Sonic Darts @Resonance FM
I'm glad to announce that my one of the pieces of the series Hino à União will be shown (in stereo format) at Resonance FM, at Gwaith Sŵn's Sonic Darts, Feb 3rd 2020, 10 pm UTC.
New installation @Feldfünf/Transmediale Vorspiel, 18.01
On 18.01 I'll be showing a new installation, A Sea of Acid, created for the group exhibition Ubiquitous, part of Transmediale Vorspiel 2020. More info here or on Facebook.
Homeopathic Music with 1-dimensional Visuals @Eufonia, ACUD Macht Neu
Looking forward to the Eufonia Festival in Berlin! I'll be present in two ways: I will present the installative performance Homeopathic Music with 1-dimensional Visuals on November 3rd and participate in a talk with Grischa Lichtenberger, Doron Sadja and others.
Intervention @Fundação Iberê Camargo, Porto Alegre
On September 14th I'll be presenting an intervention on the "Antes da Palavra" exhibition by Daniel Senise, in the gorgeous Iberê Camargo foundation building in Porto Alegre, Brazil.
Farewell to a Dying Light @Zwinglikirche
I am delighted to announce that Zinc&Copper and me will be presenting Farewell To a Dying Light as part of the Audiovisionen concert series
25.04.2019 / Kulturraum Zwingli Kirche / 20 Uhr
Audiovisionen: Zinc & Copper + Felipe Vaz
(microtonal brass, fluorescent tubes + computer)
Zinc & Copper was founded by Robin Hayward in 2005. A trio of horn, trombone and tuba forms the basis for a variable ensemble of brass instruments, distinguished by its innovative and pioneering approach.
Zinc & Copper are:
Robin Hayward - microtonal tuba, tuning vine
Elena Kakaliagou (Elena Akuro) – french horn
Hilary Jeffery - trombone
https://www.zincandcopper.org
Farewell to a Dying Light: Fluorescent tubes with magnetic ballasts have been illuminating urban environments for almost 90 years now, and were banned in the EU recently. *Farewell to a Dying Light* is a requiem to this once ubiquitous technology and its characteristic sound, soon to be extinct -- and the perfect place for this is the Zwinglikirche, known not only for its acoustics, but for being the first church in Berlin to use electric lights, with more than 300 bulbs installed. Well Tuned Brass: An exploration of intonation on brass instruments. Alongside Zinc & Copper's collective work with the Hayward Tuning Vine software, this also encompasses collaborations with such composers as C.C. Hennix and Ellen Arkbro. Audiovisionen is a platform for acoustic, electronic, and electroacoustic live music, taking place at the Zwingli church in Berlin. Curated by Hannes Teichmann as part of the program of KulturRaum Zwingli-Kirche e.V.
Homeopathic Music with 1-dimensional Visuals @KuLE/Transmediale Vorspiel
Please come by and join us in Lagoon Parliament's departure! Among many other fine artists, I'll be presenting a performance for 1-dimensional visuals and electroacoustic soundtrack during the sleepover.
Farewell UdK, and thanks for all the fish
Just handed in my dissertation Investigating Multimodal Consonance as the last requirement for my degree at the Universität der Künste Berlin. It was a nice ride!
Thanks to Prof. Volker Straebel and Yutaka Makino for the orientation.
Farewell To a Dying Light @Sound Propositions #1
My installation piece Farewell To a Dying Light, for fluorescent lights, tactile transducer and recorded brass, will be presented along a nice evening of concerts at Petersburg Art Space. Looking forward to see you there!
2100 on RE:FLUX, New Brunswick, Canada
2100, my collaboration with double bassist Vilhelm Bromander, is part of the RE:FLUX sound art Festival this year. Check out the schedule on the festival website below:
2100 concert recording now available on Quaset
Full recording now available on Bandcamp: https://quaset.bandcamp.com/album/2100
From album notes:
In recent years we’ve been frequently warned that sea levels will rise up to 2m by the end of this century, completely reshaping human experience as a consequence. However, since this massive movement is not directly accessible to our senses, our society still has a hard time accepting these facts. This performance, for double bass and electronically generated sounds, corresponds to the beginning of an 84-year long score that challenges the limits of a normal concert situation. It puts two different timeframes against each other: the first one is that of immediate human perception, in the microvariations of the bass part, and the other, a slowly rising tone that will stretch until 2100 and will eventually transcend our hearing range. The microtonal interplay between the parts will generate a wealth of details that will never repeat along the concert. Hopefully, for listeners that will try and tune in to its microvariations, this movement that humans cannot perceive might become accessible.
For a video excerpt of the concert and the score as exhibited: vimeo.com/206041508
Album is divided into two tracks due to Bandcamp's size limitations. Please message us to get a single, uninterrupted FLAC file. Paid downloads also allow access to a PDF with the full 85-page handwritten score.