Various formats. 2016 – ongoing.

Carried out with the support of Gmem, centre national de création musicale, Marseille.

The cycle of compositions collected under the title “Plane/Talea” reflect my interest in vocal polyphonic music. They envision an “impossible choir” constructed through the sampling of thousands of fragments and pieces of voices, my own and those of others, and their recomposition into polyphonic garlands and textures.

Plane/Talea is a growing environment that has been presented in several versions. Performative with headphone choir (Plane/Talea #1 – Chicago),  performative lecture (Plane/Talea #4 – Berlin), LP (upcming on Holidays Records) etc.

This cycle can be intended as the utopic sonification of an impossible community in which the voice is atomized into primary particles and later reconstituted into sonic masses and clouds. These are too dense and complex for a chorus of real human beings to sing.

The music of “Plane/Talea” is the sonic projection of such a community. The voice is not processed or altered in any way but subjected to molecular reorganization. Theoretically, a hyper-chorus could sing material of this type but, perhaps fortunately, such a choir does not yet exist.

In Plane/Talea I enact the possibility of sound beings, fantastic living structures existing only within hearing and give a presentation of their room-less world.
Together they form a phantasmagoric community of sounds, a cloud of utterances and sound particles.

Each one of the sound creatures I will present is a unified individual but it is also composed by a finite number of discrete particles. Each one of such particles – once it appears – is already a sufficient presentation of the individual in which it takes part.
I artificially generate such creatures by assembling and recombining particles of sound in my computer and sound software and creating assemblages that have a specific “identity” and which appear as “separate objects” from the rest. I prefer to consider them as entities with the vague intuitions that they may have a specific way of being alive on their own terms.

The particles are tiny fragments of voices, discretely recorded and not processed. I choose to avoid sound transformations and work with an extremely restrained palette or tools affecting the way such particles recombine and juxtapose themselves.This is a sonorous fantasy of mine rather than a scientific or theoretical investigation on the nature of sound.

According to greek philosopher Heraclitus the world is fire kindling itself by regular measures and going out by regular measures. In the same way the particles such beings are made of are kindling themselves by regular measures and going out by regular measures as sparks of sound and in this way determine their modes of existence.

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