Hello everyone. first of all I want to leave clear that I am sorry for the mistakes that happened with the press review. I assume that it was all my responsibility, once I asked leonardo rosado, to write a press review based on a text that I have written, and I didn't review it. So there were some mistakes, that I have found out and I want to be correct in a revision of that press review. The first one is that the ac toolbox from paul berg cannot be used to play live. The only thing which can be used to play live, is the MIDI and OSC data generated with ac toolbox, which can be used in several ways (example: combining MIDI or OSC readers in Max MSP, and outputing the data to histo+anal+generative/reactive control of parameters stuff. Then all the influences and names of huge people were only refereces. I am completely concious, that I will probably never reach their level in electronic/improvised music stuff. Then I want to leave clear the free/structures, refers to record free improv stuff with alto viola, and then arrange it on a sequencer, and building principles and gestures that might be used for playing live Then when I talk about reductionist aproaches in idm, I am not saying that my music is above any other person music. I just try to bring personal aproach to every kind of music I do. And try to do some unique and personal in my perspective another mistake is that scanner is from uk and not germany
tiago morgado
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Quando Tiago Morgado idealizou Algorrithmic Chaos de DNP X-Citer, pensou em fazer algo que rompesse, de certa maneira, com a tradição do IDM, seguindo algumas orientações traçadas pelo alemão Scanner (no sentido de não confinar o idm a fórmulas redutoras), partindo de influências pessoais como Aphex Twin, ou Autechre (warp records) bem como Alva Noto, Ryochi Ikeda e Byetone (raster noton); sem esquecer, contudo, Nine Inch Nails na sua abordagem de rock industrial mais comercial e "moderna" da musica de Einstuerzende Neubauten, Throbbing Gristle, etc.. Estas referências estão contidas na parte de electrónica presente que serve de base à improvisação "livre/estruturada", no sentido de abordar livremente a parte performativa na viola d'arco e depois trabalhar tudo a nível de edição, indo buscar música de nomes como Ornette Coleman, Sun Ra, Pharaoh Sunders, Frank Zappa, John Zorn, Otomo Yoshihide, Fred Frith, Evan Parker, entre outros.
Falando da parte técnica do álbum, a base foi trabalhada através do uso de composição algoritmica. Tendo instrumentos abertos numa DAW (digital audio workstation/sequenciador), que por sua vez eram accionados por MIDI, através de pressupostos geradores de material deveras simples, teorizados e sistematizados com o AC Toolbox de Paul Berg do Instituto de Sonologia de Haia, ferramenta esta que Tiago Morgado tem vindo a usar cada vez mais, por achar efectivamente que pode vir a ser uma ferramenta bastante util para o seu trabalho a nivel de composição - algorítmica - (não esquecer que o MIDI e OSC gerado com ac toolbox pode ser usado das mais diversas maneiras para tocar ao vivo; ex: histo+anal+MIDI/OSC source reading e controlo generativo de parametros).
Algorrithmic Chaos trata-se de um trabalho técnico, sem base conceptual feita à priori, mas que fez Tiago Morgado olhar para ele como uma espécie de caos organizado. E daí talvez através da contemplação se possa esboçar a nível pós conceptual uma temática para o álbum. Todo este trabalho foi efectuado com uma atitude sincrética em relação ao material usado quer conceptualmente, quer tecnicamente, que vai de encontro a toda uma panóplia de linguagens agregadas, sempre em busca da redefinição do conteúdo musical, uma linguagem pessoal, que não tem de ser necessariamente uniforme, mas sim um conjunto de linguagens que caminham sincronica e diacronicamente, sempre em constante mutação.
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When Tiago Morgado idealized Algorrithmic Chaos for his DNP X-Citer alter ego he thought of a way to break, in a certain way, with the IDM tradition, following some of the guidelines defined by Scanner the german musician (in the sense of not confining IDM to reductionist formulas). The background for this DNP X-Citer ep is Tiago's influences and reverence to artists such as Aphex Twin, Autechre (warp records), Alva Noto, Ryochi Ikeda and Byetone (raster noton) but also Nine Inch Nails and his approach to industrial rock that Einsturzende Neubauten, Throbbing Gristle and etc... brought to music. All this influences can be identified in the electronic part of the DNP X-Citer ep which serves as the basis for an improvised "free/structured" with alto viola. Again in this improvisation several references can be found, such as, Ornette Coleman, Sun Ra, Pharaoh Sunders, Frank Zappa, John Zorn, Otomo Yoshihide, Fred Frith, Evan Parker, among others.
The electronic part of the ep was worked with the use of algorithmic composition techniques, where instruments in the DAW (digital audio workstation/sequenciador) were triggered by MIDI, according to simple theoretical and systematized assumptions from the AC Toolbox (designed by Paul Berg from the Institute of sonology - the hague - netherlands). tiago morgado as been working with these tool because he believes that it can be helpful in his work with algorithmic composition (please do not forget that the MIDI and OSC material genarated with ac toolbox can be used to play live; eg: histo+anal+MIDI/OSC source reading and generative/reactive control of parameters).
Algorrithmic Chaos is a technical work, without an a priori conceptual background, but when Tiago Morgado analyzed it a posteriori an organized chaos appeared. And based on that, using contemplation maybe you the listener can identify a theme for this ep.
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