@c

People
Performances

latest releases:

2016 Three-Body Problem
2014 Re:Barsento
2014 Ab OVO
2013 Half-Life, Still Life
2012 Re:Fujaco
2011 Homem Fantasma
2010 0°-100°
2008 Up, Down, Charm, Strange, Top, Bottom
All releases

installations:

A/B
6 Elementos
Becoming-
LMY-7-10
Divisor / 4
Respiro (2)
Respiro (1)
M.M.M.M.
Noventa e Três (para Colönia)
30x1
30x1.2

videos:

1606 T-BP Video Program
1605 Cage 116
1603 Transcendence 115
1504 Alteration 109
1411 Fórum do Futuro
1110 Transition 89
1006 Machination 84
0808 Construction 76
0805 Offf
0804 EMAF
0709 Ars Electronica
0705 Barcelos
0611 Study 40
0610 EME
0606 SonicScope
0510 int.16/45//son01/30x1
0509 EME
0404 v3
0301 hardVideo

photos:

1606 Press photos
1605 SMUP
1512 La Escucha Errante
1511 Intermediale Festival
1410 Semibreve
1003 Press photos
0911 Press photos
0910 Perugia
0906 Sonica:Post
0804 EMAF
0803 Template
0803 Netwerk
0802 Press photos
0712 Natal dos Experimentais
0709 Ars Electronica
0709 Ars Electronica
0709 Beck's Fusion Pod
0709 Beck's Fusion
0705 Barcelos
0703 Pixelache
0702 CdM
0611 Algo-Ritmos
0609 PTM#2
0601 Netmage 6
0512 Madeira DIG
0511 Imagens Projectadas
0509 Stephan Mathieu + Naja Orchestra
0503 Zemos98_7
0505 Hip Chips @ U.Católica
0505 Hip Chips @ ZDB
0504 deTour
0502 Penthouse
0412 Metro
0411 Tel Aviv
0410 + Pure, Vitor Joaquim
0407 FICMVC
0407 + Joe Giardullo, VJ
0404 v3 comp
0404 v3 live
0311 Atlantic Waves
0310 + forçasamadas
0302 Sonic Light
0111 Número Festival
0110 Frágil
0010 Co-Lab
0006 Serralves
0004 Screensaver

Info Sheet EN / PT (PDF)
Tech Rider @c / @c + Lia
@c in facebook

Homem Fantasma

Homem Fantasma

Homem Fantasma

Composed by Miguel Carvalhais & Pedro Tudela in Porto, 2009-2010, except 78 with Pierre Alexandre Tremblay in 2010. Recordings made from 2005 to 2010 in Barcelona, Düsseldorf, Madrid, Mindelo, Nashville, Perugia, Porto, Rebelva, &c.

“Homem Fantasma” presents three new compositions that steer @c’s work into new domains of audial exploration.

@c’s music is about complexity, dispersal, multiplicity and active listening. It’s about the complexity of what is in the music, what is not, and what may be filled in by the listener’s brain. Dispersal and multiplicity walk hand in hand in these pieces, created by a (sometimes staggering but never overtly evident) layering effect, through the composition of rich and complex soundscapes that challenge the listener to focus on single threads while inevitably reserving parallel sequences to be discovered on later hearings. Multiple viewpoints enrich the compositions with the struggle and balance between (dis)concordant strains of sound that create multiple perspectives, varied departure and landing points for a listening experience that is never facilitated and nothing short of challenging.

The length of the compositions is dilated, to allow the listener to re-enter the same piece consecutively, developing multiple and varied listening experiences during its running time. False-starts or pauses are used as markers for this traversal, dragging one out of the continuum just to plunge back into it.

@c’s music is constructed. After the initial sound building, the exploratory work from which the basic elements are created, they proceed to a layering stage, where sounds are arranged in order to build the unified whole. This music is not hermetic or gratuitously difficult, much on the contrary. As complex as these constructions may be, and as far as they may stand from easily categorizable format or straightforward descriptions, they are able to generate immediate and strong aesthetic reactions, leaving strong and lasting impressions on listeners. But they do demand attention, interpretation and scrutiny of the nuances and details of the pieces.

The three compositions in “Homem Fantasma” were created during a period of almost two years. They were slowly chiseled and refined, they integrated bits and pieces of chance encounters, mishaps, dérives, and contaminations, emerging from the meeting of multiple forces, semantic contexts and actions. Field recordings and found sounds, a very important part of the sound palette, bring with them recognizable (although vaguely alien) timbres and textures, but @c’s music is also built from segments of live recordings and studio recordings, processes and experiences that are collated in the compositions.

Besides being an homage of sorts, the title of this release originates from the ghostliness of computational music and the immateriality of the musician’s role in its creation and performance, their simultaneous presence, immanence, and absence from the music. This is @c’s first release in Crónica’s Unlimited series of freely downloadable editions.

Thank you to Rosi Avelar, Gustavo Costa, Ana Ferreira, Miso Music, Pierre-Alexandre Tremblay and also to Sérgio, Krzysztof, Dennis/Frank, John, Paul, George and Ringo.

Now available as a free download from Crónica