https://airpopcrack.com apc Thu, 11 Dec 2025 18:00:15 +0000 https://airpopcrack.com en https://airpopcrack.com/home-1 Tue, 02 Apr 2024 08:41:40 +0000 apc https://airpopcrack.com/home-1 news: * some web experiments. * a demo?&nbsp; * new documentation on my graduation project. * new documentation on serge build project. * new graphics page (updates still on progress) * general update of several projects <img width="3648" height="3648" width_o="3648" height_o="3648" data-src="https://freight.cargo.site/t/original/i/53bba0bf7a9bf169565d5b8b155f10842a552c4c56bdf45c6bb4a2024f74e114/diplomPlate01.jpg" data-mid="241475231" border="0" src="https://freight.cargo.site/w/1000/i/53bba0bf7a9bf169565d5b8b155f10842a552c4c56bdf45c6bb4a2024f74e114/diplomPlate01.jpg" /> <img width="1518" height="1152" width_o="1518" height_o="1152" data-src="https://freight.cargo.site/t/original/i/1f2e266b0e3a07f5dbd1385a85ea7642d0522075f1a2db1a74d859608cf08ce6/acros08_cut.png" data-mid="241701774" border="0" src="https://freight.cargo.site/w/1000/i/1f2e266b0e3a07f5dbd1385a85ea7642d0522075f1a2db1a74d859608cf08ce6/acros08_cut.png" /> <img width="2154" height="2127" width_o="2154" height_o="2127" data-src="https://freight.cargo.site/t/original/i/bbd53f125bb256beff7b13476db05e7339b7af8937b60bc944bb18d363a1963b/waves_01.png" data-mid="208501017" border="0" src="https://freight.cargo.site/w/1000/i/bbd53f125bb256beff7b13476db05e7339b7af8937b60bc944bb18d363a1963b/waves_01.png" /> last updated 21.12.25 https://airpopcrack.com/index_mobile Sat, 30 Mar 2024 02:48:01 +0000 apc https://airpopcrack.com/index_mobile pedro a. ramírez *makes projects, &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; commissions, &nbsp; &nbsp; &nbsp;&nbsp; releases,&nbsp; &nbsp; &nbsp; &nbsp;graphics, &nbsp; &nbsp; &nbsp;&nbsp; text and &nbsp; &nbsp; &nbsp;&nbsp; code. *about *calendar *links: &nbsp; &nbsp;&nbsp; ︎ instagram &nbsp; &nbsp;&nbsp; ︎ bandcamp &nbsp; &nbsp;&nbsp; ︎ nina <img width="560" height="560" width_o="560" height_o="560" data-src="https://freight.cargo.site/t/original/i/f31b72e326bfc79e41d8b1851a9d86c52dbd7294c871473930d0aebfa84c42ca/Animation_test_2.gif" data-mid="207907865" border="0" data-scale="12" data-draggable data-icon-mode data-rotation="22.5" src="https://freight.cargo.site/w/560/i/f31b72e326bfc79e41d8b1851a9d86c52dbd7294c871473930d0aebfa84c42ca/Animation_test_2.gif" /> https://airpopcrack.com/about Wed, 01 Nov 2023 13:59:43 +0000 apc https://airpopcrack.com/about <img width="1560" height="1560" width_o="1560" height_o="1560" data-src="https://freight.cargo.site/t/original/i/64e8bda0d4473ea2228d2f980f4ef66cf63eda8fd1d4892b48669d741df084e8/dithered_portrait_2.png" data-mid="208087525" border="0" data-scale="61" src="https://freight.cargo.site/w/1000/i/64e8bda0d4473ea2228d2f980f4ef66cf63eda8fd1d4892b48669d741df084e8/dithered_portrait_2.png" /> Pedro A. Ramírez is a sound artist from Bogotá, Colombia, based in Cologne. He works across sound installation, performance, and text, with graphic design and physical computing as recurring tools in his practice. His work takes philosophical ideas as metaphors that sound is equipped to make tangible: feedback systems, machine autonomy, the limits of human perception. Around each piece, booklets, recordings, graphic elements, and fictional narratives develop organically, each a different manifestation of the same work, in the tradition of medieval marginalia. Ramírez has performed and exhibited in Bogotá, Cologne, Vienna, Wuppertal, and Düsseldorf, and presented lectures at ZKM Karlsruhe and HfG Offenbach. His work has been shown at the São Paulo Bienal, ARTBO Bogotá, and broadcast on Deutschlandradio Funkhaus. He holds a Master's degree in Sound Art and Experimental Informatics from the Kunsthochschule für Medien Köln. mail: pearamirezag [at] gmail [dot] com&nbsp; ︎ https://airpopcrack.com/The-Rocks-are-Quiet-because-the-Trees-are-Listening Fri, 05 Dec 2025 13:24:31 +0000 apc https://airpopcrack.com/The-Rocks-are-Quiet-because-the-Trees-are-Listening the rocks are quiet because the trees are listening (2025) (update in process) ~~~ (update in process) ~~~ (update in process) ~~~&nbsp;<img width="3648" height="3648" width_o="3648" height_o="3648" data-src="https://freight.cargo.site/t/original/i/ec35960bc57d8eec642c75731f0b6eab9c41758ef55b138f298f443a1bb366d5/diplomPlate01.jpg" data-mid="241471097" border="0" src="https://freight.cargo.site/w/1000/i/ec35960bc57d8eec642c75731f0b6eab9c41758ef55b138f298f443a1bb366d5/diplomPlate01.jpg" /> The