A telematic art exhibit and gathering including teleconcerts, installations, and workshops. Among participants Jacktrip developer Juan Pablo Caceres, trombonist and UC Irvine Music Dept. chair Michael Dessen and telematic arts maverick Chris Chafe. Teleconcerts included works by José Gallardo, Juan Pablo Caceres, Bruno Ruviaro, Juan Reyes and Hector Fabio Torres. Organized by Juan Reyes and Mario Valencia.
A multiphonic computer music using eight channels et Ambisonics for live telematic performances.
'Os Grilos' for Scanned Synthesis and second-order Ambisonocs was programmed at one of the concerts at the Triple CCRMAlite venue. John Chowning encouraged Juan Reyes on keep working on this type of synthesis. See more of the story at the program notes. Thanks a lot to Eoin Callery and Nette Worthey for their support and encouragement.
A Multichannel second-order Ambisonics computer music using Bill Verplank's and Max Mathews' Scanned Synthesis.
Delay lines, rotarhorns and Leslies
Research and Lisp implementation of delays and moving speakers (web page coming).
Tele Espacios Activos I
Grain of salt to 2014's International Festival of Image in Manizales, Colombia. First rendition of Tele Espacios Activos featured a teleconcert with performances between Manizales and Stanford, and between Manizales, Cali and Medellín, Colombia. Natalia Castellanos (at U. de Caldas) and Juan Reyes (at Stanford) had a tele performance of Reyes' Open Spaces on this venue.
Joined performers and composers from around the world. While main stage was at Stanford's Bing auditorium, there were other stages around the planet. Tele-espacios Abiertos was performed by Zhengshan Shi at Bing as well as Lilian Campesato and Julian Jaramillo in Sao Paulo and Daniel Osorio, Mario Valencia and Juan Reyes in Manizales. View concert performance.
A composition for telematic performance as well as a video sound installation. Sound sources and material come from physical models of banded waveguides, namely a model of the Tibetan singing bowl programmed by the composer. More about banded wageguides on Georg Essl's web page.
Congreso Internacional de Artes del Caribe
Invited talk at the Caribbean Art Congress at Cartagena, Colombia. Organized by the School of Arts of Bolivar and University of Antioquia, this congress was a gathering to reflect on art and technology. Subject of this talk focused on spontaneity on music performance and the arts.
A celebration of John Chowning's return to Bogota this time at Javeriana University. This venue was a four(+) days gathering and included talks and a composer's colloquium in addition to Maureen and John Chowning's concert and a telematic performance of John Cage's Four6 between Bogota, Sao Paulo and Stanford. This venue was organized by Ricardo Escallon and Juan Reyes.
FLAMIM or Latinamerican forum for new musical interfaces inside frameworks of Diseño(+) at Icesi University in Cali, Colombia. Joined Wendy Ju, and fellow colleagues Michael Gurevich and Jaime Oliver for panels, workshops and discussions on the subject matter of music interaction. Part of this forum included a teleconcert (first of its kind using advanced networks in Colombia), with performers at University of Michigan, Stanford University and Icesi University. Performers included Stephen Rush and his Digital Ensemble at Ann Arbor, Chris Chafe, Roberto Morales, Rob Hamilton, et al, at Stanford, as well as Jaime Oliver, Michael Gurevich, Daniel Gomez, Juan Reyes and others at Icesi. Other performances at FLAMIM featured a new realization of John Cage’s Rozart Mix in honor of the composer’s centennial directed by Michael Gurevich. Program also featured Juan Reyes' Oranged (lima-limón) for multi-channel tape. This venue was organized by Maria Clara Betancourt, Daniel Gomez and Juan Reyes.
An electronic arts exhibit with Colombian artists at Caraffa Museum in Cordoba, Argentina. On the program there was a live performance of Horace in San Mateo and improvisation on piano of Cuatro25 Orejas for piano and live electronics at La Cúpula Gallery. Venue curated by Jorge Castro and supported by the Alzate Avendaño Foundation of Colombia.
A realtime algorithmic computer music and live electronics piece for "Fender Rhodes" (if possible) and pianoforte Sounds. The piece follows on the spirit of the augmented ninth dominant or plus eleventh chords seldom used by pianist Horace Silver on several of his compositions.
This is a sound installation as well as an eight-channel tape music composition. In this piece sounds travel a path inside a boxed environment obtained by Lissajous patterns applied to intensity panning on each source.
A sound art exhibit featuring Chuchoter as well as other works from various artists it the Museum of Modern Art of Bogota. This exhibit also featured talks on the subject matters of computer music and new ways of expression and performance.
A sound art exhibit featuring FtheF for visuals and modeled bowed strings and artificial performer. This is a multichannel composition and sound space intervention. Sound sources come from the physical model of the bowed string.
This is a new rendition of the original ``Freddie the Friedlander'' for physical model of the bowed string plus artificial performer. This version adds visuals and color in an attempt to image-by-synesthesia fabrication.
This is an algorithmic miniature piece for sound samples of saxophone. In its code the algorithm pursues J. C. Risset's rhythmic paradoxes, which in this case give the illusion of an ever lasting accelerandi o decrescendi. This piece is dedicated to music education advocate and winds performer Terry Mohn.
This is a course offered for students interested in symbols, semantics and grammars of gesture on various domains. Initially conceived for music performance students have also found applications on visual and space arts as well as dance and body art.
Not too recent but current:
A tutorial for electroacustic composition or sound art production 'en español'. Used on several workshops at Universities and institutions throughout Latinamerica.