{"id":59268,"date":"2022-01-12T15:42:48","date_gmt":"2022-01-12T14:42:48","guid":{"rendered":"https:\/\/teslafm.net\/?page_id=59268"},"modified":"2022-01-12T15:42:48","modified_gmt":"2022-01-12T14:42:48","slug":"teoria-incertidumbre-30","status":"publish","type":"page","link":"https:\/\/teslafm.net\/en\/teoria-incertidumbre-30\/","title":{"rendered":"Uncertainty Theory #30"},"content":{"rendered":"<h2><span style=\"color: #ffffff;\"><strong>Uncertainty Theory #30<\/strong><\/span><\/h2>\n<p><span style=\"color: #808080;\"><em>About the Umbr\u00e1fono by Enrique del Castillo and Daphne Oram<\/em><\/span><\/p>\n<p><iframe src=\"https:\/\/www.mixcloud.com\/widget\/iframe\/?hide_cover=1&amp;feed=%2FTeslafm_net%2Fteor%C3%ADa-incertidumbre-30-andrea-bravo%2F\" width=\"100%\" height=\"120\" frameborder=\"0\"><\/iframe><\/p>\n<p><span style=\"color: #808080;\">Audios<\/span><br \/>\n<span style=\"color: #808080;\">-<strong>Enrique del Castillo<\/strong> (Live) In Sonora - Captcha Family of the year 2020.<\/span><br \/>\n<span style=\"color: #808080;\">-<strong>Daphne Oram<\/strong> - Oramics (2007) Compilation of recordings from 1958-1977.<\/span><br \/>\n<span style=\"color: #808080;\">01. Adwick High School N\u00ba.1 track 10<\/span><br \/>\n<span style=\"color: #808080;\">02. Rotolock track 12<\/span><br \/>\n<span style=\"color: #808080;\">03. Studio Experiment N\u00ba.1 track 15<\/span><br \/>\n<span style=\"color: #808080;\">04. Adwick High School N\u00ba.2 track 19<\/span><br \/>\n<span style=\"color: #808080;\">05. Adwick High School N\u00ba.3 track 29<\/span><br \/>\n<span style=\"color: #808080;\">06. Studio Jinks track 44<\/span><br \/>\n<span style=\"color: #808080;\">07. Bird of Parallax track 3<\/span><\/p>\n<p><span style=\"color: #808080;\">Enrique del Castillo's Umbrafono<\/span><\/p>\n<p><img fetchpriority=\"high\" decoding=\"async\" class=\"alignnone size-full wp-image-59269\" src=\"https:\/\/teslafm.net\/wp-content\/uploads\/2022\/01\/Umbrafono.jpg\" alt=\"\" width=\"1000\" height=\"639\" srcset=\"https:\/\/teslafm.net\/wp-content\/uploads\/2022\/01\/Umbrafono.jpg 1000w, https:\/\/teslafm.net\/wp-content\/uploads\/2022\/01\/Umbrafono-300x192.jpg 300w, https:\/\/teslafm.net\/wp-content\/uploads\/2022\/01\/Umbrafono-768x491.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><\/p>\n<p><span style=\"color: #808080;\">Umbra = Shadow<\/span><br \/>\n<span style=\"color: #808080;\">Fono = Sound<\/span><\/p>\n<p><span style=\"color: #808080;\">A piece that generates sound from the variations of light and shadow.<\/span><\/p>\n<p><span style=\"color: #808080;\">\"Umbr\u00e1fono\" is a project by <strong>Enrique del Castillo<\/strong> (Ja\u00e9n, 1982),<\/span><br \/>\n<span style=\"color: #808080;\">a performance with optical readers capable of transforming sound into luminous stimuli that are projected onto a cell<\/span><br \/>\n<span style=\"color: #808080;\">photosensitive. These luminous stimuli are generated by a beam of light passing through celluloid films.<\/span><br \/>\n<span style=\"color: #808080;\">The films are designed based on a scheme of relationship between wave frequency of the notes and repetition of geometric shapes,<\/span><br \/>\n<span style=\"color: #808080;\">so that harmonic sounds, noises, sound textures and atmospheres can be achieved.<\/span><\/p>\n<p><span style=\"color: #808080;\">About Enrique del Castillo<\/span><\/p>\n<p><span style=\"color: #808080;\">He began his music studies at the Ram\u00f3n Garay conservatory for ten years and continued studying art at the universities of Granada,<\/span><br \/>\n<span style=\"color: #808080;\">Barcelona and Halle-Saale. Since 2007, he combines the two disciplines, starting to be interested in experimental music, participating in projects<\/span><br \/>\n<span style=\"color: #808080;\">such as Las barbas ind\u00f3mitas, Oniropompo, Chin yi, Possopotare, Tetenal, AMOR, and others.