Rocks Are Quiet Because The Trees Are Listening is a multichannel sound installation, sound performances, and a 22,000-word booklet. The project is rooted in supernatural horror as a philosophical framework: the idea, explored by thinkers such as Eugene Thacker and Kant, Ligotti and H.P. Lovecraft, that there are things operating around us that we cannot perceive or comprehend, and that the confrontation with this limit is itself a source of horror. Terrifying not only because they are outside of our understanding, but because they are ontologically indifferent to us as humans. The installation attempts to construct such a situation through sound. Three loudspeakers produce crackles, pops, and distortions generated through analog synthesizer feedback, processes inspired by cybernetics in which signals monitor and regulate themselves in closed loops. A directional speaker, mounted on a servo motor that rotates sporadically, projects a silky synthetic voice reading accelerationist poetry on a whisper tone. The system continuously records its own output and replays it in overlapping cycles, so the space gradually accumulates layers of its own sonic history. This circulating material is also processed through a variational autoencoder (RAVE), a model trained on the same analog synthesizer recordings that inform the rest of the piece. The model compresses and regenerates what it receives, returning transformed versions of sounds that already carry traces of the original practice, with the digital artefacts of sonic neural network. The booklet is written as a piece of theory fiction. It traces a path from the philosophical foundations of non-cochlear sound through the analog and digital domains, cybernetics, and neural synthesis, arriving at what the text calls "approaching the outside.”, a speculative approximation of the outside of the listening experience. Theory and praxis alternate throughout, with technical schematics and patching diagrams sitting alongside speculative writing. It comes from a conviction that theory is itself a practice and a performance in contemporary art, and that engaging with it is as important as engaging with the materiality of sound. <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/5d96a2ab77a352de33af8ca8f679f1380e389d21c1d24a2f3496027cce25ea13/Ramirez_Pedro_A_2025_KHM_Rundgang_DSC_7047_c_Doerthe_Boxberg.jpg" data-mid="241471053" border="0" alt="photo credit: Doerthe Boxberg" data-caption="photo credit: Doerthe Boxberg" src="https://freight.cargo.site/w/1000/i/5d96a2ab77a352de33af8ca8f679f1380e389d21c1d24a2f3496027cce25ea13/Ramirez_Pedro_A_2025_KHM_Rundgang_DSC_7047_c_Doerthe_Boxberg.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/2622ba6068e5b94bd35ea361ef53a4c4527316b7af07ec9b77fd70ee8259bae7/Ramirez_Pedro_A_2025_KHM_Rundgang_DSC_7056_c_Doerthe_Boxberg.jpg" data-mid="241471051" border="0" alt="photo credit: Doerthe Boxberg" data-caption="photo credit: Doerthe Boxberg" src="https://freight.cargo.site/w/1000/i/2622ba6068e5b94bd35ea361ef53a4c4527316b7af07ec9b77fd70ee8259bae7/Ramirez_Pedro_A_2025_KHM_Rundgang_DSC_7056_c_Doerthe_Boxberg.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/e75391349b59ec5a9dc9772e67568a566c87603a9ec60bdd80dc9765d6349dbc/Ramirez_Pedro_A_2025_KHM_Rundgang_DSC_7059_c_Doerthe_Boxberg.jpg" data-mid="241471048" border="0" data-icon-mode alt="photo credit: Doerthe Boxberg" data-caption="photo credit: Doerthe Boxberg" src="https://freight.cargo.site/w/1000/i/e75391349b59ec5a9dc9772e67568a566c87603a9ec60bdd80dc9765d6349dbc/Ramirez_Pedro_A_2025_KHM_Rundgang_DSC_7059_c_Doerthe_Boxberg.jpg" /> Complementary graphic elements, CD cases, and a fictional narrative extend this further, building a world around the installation. The piece holds a deliberate paradox. Its drive is toward a sonic realm operating on its own logic, indifferent to human audition. Yet the system learned from a specific body and set of decisions, exposing how a complete exteriority remains inaccessible. Jailbreaking the labyrinth of the inner ear. The work inhabits this. &nbsp; pedro a. ramírez · the rocks are quiet_soundInstallation_binaural mix_2025 <img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/92e7ff8a194e9c9a3bfbd15112156ae3b8432d7c8471fde96fb9ff560c770d0c/diplomInstallationView_01_9.jpg" data-mid="241471096" border="0" src="https://freight.cargo.site/w/1000/i/92e7ff8a194e9c9a3bfbd15112156ae3b8432d7c8471fde96fb9ff560c770d0c/diplomInstallationView_01_9.jpg" /> <img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/dda27ee8d901c427e4e64a86227f4ee723052ac4b4674d36538672ff195ad707/diplomInstallationView_02_8.jpg" data-mid="241471095" border="0" src="https://freight.cargo.site/w/1000/i/dda27ee8d901c427e4e64a86227f4ee723052ac4b4674d36538672ff195ad707/diplomInstallationView_02_8.jpg" /> Coded in the computer music environment Supercollider, the installation is comprised by different cycles on which the following actions are performed based on weighted random chances: Sub-woofer plays back a boom Moving the Servo Motor, which is Connected to the directional speaker Recording of the ambience of the room (Buffer(n)) Playback of the ambience of the room (Buffer(n-1)) Playback of speech sample through directional speaker Playback of samples from a pool of improvisations on the "acrosynthetic" patch, streamed from CD playback via bluetooth. (in different versions, another audio would be played here1). More importantly: Every playedback sound has a chance of being either: being processed through a frequency Shifter (to shift peaking&nbsp;resonances in the feedback processbeing processed through the RAVE model and played back in the space. This opens the possibility of turning the room into a transfer function itself, by recursively throwing sounds over the variational autoencoder system. Buffer System: Since the sound installation should remain independent from maintenance from a technically savvy person, I decided to create a cascade of audio buffers from which the reading and writing functions would be implemented in a round robin fashion. This is meant to prevent positive feedback from occurring from a single circular buffer approach. in the first round, It would record the first buffer. On the second, play back the first while recording the second and on the third, reproduce the second while playing the third, and so on. Each round would have an accumulation of room sounds and feedback signal, but still hold some room for the sounds "to breathe". 1:This comes from one of my attempts to "colour" such systems with meaning. A way to present a difference between the clean systemic approach of sound installations as seen in the work of Alvin Lucier or others, where the composition would be the sonority of an autonomous running system, i.e&nbsp; I’m sitting in a room.&nbsp; By inserting a foraneous element into the system, I aim to give the piece a different structure that somehow starts finding resonances with Bateson’s relationship of the Metaphor and the mind in Cybernetics.&nbsp; <img width="1701" height="1134" width_o="1701" height_o="1134" data-src="https://freight.cargo.site/t/original/i/d24feed9abc6e20342aadddf19e455087e18300abe6323d4795005f0561cc13d/Ramirez_Pedro_A_2025_KHM_Rundgang_DSC_0289_c_Doerthe_Boxberg_WEB.JPG" data-mid="241495900" border="0" alt="photo credit: Doerthe Boxberg" data-caption="photo credit: Doerthe Boxberg" src="https://freight.cargo.site/w/1000/i/d24feed9abc6e20342aadddf19e455087e18300abe6323d4795005f0561cc13d/Ramirez_Pedro_A_2025_KHM_Rundgang_DSC_0289_c_Doerthe_Boxberg_WEB.JPG" /> <img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/45314f07629f4c8707c58574618b7fc50c1c98aa60f9fe9a6f1fe479dceef19c/diplomInstallationView_book_5.jpg" data-mid="241593452" border="0" src="https://freight.cargo.site/w/1000/i/45314f07629f4c8707c58574618b7fc50c1c98aa60f9fe9a6f1fe479dceef19c/diplomInstallationView_book_5.jpg" /> <img width="4572" height="3048" width_o="4572" height_o="3048" data-src="https://freight.cargo.site/t/original/i/59981bb284381f2a10554099d6bd090467f4633e9fc5df503503c9f87274a0c3/book_08.png" data-mid="241592902" border="0" src="https://freight.cargo.site/w/1000/i/59981bb284381f2a10554099d6bd090467f4633e9fc5df503503c9f87274a0c3/book_08.png" /> <img width="4572" height="3048" width_o="4572" height_o="3048" data-src="https://freight.cargo.site/t/original/i/1802f179346e88463c08ab18850fc14578a2f855c512f7188a4faef4417ccc19/book_06.png" data-mid="241592905" border="0" src="https://freight.cargo.site/w/1000/i/1802f179346e88463c08ab18850fc14578a2f855c512f7188a4faef4417ccc19/book_06.png" /> <img