![]() Q: How do you work with psycho-acoustic phenomena?Ī: On studio records it’s maybe a bit easier because of the limitation of the CD or LP format, which is stereo, 2 channels. It demands a lot of work and outer-space thinking to make it wide. ![]() I worked a lot on psycho-acoustic phenomena for this piece, I did a lot of stereo and sound positioning, because originally the HighC/UPIC is mono. Q: I did that when I listened to the CD, because each section of Eva and Xavier’s graphics is given a time which correlates to the music.Ī: That was the idea. The graphic designers, the label and myself wanted to get the listener involved in the process of listening and watching at the same time, even if it was not the real score. They did not see my score, only parts of it. To use my original score was too complicated and I wanted them to listen and to do this process of mental drawing themselves, like any other listener. The label has a strong graphic line, very minimal, black and white. I did some videos where you can see and listen to them. Some of the original drawings can be seen on my website. They drew while listening to the record, to create a sort of mirror, like an answer to the whole CD concept. Q: So the drawings on the poster that comes with the release are the score? That is what was fed into the computer programme?Ī: No, the graphics designers, Xavier Robel & Eva Rittmer, did the reverse thing. ![]() I did 85 of those HighC/UPIC sessions, from 12 to 480 seconds each.Ī: Max/msp is a unique and powerful software that allows you to create anything you want/imagine, either in sound or visual art, it’s very famous, very powerful but pretty hard to master. I got more involved when the first version of HighC was made available. I tried many visual-to-sound softwares, like Methasynth, and did some max/msp patches, but nothing too fancy, or complex to really work with it. When I read more about his works, especially the polytopes and UPIC works, I decided to look in that direction, but of course, getting access to the real UPIC machine was very difficult. As a “fan” of Xenakis I was at first really surprised by the UPIC idea, to “draw” sound. ![]() Q: Francisco, on your newest release ‘Untitled Phenomenas in Concrete’, you use an unusual piece of software devised by Xenakis?Ī: Yes. To coincide with this release, Chris Whitehead interviewed Francisco Meirino in order to find out what forces shape his art. His latest release, ‘Untitled Phenomenas In Concrete’ was partly made using software developed by the composer Iannis Xenakis, which involves drawing waveforms and envelopes that are then rendered by the computer. Meirino has also worked with Michael Esposito, an expert in Electronic Voice Phenomena (EVP), in which human-sounding voices from an unknown source mysteriously appear on recording equipment. He has collaborated with such artists as Dave Phillips, Mike Shiflet, Jason Kahn, Zbigniew Karkowski and ILIOS among others. He is fascinated by the idea of recording what is not normally deemed useful: The death of PA systems, gear failures, static, magnetic fields and electrical faults. His work explores the tension between programmable material and the potential for its failure. Francisco Meirino lives in Lausanne, Switzerland and has been active in the field of experimental music since 1994.
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