Pseudo-seizure vii -2010

This is my second submission to sound lab and due to the 10th anniversary I decided to share my most recent piece which belongs to a series called pseudo-seizures with aura. Pseudo-Seizure7 was conceivedafter a 3 month placement at a

Hospital’s Neurology Ward. I exploredthe aesthetics of auras during the preamble to an epileptic seizure by interviewing 2 selected epileptic patients who experience recurrent auditory auras (hallucinations) during status epileptics. I generated an extensive series of soundsamples based on these patients’ descriptions. The 2 patients then listened and ranked these sound samples in terms of their resemblance to their auditory aural experiences. To my surprise the samples that ranked more highly came from harsh textures generated by one of my vector synthetiser (TG33 partly designed by Dave Smith for Yamaha back on the days …). With this insight I then generated 11 sound-scapes of which number 7 is the current submission. In addition to these ‘synthetic epileptic auras’ there is a dodecaphonic percussive line which is a mapping of 12 relevant ‘electric events’ extracted from epileptic electro encephalograms (EEGs). The mapping is so that a 12 note system maps epileptic markers and the rhythm is a direct temporal map of when these epileptic events happened – in real time.


To conclude, the following is a prosaic deconstruction of the physiopathology associated with temporo-parietal seizures with aura. In my opinion a knowledge of this biology is fundamental so to empathise with epileptic patients. I highly recommend reading this some-how-non-sense-paragraph before listening … enjoy the music.

“auras – from – 80% of temporal lobe seizures + common feature — simple partial seizures +++ precede complex partial seizures of temporal lobe origin -~ “auditory hallucinations” :: ‘buzzing’ sound – ‘voice or voices’ or muffling or ambient or harsh sounds. ?neocortical temporal lobe epilepsy vs ?other types of temporal lobe epilepsy. ->Following the aura, a temporal lobe complex partial seizure begins ->> wide-eyed ->>> motionless stare ->>>> dilated pupils ->>>>> behavioral arrest, ‘oral alimentary automatisms’ ‘lip smacking + chewing. Manual automatisms too. or unilateral dystonic posturing of my limbs – could be one or more. most auras and automatisms last a very short period—seconds or 1-2 minutes. The postictal phase may last for a longer period (several minutes, perhaps 14.21 minutes). By definition, amnesia occurs during a complex partial seizure because of bilateral hemispheric involvement – so –


Intermedio – 2010

Improv during the virtual launch of Lopez-Donado latest submission to Media Fest’10.Lopez-Donado used the following instruments during the 13+mins improv: Premier modified drum-set + cocostuber + modified microphonics

inspired on ‘Romance de la pena negra’

Las piquetas de los gallos – cavan buscando la aurora, – cuando por el monte – oscuro – baja Soledad Montoya. Cobre amarillo, su carne, huele a caballo y a sombra. Yunques ahumados sus pechos, gimen canciones redondas. Soledad, ¿por quién preguntas sin compaña y a estas horas? Pregunte por quien pregunte, dime: ¿a ti qué se te importa? Vengo a buscar lo que busco, mi alegría y mi persona. Soledad de mis pesares, caballo que se desboca, al fin encuentra la mar y se lo tragan las olas. No me recuerdes el mar, que la pena negra, brota en las sierras de aceituna bajo el rumor de las hojas. ¡Soledad, qué pena tienes! ¡Qué pena tan lastimosa! Lloras zumo de limón agrio de espera y de boca. ¡Qué pena tan grande! Corro mi casa como una loca, mis dos trenzas por el suelo,

de la cocina a la alcoba. ¡Qué pena! Me estoy poniendo de azabache, cama y ropa. ¡Ay mis camisas de hilo! ¡Ay mis muslos de amapola! Soledad: lava tu cuerpo con agua de las alondras, y deja tu corazón en paz, Soledad Montoya.


Por abajo canta el río: volante de cielo y hojas. Con flores de calabaza, la nueva luz se corona. ¡Oh pena de los gitanos! Pena limpia y siempre sola. ¡Oh pena de cauce oculto y madrugada remota!


5 Kinds of Tears, part iii – 2011

This is part iii of my current body of work entitled 5 kinds of tears. Catalina de Siena, in her seminal work The Dialog, includes a chapter on which she classifies tears in 5 classes. Following, a prosaic pseudoscientific breakdown of my interpretations and the motivation for these 5 films:

I. Bad Tears: these engender death. They proceed from mortal sin and conduit towards it in a perfectly closed system. These are tears associated with hate, and desperation – they come from disorderly/issolated hearts. Nevertheless, they are considered perfect.

II. Tears of fear: fear to our own sins. They awaken us from sin out of deep fear of falling. These have unfounded motivations since they are not necessarily associated with redemption.

III (this film). Tears from servants: those that are associated with souls seeking to serve but realize the inherited loss and solitude. These gravitate around deprivement from visible consolation and are fundamentally centered on desperation and frustration due to the imperfections of the system. These are inconclusive tears within an open system, yet imperfect.

IIII Perfect tears: are those that emanate from souls that love in a perfect manner. They are based on frustration towards souls described at III.

V Sweet Tears: these are imperfect, yet more elevated that those in IIII and I. They are part of an infinitesimal impulse which occurs within a bilateral stare. At that moment two souls collapse and there is no time for tears to emerge. Nevertheless, they exist theoretically and, although imperfect, still qualify as the most elevated form of tears.

Lopez DoNaDo

While studying music theory/composition at the Music Conservatory of Caracas Jose Angel Lamas, Dr. Jesus Lopez-Donado received his BSc (Hons) in Electronics Engineering from the Simon Bolivar University (Venezuela) in 1997, later, his Ph.D. in artificial intelligence applied to signal processing from the University of Ulster (UK), in 2003 and his postgraduate certificate in education from the same institution in 2004. He has exhibited several installations and performed with a number of experimental bands. In February 2000 he joined the School of Information Engineering at the University of Ulster as a lecturer in multimedia and bioinformatics. He then emigrated to australia and became an A/Prof in informatics at USQ. He has being associate editor in the Proceedings of the International Conference on Artificial Intelligence and an invited editor for the IEEE Transactions’ series. His research interests are in, computational creativity (biological complexity applied to music), bioinformatics, medicine and generative music. He has published over 30 peer-reviewed articles, one edited book (available here) and one monograph (available here). Pursuing more humanistic goals, he commenced post-graduate medical studies (2007-2010) at Griffith University Australia. He believes that, despite an ubiquitous demand for specialization in modern society, the idea of a modern homo universalis (polymath) is still fundamental and achievable by fully integrating artistic, humanistic and scientific endeavors within a sole ideological framework.