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The Game of Invisible Transmutations

by Paulo Motta

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1.
The Game of Invisible Transmutations #1 27:03
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2.
The Game of Invisible Transmutations #2 28:02
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3.
The Game of Invisible Transmutations #3 19:45
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4.
The Game of Invisible Transmutations #4 22:08
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about

“O Jogo das Transmutações Invisíveis”, para sons eletrônicos
Acusmática - Paulo Motta, (2017-2020)

“The Game of Invisible Transmutations”, for electronic sounds
Acusmatic
«Le jeu des transmutations invisibles», pour les sons électroniques
Acusmatique
"Das Spiel der unsichtbaren Transmutationen" für elektronische Klänge.
Akusmatisch
"El juego de las transmutaciones invisibles" para sonidos electrónicos.
Acousmatic

I started composing "The Game of Invisible Transmutations" in 2017. Over those four years, I worked on this composition in staggered periods, with intermittent intervals in which I dedicated myself to listening to the material made, interrupted by pauses in order to distance myself, especially, of the processes of sound synthesis (in this period, obviously, my perceptions about myself, reality and sounds changed and had repercussions in the elaboration of the composition: the title itself refers to these changes - transmutations). I considered this procedure fundamental to develop a critical aesthetic and auditory sense of the created sounds and to be aware of the formal set of the work. Due to the fact that the sound-electronic synthesis presents itself as a compositional process that involves temporal and spatial context (in the latter case, as an essential musical parameter in the structuring of the piece), both in the sense of working with time and space, as for creating time and space pertinent to the sounds, this auditory distance contributed so that I started to have the perspective that "O Jogo ..." sounded like a true autonomous sound entity. In this context, I realized that there was something like the "quickening" of the created electronic sounds, sounds that involved both subtractive and additive synthesis processes. Consequently, I created subtitles for the eleven sessions of the composition, which include ontological designations and geomorphological terms from the planet Earth mimicked in the terms used. These subtitles show the immanent aspect of the human, of its relationship with the planet itself, and of the creative aesthetic-artistic work involved in electronic sound-music synthesis. “O Jogo ...”, with a duration of 01h 37 ’, was originally conceived for preferentially binaural listening (with headphones), and several sessions will only make auditory sense with this category of listening due to the preponderance of spatiality. Due to the fact that I conceive time aesthetically as a twin dimension of space (which includes the conceptions of spatiality and spatialization), the temporal dimension - consensually and traditionally pointed out as a parameter that defines the artistic-creative aspect in music - becomes relativized in compositional and chronological terms. That is, during the auditory flow, the sensation of temporal durations escapes the chronological quantification of time and suggests an ontological perspective relevant to the qualitative aspects of time (temporality).

Electronic sound is a life forms and never remains the same

The Game of Invisible Transmutations is originally a non-stop composition without separeted tracks.


Paulo Motta: Composições sonoro-musicais: www.facebook.com/paulomotta.composer

Sinatagma - Sonic explorations with electronic resources.
www.facebook.com/sintagma.electro

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released January 1, 2017

Composed and perfomed by Paulo Motta Paulo Motta between 2017 - 2021

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Paulo Motta Juiz De Fora, Brazil

Paulo Motta is a composer, sound designer and synthesist based on Juiz de Fora, MG, Brazil. Experimental/electronic music and sound art education (historical perspective). Transdisciplinary research (philosophy, musicology, sociology, anthropology, psychology) with studies on electronic sound and human consciousness. Compositional projects based on sonic exploration with electronic resources. ... more

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