width="4572" height="3048" width_o="4572" height_o="3048" data-src="https://freight.cargo.site/t/original/i/bf4d855b907523627b2574aea3543ef5f317a34559ee5939324427328d4027a3/book_05.png" data-mid="241592906" border="0" src="https://freight.cargo.site/w/1000/i/bf4d855b907523627b2574aea3543ef5f317a34559ee5939324427328d4027a3/book_05.png" /> <img width="4572" height="3048" width_o="4572" height_o="3048" data-src="https://freight.cargo.site/t/original/i/9659ea8c43cad3685fedbda3d07c47814b2e55e39051ad56e149932b55ec4b4a/book_04.png" data-mid="241592907" border="0" src="https://freight.cargo.site/w/1000/i/9659ea8c43cad3685fedbda3d07c47814b2e55e39051ad56e149932b55ec4b4a/book_04.png" /> <img width="4572" height="3048" width_o="4572" height_o="3048" data-src="https://freight.cargo.site/t/original/i/122d7655dc3136a33ee8a66c87daef6eb8ce72cd2946429dfd92927548a6622e/book_03.png" data-mid="241592908" border="0" src="https://freight.cargo.site/w/1000/i/122d7655dc3136a33ee8a66c87daef6eb8ce72cd2946429dfd92927548a6622e/book_03.png" /> <img width="4572" height="3048" width_o="4572" height_o="3048" data-src="https://freight.cargo.site/t/original/i/8617c9afad7bbac95632db7ddd2cb8fad1e71c708e048a05e87eba72705f4357/book_02.png" data-mid="241592910" border="0" src="https://freight.cargo.site/w/1000/i/8617c9afad7bbac95632db7ddd2cb8fad1e71c708e048a05e87eba72705f4357/book_02.png" /> <img width="4572" height="3048" width_o="4572" height_o="3048" data-src="https://freight.cargo.site/t/original/i/e30915dd3be33c8c4658a9e1c8c06415d868b566850eccfe452de59a47e4ca53/book_01.png" data-mid="241592911" border="0" src="https://freight.cargo.site/w/1000/i/e30915dd3be33c8c4658a9e1c8c06415d868b566850eccfe452de59a47e4ca53/book_01.png" /> <img width="4572" height="3048" width_o="4572" height_o="3048" data-src="https://freight.cargo.site/t/original/i/1d1357b60b1fc7fa84b81b716de0f186decb3bcd4157b7c5fd9a5a9cf812b3e2/book_09.png" data-mid="241592901" border="0" src="https://freight.cargo.site/w/1000/i/1d1357b60b1fc7fa84b81b716de0f186decb3bcd4157b7c5fd9a5a9cf812b3e2/book_09.png" /> All photographs by Yonca Yıldırım unless stated otherwise. https://airpopcrack.com/Serge_DIY Thu, 11 Dec 2025 18:00:15 +0000 apc https://airpopcrack.com/Serge_DIY acrosynthetics, homebuilt serge synthesizer&nbsp; (2024) <img width="1772" height="1772" width_o="1772" height_o="1772" data-src="https://freight.cargo.site/t/original/i/3505bf1dc6a8be6a6059d01cc324f07e508e28e7d2093bf6c5a2969a584405b1/03.png" data-mid="241700583" border="0" src="https://freight.cargo.site/w/1000/i/3505bf1dc6a8be6a6059d01cc324f07e508e28e7d2093bf6c5a2969a584405b1/03.png" />During May and December of 2024, I built a two panel serge analog syntesizer focused particularly on cybernetics and patch programability. I prioritized modules with multiple functions, deliberately prescinding from dedicated oscillators and mostly many thanks to: hans w. koch, Willi Sauter, Holger Heckeroth. first panel: * Dual Universal Slope Generator* Smooth/Stepped generator* Random Source* Pulse Divider* Mixer* %NCOM* Peak &amp; Through* Variable Slope VCF* Wave Multipliers* Resonant Equalizer second panel: * Dual Universal Slope Generator* Variable Q VCF* Triple Waveshaper* Phaser* Dual Processor* Analog Shift Register* Gate* Ring* Dual Procesor Acrosynthetics (2025) <img width="1772" height="1772" width_o="1772" height_o="1772" data-src="https://freight.cargo.site/t/original/i/c7e31c68534116f00c1e8add080f6fb217a2882162260350c7f2ffe4fb6e0bb2/acros_01.jpg" data-mid="241701003" border="0" src="https://freight.cargo.site/w/1000/i/c7e31c68534116f00c1e8add080f6fb217a2882162260350c7f2ffe4fb6e0bb2/acros_01.jpg" /> <img width="1772" height="1772" width_o="1772" height_o="1772" data-src="https://freight.cargo.site/t/original/i/c3add8c88b825787ea939187cce88f99f6e623bff62f9b3815d1a86fef0f5c7c/acros_02.jpg" data-mid="241701004" border="0" src="https://freight.cargo.site/w/1000/i/c3add8c88b825787ea939187cce88f99f6e623bff62f9b3815d1a86fef0f5c7c/acros_02.jpg" /> <img width="1772" height="1772" width_o="1772" height_o="1772" data-src="https://freight.cargo.site/t/original/i/a401a9a948ffcd2ded653d54b9099e2347864f0c3975a6e9dea7fce1563f491e/acros_03.jpg" data-mid="241701005" border="0" src="https://freight.cargo.site/w/1000/i/a401a9a948ffcd2ded653d54b9099e2347864f0c3975a6e9dea7fce1563f491e/acros_03.jpg" /> <img