The initial limitations of this work were designed through a double-entry table containing CMYK color codes. From the 16 available combinations, I eliminated the diagonal line of similar tones, leaving only 12 pairs left, which comprise the 24 frames in the film.
The concept makes allusion to the patch, the confinement and the amplification of minimum reality spaces. It also considers the creative process as a closed space, though infinite; a kind of an endless toy box from which I have access to innumerable possibilities and combinations; error and search; repetition and novelty. Even the path should eventually take us to the starting point, making us wonder about the need of realizing an IDEA on a specific format.
The four colors seem to be limited at first, just like graphic symbols. But through the use of simple rules (turn off-turn on, full-empty, left-right, etc.) I search for the annihilation / confusion of the notions of uniformity and detention. That is, the initial boundaries don’t provide any indications on the abstraction possibilities once we’re immersed in the “detail within the detail”.
The sound generated the initial forms on ARGEÏPHONTES LYRE 3, a software that translates audio files into images; and these files were then edited in a software that translates moving images into simple ASCII-code images.
According to the acoustic principles, the brain cannot recognize any sound shorter than 0.1 seconds.
I used 0.1-second excerpts from the sound a drop makes when it touches the still surface of water in a container. Using some sound “stretching” processes, I created four 12-second files with different equalizations/colors. Aside from that, I worked with sine tones and white noise with the same equalization. Through a set of combinations, I obtained sound mixes that generated the images and a mechanical audiovisual piece.
1977 | Punta Arenas, Chile
Commercial Engineer by profession.
He’s been developing his artistic qualities since 2000, starting with literature, to then join the independent record label Harijan Records in Punta Arenas (Chile), where he works as a producer and sound designer for the band Mantiza .
After the dissolution of Harijan Records in 2003, he joins the art collective “Última Esperanza”, where he works visual arts, participating in the realization of a series of integrated-art works dealing with the subject of Identity. Besides, he also does a series of electronic music recordings and sound montages under the alias “Falsificador”, where his interest in concrete music, sound art and the use of ambience sounds for his compositions gradually increases.
He currently works solo, composing sound pieces that explore the use of ambience sounds, soundscapes and the generation and creation of new sounds. His work also reflects on the interrelation between image and sound.
Lives in Chile. +info