Quasi una macchina
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Quasi una macchina was gradually reproduced from my previous work, parastrata, almost unconsciously and seamlessly. Thus, this piece can be regarded as a sequel or an extention of the anterior work, or a tablet which complements a diptych. The heterogeneous and automated algorithmic process which drove parastrata like a “body-without organs” consequently coerced an epiphanic direction of energy towards totally unpredicted terrain, similar to a birth of a bewitched creature without having any self-consciousness. Therefore, this sequel can be regarded as a testimony to how a simple unicellular structure can evolve to an almost “alive” musical entity through certain melo-harmonic and rhythmic experiments with repetitions, evolutions, and mutations (as of machine learning, or more precisely, a machine awakening.)
While writing this log of becoming process, I tried not to involve my consciousness but limit my role inasmuch as an administrator throughout the overall trajectory, such as closed-loop or unsupervised learning model in AI programming. Finally, in the 2rd movement, this humanoid begins to compose a new passepied, which is totally inhumane and far from commonsensical man-made artworks. The ultimate purpose of this latter part was to discover an utterly pristine musical creature; at the same time every single organ of the creature is a causatum of preceding events with a relatively simple network. While the prequel renders a genesis of waving cellular network, this two movements—sequel can be regarded as a process in which a creature created from the nexus of multi-strata is recursively creating another creature (in this case, passepied.) The fully saturated shrilling harmonies generated by FM formulae helped me to animate this android-like clangorous soundscape; a sonic facsimile of natural acoustics —twilights before the sunlight.
June 2018
Pages - 50
Voro Garcia
Alejandro Cano Palomo
Gonçalo Gato