width="1772" height="1772" width_o="1772" height_o="1772" data-src="https://freight.cargo.site/t/original/i/5c3a5e564f6cc9b8c2ccb42be1defd7ce7bdcf8350c99f4463f177e926e94ff9/acros_04.jpg" data-mid="241701006" border="0" src="https://freight.cargo.site/w/1000/i/5c3a5e564f6cc9b8c2ccb42be1defd7ce7bdcf8350c99f4463f177e926e94ff9/acros_04.jpg" /> <img width="1772" height="1772" width_o="1772" height_o="1772" data-src="https://freight.cargo.site/t/original/i/700ca62431d17d33b6b2f6a2696071081c2ced0dacca2fc594e5c9d051500843/acros09.jpg" data-mid="241701009" border="0" src="https://freight.cargo.site/w/1000/i/700ca62431d17d33b6b2f6a2696071081c2ced0dacca2fc594e5c9d051500843/acros09.jpg" /> <img width="1772" height="1772" width_o="1772" height_o="1772" data-src="https://freight.cargo.site/t/original/i/5696fa342edfb4537ab518878923fa9e225158444d33e4b5b0862590ab38bfb2/acros05.jpg" data-mid="241701007" border="0" src="https://freight.cargo.site/w/1000/i/5696fa342edfb4537ab518878923fa9e225158444d33e4b5b0862590ab38bfb2/acros05.jpg" /> <img width="1772" height="1772" width_o="1772" height_o="1772" data-src="https://freight.cargo.site/t/original/i/a0c27533aa8cf1c73eb397b74e61e87ba538d72a3ad79943edf4bf8c4bafc028/acros06.jpg" data-mid="241701008" border="0" src="https://freight.cargo.site/w/1000/i/a0c27533aa8cf1c73eb397b74e61e87ba538d72a3ad79943edf4bf8c4bafc028/acros06.jpg" /> Acros comes from the greek ἄκρος and it’s used as a prefix or an adjective meaning edge, extreme, beggining or end: outermost. It’s also used as pointed, highest or topmost. We can find it in the word acrobatics, which means walking on tip-toes and it’s used to encompass a group of disciplines that involve balance, agility and motor coordination. Athletes jumping in trapeze, balancing on long thin wires. I like to see the patching technique I’ve developed on the Serge modular synthesizer as some sort of acrosynthetics because it relies on the great flexibility of the system architecture. To illustrate this I made a map of a patch that was made on a single Serge Boat that has given me enough playability and variety of sounds for almost two weeks now and shows nicely how this “multicore” approach works by relying on the flexibility provided by the famous “patch programmability”. Acrosynthetic navigation ~ The Map is not the Territory The patch started as a single panel design, focusing on one main demonic synthesis1 cell build around a feedback entanglement between the Wave Multiplier and the Resonant Equalizer modules, and grew bigger and bigger. Instead of making a full representation of the patch, that would be as chaotic as the cables in my synthesizer, I decided to break the patch in parts organized by cells and specific functions. 1: More on this on the text of my diploma, info here Debut concert:stromspiesser · Pedro A. Ramírez live@stromspiesser XVI <img width="2000" height="1334" width_o="2000" height_o="1334" data-src="https://freight.cargo.site/t/original/i/cfa3e9990c4e1ffe5b9042c6dee2c8c69a65b9380c3296b8065e9912d0dd9bfd/lowres_Luise_Jakobi_Stromspiesser_XVI_Stapeltor_16_optimized.jpg" data-mid="241701146" border="0" alt="photo credit: Luise Jakobi" data-caption="photo credit: Luise Jakobi" src="https://freight.cargo.site/w/1000/i/cfa3e9990c4e1ffe5b9042c6dee2c8c69a65b9380c3296b8065e9912d0dd9bfd/lowres_Luise_Jakobi_Stromspiesser_XVI_Stapeltor_16_optimized.jpg" /> <img width="2000" height="1334" width_o="2000" height_o="1334" data-src="https://freight.cargo.site/t/original/i/218bd011e3cec44070561300cd4e6677a0574cdce0a2f28381d16519643268a7/lowres_Luise_Jakobi_Stromspiesser_XVI_Stapeltor_23_edited.jpg" data-mid="241701145" border="0" alt="photo credit: Luise Jakobi" data-caption="photo credit: Luise Jakobi" src="https://freight.cargo.site/w/1000/i/218bd011e3cec44070561300cd4e6677a0574cdce0a2f28381d16519643268a7/lowres_Luise_Jakobi_Stromspiesser_XVI_Stapeltor_23_edited.jpg" /> photo credits: Luise Jakobi Experiments: Supercollider+Serge binding. CV and audio processed in the computer and fedback into the synthesizer. Spectrogram visualization of improvisation on the acrosynthetic patch 01&nbsp; &nbsp; Spectrogram visualization of improvisation on the acrosynthetic patch 02 https://airpopcrack.com/not-dead-Drums Tue, 09 Dec 2025 23:58:21 +0000 apc https://airpopcrack.com/not-dead-Drums