1. Agostino Di Scipio: Modes of Interference / 3 (2007) 11:18
Nicolás Kliwadenko (guitarra eléctrica), Francisco Martínez (guitarra eléctrica), Diego Behncke (electrónica)
2. Francisco Martínez: Espirales Genéticos (2012) 10:03
Vicente Araya (guitarra), Danilo Torres Meschi (guitarra)
3. Nicolás Kliwadenko: Tercera Práctica (2013-2014) 15:02
Francisco Martínez (guitarra eléctrica), Diego Behncke (objetos amplificados), Nicolás Kliwadenko (electrónica)
Francisco Martínez (guitarra eléctrica), Diego Behncke (objetos amplificados), Nicolás Kliwadenko (electrónica)
4. Addendum (Every Decision You've Ever Made) 07:29
Nicolás Kliwadenko (guitarra eléctrica), Diego Behncke (electrónica), Francisco Martínez (radio)
Musicahora, La Serena, 4 de noviembre, 2014
LINER NOTES:
1. Prototype for suspending mediums: formulation for a distance from the subjectivities which made an object become a cultural-historical act. Therefore, in this case, the mode of interference is a system in which the identity-agency is partially removed to give place to a relation from the medium itself: the objects, in this case, communicate between themselves through the interference, and this is part of a differend inaccessible to any historiographic interpretation.
2. Objects, thus, have their own interference. A tissue of interferences is what defines models of behavior which are articulated as disputes.
3. Terza Pratica: it is the relation of a mode of interference in itself; not communion but conjunction of strata in very unstable conditions. There is no resolution.
4. Internal resonance: transductions of information, a symbolic language made of communicational residue. Both microphone's capsule and amplification system ignore the performer without responding to an analysis of their outer workings: they present themselves purely as unstable, speculative technical existence.
This work is a composed dynamical system entirely based on an audio feedback loop.
The two ends of the loop are (a) the electric guitar’s pick‐ups, and (b) the combo amp. The level must be loud enough as to cause the feedback loop to start sounding (this is sometimes called the "Larsen effect"). That represents a technical problem in professional sound systems, but in here it is the only source of sound.
In between (a) and (b) are the guitar strings and the signal‐processing computer. The string vibrations determine principal and secondary resonances in the feedback loop (frequency of Larsen tones), depending on length, tension and mass. To some extent, they also depend on the mechanical features and the electronic circuitry of the amp and the pick‐ups. The computer manages the feedback gain, trying to keep the overall system in equilibrium and avoiding sustained saturation. The computer also transforms all sounds, and in their turn the transformed sounds, duly delayed, enter the feedback loop and interfere with the current Larsen tones. The whole process remains always subject to perturbations from the surrounding, mechanically mediated by the strings and the guitar’s wooden body.
All efforts should be aimed at establishing, only with the available means, an autonomous system dynamics, heard as a flux of sound shapes changing over time.
