Formar parte

Instructions:

1. The letter “q” sounds the chorus
2. the letter “w” stop the chorus
3. The letter “a” makes the verse sound
4. The letter “s” stops the verse
5. From “z” to “b” the different vocal chops sound within the song.

Brief Description:
Anyone who is part of this work can consider themselves a musical being and experiment with the sounds generated by the work. The platform is developed in order to configure the viewer’s position regarding musical consumption.

Technical, aesthetic and conceptual development

How do we get involved? This work called Being a part makes us reflect on the action of consuming music. I wanted to experiment with new song formats and play with the fact that we can not only listen to them, but also be part of the development and construction of them. At first I had thought about developing a generative work that would be modified 100% by the user, but I realized that to do that the “spectator” had to be experienced in basic musical resources, such as rhythm and beats, so I decided to move away from the assumption of other people’s knowledge and base the entire work on one’s own musical development and that the audience’s interaction be structured within the scale of D#m - D#m.
I thought about calling it a setup, rather than a song or a play. Reading Boris Groys’ text, called Installation Politics I was very struck by the position in which the viewer is put and the differences he makes between a standard exhibition and an artistic installation.
I am a composer, I make songs and these songs, as Groys says at the beginning of his text, are designed and made for the general public and not for people who want to buy them. Although he refers to the plastic and/or visual art industry, I understand that music has a completely different consumption. When it came to exhibiting this piece I wanted to get away from that place where a song is made just to be heard. The piece is a program where the user can be part of the aesthetic development of the song and curate the sounds or figures that will appear. Through this installation, I am trying to put the user in the place of the artist and putting myself, in the place of its developer and curator, designing a creative sound world, so that it can be played and experienced within a scheme created by my decisions. Two assembled loops are used in the Ableton Live software and each of these loops generates geometric shapes that rotate in the z axis. One of the structures is a chorus with the vocal chops already in place and the second part is the empty verse, so that the user can put the chops wherever they want and thus make the user part of the installation created by the developer who curated the sounds and figures that appear when the keys are played. In this way the user can be part of the installation and be part of the work.
A final reflection that arose in me writing this text is: Will the user want to buy a work of which it is a part? Would you buy your own work?

Literature

“Política de la instalación” de Boris Groys.

GROYS, Boris. (1999). “Politica de la instalación” En Volverse público. Las transformaciones del arte en el ágora contemporánea. Buenos Aires: Caja Negra.