Not Dead Drums / Drums not Dead (2018) <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/9f9d3f8412fa7834f98699ca2b6c298c937a62f11fff512ed486592e9e9cff60/Pedro_Ramirez_PARAPHERNALIA.jpg" data-mid="241616514" border="0" src="https://freight.cargo.site/w/1000/i/9f9d3f8412fa7834f98699ca2b6c298c937a62f11fff512ed486592e9e9cff60/Pedro_Ramirez_PARAPHERNALIA.jpg" /> <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/9afa126b408ce009662c08ebcfd557529f3fb70fd5b325cc17ff8d408a65b422/Pedro_Ramirez_1_PARAPHERNALIA.jpg" data-mid="241616507" border="0" src="https://freight.cargo.site/w/1000/i/9afa126b408ce009662c08ebcfd557529f3fb70fd5b325cc17ff8d408a65b422/Pedro_Ramirez_1_PARAPHERNALIA.jpg" />Drums Not DeadDisco de vinilo6 min, Disco de 10“Toca discos 60 x 40 x 18ED 1 / 22018<img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/ccab7126503a8668f82982c72897e2ac1e35a4b003e71ad1c43182f71418e85e/Pedro_Ramirez_2_PARAPHERNALIA.jpg" data-mid="241616513" border="0" src="https://freight.cargo.site/w/1000/i/ccab7126503a8668f82982c72897e2ac1e35a4b003e71ad1c43182f71418e85e/Pedro_Ramirez_2_PARAPHERNALIA.jpg" />Not Dead DrumsMicrocontrolador y componentes22 x 20 x 3 cm2018 Drum no está muerto. Drum es el espíritu de la confianza creativa. Drum, es el cuarto miembro del grupo de rock experimental neoyorquino Liars; ajusta y conduce sus andanzas. Drum, en este caso, me asiste con convulsiones rítmicas e impelentes culminando en 3 piezas sonoras: Drum’s not Dead, Not Dead Drum (3min) y Dead Not Drum (3min). Composiciones que integran procesos de azar, repetición y fragmentación. Los bombos no mueren. Drum es un espíritu percutivo per se, no se manifiesta esta vez como otro kit de batería; ahora Drum es el ritmo que conecta las tres piezas. Composición algorítmica, síntesis granular y el ritmo angular de la música electrónica bailable, four-on-the-floor. images courtesy of Casa Hoffmann Description:Sound Composition cut on de-centered clear lathe-cutsGenerative sound piece coded on teensy microcontroller Exhibited in: 2018 - Parafernalia, curado por Ricardo Arias https://airpopcrack.com/Buffered-Daemons Thu, 31 Aug 2023 14:51:14 +0000 apc https://airpopcrack.com/Buffered-Daemons Buffered Daemons (2023) Now in Plato’s time they used to call action at a distance demonic. It was the action of demonic forces that mediated between the physical and nonphysical realms of existence. Timothy Morton, Realist Magic. Objects, Ontology, Causality. 2013 The work titled Buffered Daemons(2023) is a sound installation with a performative activation that attempts to explore the concepts of translation and non-local interaction in the sound realm. It does so by playing with the idiosyncrasies of audio representation/playback and mobilizes them through the creation of an expanded musical situation. The work is inspired by the concept of daemon and non-locality explored by Timothy Morton in his reading of Plato’s Ion as well as Ursula K. Le Guin’s The Carrier Bag Theory of Fiction. In the piece, three different containers of sound are presented: acoustic(Sound diffusion in the architecture), digital (computer based sound algorithms) and analogue (electromagnetic tape and analog processing). These containers, or buffers, are then being intertwined by the performer creating thus sonic textures that interplay with the resonances of the space. <img width="3540" height="2832" width_o="3540" height_o="2832" data-src="https://freight.cargo.site/t/original/i/e13683ced4e08e39fabd987ccf7ffab61a9a053bf8595bf702092ea754f32f4a/ig_graph.png" data-mid="200351218" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/e13683ced4e08e39fabd987ccf7ffab61a9a053bf8595bf702092ea754f32f4a/ig_graph.png" /> The strategy for the sound performance is to articulate a metaphor of a circular-buffer, a data structure used in Computer Science, to the idea brought upon in Derrida’s interview with Ornette Coleman, in which Improvisation practice in music is understood as a reading in which the borders between reading and writing are obfuscated. The materials are the following: Reel-to-Reel Analog tape recorder, ~15 meter long tape-loop entangled to play with the physical space, a Raspberry-pi microcomputer with bespoke software written in supercollider, analog mixer, microphone preamp, audio compressor, omnidirectional microphone, speaker. The work was presented in:1: the 2023.06.17 in ‘Ne Menge Schnitt’, MMiii Kunstverein Mönchengladbach, Germany.