Étémé ( x Jessica A. Rodriguez) THE RED PIECES скачать в хорошем качестве

Étémé ( x Jessica A. Rodriguez) THE RED PIECES

PRESENTATION The Red Pieces, or L’Œuvre rouge in French, is a visual music work that invites reflection on the viewer's perception of time and their relationship to history. The entire project is conceived as a narrative musical score of eight pieces, with a total duration of 11 minutes and 58 seconds. A prologue to an epic and metaphysical world-building fiction currently in development (Chronicle of Lost Worlds), in which mythological entities confront each other and question the nature of their disappearing world, L’Œuvre rouge depicts, in a completely scarlet and variegated universe, the drama of a destruction that questions the filial relationship between nature and humanity through the inherent nature of war and our need to tell stories. What is the meaning of the voice and the epic in the discovery of the sign? The images, one might say, self-generated for this purpose, in a purely intuitive relationship without a pre-existing scenario, dictating their own logic, their own raw musicality, and a narrative to be contemplated. As if, upstream and independently of the (so-called) creator's will, they were born in a state of urgency, already knowing what they wanted to say, what they wanted us to hear. From drawing to music, we strove to preserve this wild character of the images and their rhythm. This rhythm was given to the composer, who had to develop the same raw and spontaneous quality of this something-before-that attempts to speak, to instigate nature and human dissoluteness in a sonic portrait in which the parable and the sense of the epic are sketched anew as if for the first time. To reflect the spontaneous nature of the work in progress, the musical aesthetic relies both on the desire to give the sound an orchestral and digital dimension, due to the unique self-encoding of musical and dramatic language through the creators' gestures, and on an almost typewritten dimension. To achieve this, the music was built on live coding as its rhythmic structural foundation. Thus, the music was created through a process of live sonic deconstruction and reconstruction from raw sound sources—voice and breath, cello, trumpet, and flute—followed by the application of granulation techniques to fragment these recordings into microscopic textures. Using TidalCycles, a live coding environment for algorithmic music, we reconstructed and looped these fragments in real time, continuously modifying their patterns through feedback processes. This approach allowed the sound to evolve dynamically, creating shifting layers of texture. The images were created on a glass plate using pastel and water in a small format (between 5 and 10 cm) and then photographed using experimental animation techniques with a camera.