august … Subscribe to the blog and stay tuned

Yours, lopezDoNaDo

Odes to Merzbow 1a – La Matanza (release on aug.11)

Oh dear Merzbow – you that suffers deeply when animals are sacrificed. Oh Merzbow and the Matanza are not for each other, acute sordid sacrifice which often – in vain – the culprit of pain … Start the generator or grab your hopeless knife not like a matador piquet but a grotesque instrument that … Oh Merzbow the serial violations of animal rights and the odd consideration to the … Oh the Matanza and the noise they make. Gas is the end of a night or the start of a life … Prune the picks? Catch @saw “cut ‘apply the electrodes ,..,.,…,..,. Like a futile dissection of 78 abandoned souls at purgatory! Oh Merzbow my friend – you that … Above . The knife vs the electrodes

The music/film release early august … Subscribe to the blog and stay tuned

Yours, lopezDoNaDo