&nbsp; 2: 23.12.29 -&nbsp;37C3 Unlocked, Hamburg, Germany. <img width="1693" height="1693" width_o="1693" height_o="1693" data-src="https://freight.cargo.site/t/original/i/de3e517c0cc21a320f4a002cd5e2e425996f3e5abcc67b70781a055a6301c9a0/Screenshot-2023-08-31-at-16.14.33.png" data-mid="189413209" border="0" src="https://freight.cargo.site/w/1000/i/de3e517c0cc21a320f4a002cd5e2e425996f3e5abcc67b70781a055a6301c9a0/Screenshot-2023-08-31-at-16.14.33.png" /> https://airpopcrack.com/in-the-case-of Sat, 30 Mar 2024 03:39:27 +0000 apc https://airpopcrack.com/in-the-case-of in the case of deciding not to listen (excerpt) (2022) Improvisation for Serge Modular Synthesizer and Fates Norns running cheatcodes 2. Filmed in November 2022 by the students of Gerrit Lucas at the Academy of Media Arts Cologne. Edited by Gerrit Lucas.Thanks to hans w. koch, Ting, Chaya, Dennis, Xin and the KHM overall. Cologne, 2024. link to the full video here https://airpopcrack.com/Speech-Bubbles Wed, 28 Feb 2024 21:52:34 +0000 apc https://airpopcrack.com/Speech-Bubbles Speech Bubbles &amp; Bespoke Chatter (2023) <img width="3307" height="2362" width_o="3307" height_o="2362" data-src="https://freight.cargo.site/t/original/i/e829aa65e6846a7f21905bce49f06b93d414dd78b82f5dd8eb56fa7d43e97780/IMG_3762.jpg" data-mid="206326636" border="0" src="https://freight.cargo.site/w/1000/i/e829aa65e6846a7f21905bce49f06b93d414dd78b82f5dd8eb56fa7d43e97780/IMG_3762.jpg" /> <img width="3307" height="2362" width_o="3307" height_o="2362" data-src="https://freight.cargo.site/t/original/i/af54422ddb50ec8b7e4bcd513f6811fdd234b1567fed73deecf16d1bc7ce0615/IMG_3766.jpg" data-mid="206326634" border="0" src="https://freight.cargo.site/w/1000/i/af54422ddb50ec8b7e4bcd513f6811fdd234b1567fed73deecf16d1bc7ce0615/IMG_3766.jpg" /> <img width="3307" height="2362" width_o="3307" height_o="2362" data-src="https://freight.cargo.site/t/original/i/11fde22d0c2c01be74b6eafdb6eac8a161c7ba0c42b55e6ebcebf78cb2db11f9/IMG_3765.jpg" data-mid="206326635" border="0" src="https://freight.cargo.site/w/1000/i/11fde22d0c2c01be74b6eafdb6eac8a161c7ba0c42b55e6ebcebf78cb2db11f9/IMG_3765.jpg" /> <img width="3307" height="2362" width_o="3307" height_o="2362" data-src="https://freight.cargo.site/t/original/i/69e16bdc6e8bac1b62b44d912f4a1e6bf39705d1a4dfc2337ece9e18d1b1e76a/IMG_3588.jpg" data-mid="206327475" border="0" src="https://freight.cargo.site/w/1000/i/69e16bdc6e8bac1b62b44d912f4a1e6bf39705d1a4dfc2337ece9e18d1b1e76a/IMG_3588.jpg" /> The sound installation deconstructs the mechanisms of computer-based voice recognition based on the model of the technical exploded view. The capture, decomposition and manipulation of linguistic utterances in the pre-semantic phase opens up various possibilities for perceiving people beyond the voice mediated by algorithms. With the rise of Artificial Intelligence, interest in machine listening as a method for real-time word discretisation (the process of transferring continuous variables into discrete counterparts) and recognition is also growing. Available applications now range from OpenAI's Whisper, which can convert unintelligible mumbling into individual words, to Siri, Alexa and countless other services that operate in bidirectional routings between speech and text. What kinds of algorithms are inscribed in these tools? What aesthetic potential do they have as instruments for expanding the musical toolbox of a contemporary sound artist? How can we find new ways of understanding the substance of our language through the spectral differentiation of sound events? How does our desire transform into words, words into air and then into bits? This work looks at alternative aesthetic approaches to those technologies commonly associated with the ever-listening apparatuses of contemporary Big Tech. The work is interested in the concept of exploded representation in technical drawings; schematics in which the various elements of a functioning machine are depicted in order to explain its inner workings. The sound installation similarly explodes the mechanisms of voice recognition by looking at them in a pre-semantic phase and trying to show different ways in which the sound images of humans can be perceived in the digital. The focus is not on the semantics of the words, but on the extraction of features to reveal the extraordinary in the smooth processes of speech recognition algorithms. Your browser does not support the video tag. Exhibition view at Ephemeral Connections, 2024 &nbsp; Technical description:<img width="2152" height="1126" width_o="2152" height_o="1126" data-src="https://freight.cargo.site/t/original/i/61e1b2a8958af5344b0516a371a476f1790a168c6b9503bf79690a1d742af1c1/bespoke_chatter_02_grey.png" data-mid="206324813" border="0" src="https://freight.cargo.site/w/1000/i/61e1b2a8958af5344b0516a371a476f1790a168c6b9503bf79690a1d742af1c1/bespoke_chatter_02_grey.png" /> <img width="3504" height="717" width_o="3504" height_o="717" data-src="https://freight.cargo.site/t/original/i/9fdcde540dbbb0f917e117f668b4454ee826ea287af44f8834b81dc43ba80bef/bespoke_chatter_03_grey.png" data-mid="206324814" border="0" src="https://freight.cargo.site/w/1000/i/9fdcde540dbbb0f917e117f668b4454ee826ea287af44f8834b81dc43ba80bef/bespoke_chatter_03_grey.png" />Personal voice messages are digitalized and preamplified through several voice recording technologies (journalist cassette recording, smartphone microphone, telephone amplifiers) and then analyzed and broken apart by machine listening algorithms (Flucoma, Supercollider ML Ugens). The results of this atomization are then taken raw and diffused in the exhibition space through the usage of rotating directional ultrasonic speakers. Because of the stark directionality of the speakers, the sound is heard not in the speaker itself but in the reflection of the sound beam in the room, creating the impression of digital sound objects traversing and moving in the exhibition space. <img width="3017" height="2717" width_o="3017" height_o="2717" data-src="https://freight.cargo.site/t/original/i/813ad9d95125672edb5aac997997e4f17e58a39fe6a1e40d33d49b1a93cc0290/bespoke_chatter_05_grey.png" data-mid="206324816" border="0" src="https://freight.cargo.site/w/1000/i/813ad9d95125672edb5aac997997e4f17e58a39fe6a1e40d33d49b1a93cc0290/bespoke_chatter_05_grey.png" /> Exhibited in: Ephemeral Connections @ Glasmoog, Köln, DE. (info here and here)Kölner Kongress 2024. Erzählen gegen die Krise @ Deutschlandradio Funkhaus (info here) <img width="4284" height="2083" width_o="4284" height_o="2083" data-src="https://freight.cargo.site/t/original/i/ea75e0df6fec6b50fdc164ab72af4f42895c511d49a544cd6dba71e5c2110a5f/bespoke_chatter_04_grey.png" data-mid="206324815" border="0" src="https://freight.cargo.site/w/1000/i/ea75e0df6fec6b50fdc164ab72af4f42895c511d49a544cd6dba71e5c2110a5f/bespoke_chatter_04_grey.png" /> https://airpopcrack.com/DeathSpiral Wed, 01 Nov 2023 14:35:02 +0000 apc https://airpopcrack.com/DeathSpiral Death Spiral (2017) Concept description:"Ants are blind and orient themselves to each other by following the pheromone trails of their mates. The death spiral is a phenomenon that happens when their nature encounters an error. Their system enters an infinite loop when a group of warrior ants become isolated from their course and lose track of each other. Disoriented, they start following each other in a continuous spinning circle. The ants spin and spin until they meet their death by exhaustion. Feedback is an ouroboros, the snake that swallows its own tail. A symbol of introspection, the eternal return or the cyclical in the sense of something that is constantly recreating itself. It also represents nature's infinite cycle of destruction and creation. Life and death. The infinite..." <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/eb605add5d00a1fd7f97acda265e4699ba9f5f52380b1540a0123ea61ca40d50/DSC_5163.JPG" data-mid="195544658" border="0" src="https://freight.cargo.site/w/1000/i/eb605add5d00a1fd7f97acda265e4699ba9f5f52380b1540a0123ea61ca40d50/DSC_5163.JPG" /> Technical description:Sound installation. Electrical guitar, guitar amplifier, Axoloti sound microcomputer, light sensor, Etched Acrylic plate, LED lightning. When the viewer crawls to read the text he covers the light over a light sensor, then the amplifier volume goes up enabling feedback between the electrical guitar and the guitar amp producing howling tones and shrieks. When the viewer steps away, the gain in the amp returns low stopping the feedback Exhibited in: 2017 - Mas Allá. Bogotá, Colombia 2017 - Universidad Nacional de Colombia UNAL. Bogotá, Colombia