<\/span><\/p>\n<p><img decoding=\"async\" class=\"alignnone size-full wp-image-59270\" src=\"https:\/\/teslafm.net\/wp-content\/uploads\/2022\/01\/Enrique-del-Castillo.jpg\" alt=\"\" width=\"845\" height=\"321\" srcset=\"https:\/\/teslafm.net\/wp-content\/uploads\/2022\/01\/Enrique-del-Castillo.jpg 845w, https:\/\/teslafm.net\/wp-content\/uploads\/2022\/01\/Enrique-del-Castillo-300x114.jpg 300w, https:\/\/teslafm.net\/wp-content\/uploads\/2022\/01\/Enrique-del-Castillo-768x292.jpg 768w\" sizes=\"(max-width: 845px) 100vw, 845px\" \/><\/p>\n<p><span style=\"color: #808080;\">In 2016 he received the first prize in the Preventive Music competition and The first PowSOLO International Sound Art Prize in 2020.<\/span><br \/>\n<span style=\"color: #808080;\">He has received grants for the development of experimental sound projects at Bilbaoarte in 2018 and at the Centro de Creaci\u00f3n Contempor\u00e1nea de Andalucia C3A in 2019.<\/span><\/p>\n<p><span style=\"color: #808080;\">He has developed works in collaboration with experimental and expanded cinema filmmakers between 2011\/2019: collaborating with editor <strong>Violeta Tseli<\/strong> collective Gui Collec in the ARDA project and, above all, with the experimental filmmaker <strong>Miguel A. Puertas<\/strong> developing expanded cinema and experimental film pieces since 2010.<\/span><\/p>\n<p><span style=\"color: #808080;\">Interview for the program with Enrique del Castillo<\/span><\/p>\n<p><span style=\"color: #808080;\">1.- I find it very curious how you have approached your project.<\/span><br \/>\n<span style=\"color: #808080;\">You as Enrique del Castillo (not using a pseudonym or musical project name) and your instrument Umbr\u00e1fono, which as a tool can be one or more \"umbr\u00e1fonos\". I did not find information that you gave a name to a specific staging nor that the specific composition you perform on the tape has a name other than Film n\u00baX. Is this the reflection of a special staging that goes beyond what we could consider an experimental music concert? How important is for you the nudity of the staging and that you can explain the mechanism of your tool and your compositional techniques? I must admit that I feel a political positioning whether it is premeditated or not in this way of acting.<\/span><\/p>\n<p><span style=\"color: #808080;\">A: I like to present the project under my own name, since I have had many others.<\/span><br \/>\n<span style=\"color: #808080;\">music projects and experimental music, (Las Barbas Ind\u00f3mitas, AMOR, Tetenal, etc) and so I do<\/span><br \/>\n<span style=\"color: #808080;\">a differentiation with a drift that is more of a personal artistic research than a project.<\/span><br \/>\n<span style=\"color: #808080;\">musical.<\/span><br \/>\n<span style=\"color: #808080;\">The fact that the clips are called Film No. X refers to the numbering of that film in<\/span><br \/>\n<span style=\"color: #808080;\">concrete. I have made about 200 films so far, and I have registered them. The name of<\/span><br \/>\n<span style=\"color: #808080;\">each sound composition is the number by which it is classified.<\/span><br \/>\n<span style=\"color: #808080;\">With respect to the staging, we are closer to a performance or \"action\" because of the interest<\/span><br \/>\n<span style=\"color: #808080;\">that has the execution of the show, in which we can see quite clearly how they work.<\/span><br \/>\n<span style=\"color: #808080;\">machines, their gears, we see films that stop playing when they are removed, etc.<\/span><br \/>\n<span style=\"color: #808080;\">In other words, there is a fairly direct relationship between the sound and what you see.<\/span><\/p>\n<p><span style=\"color: #808080;\">2.- How important is for you the analogical aspect of your project in these times?<\/span><br \/>\n<span style=\"color: #808080;\">Thinking specifically about experimental music and the contexts where you have been able to show your work, do you notice that you are going against the current?<\/span><br \/>\n<span style=\"color: #808080;\">Or that there are enough people also working on non-electronic instruments?<\/span><\/p>\n<p><span style=\"color: #808080;\">A: My inclination to work with analog instruments is simply a personal inclination, a<\/span><br \/>\n<span style=\"color: #808080;\">taste for it. This inclination contains a certain fascination for mechanisms.<\/span><br \/>\n<span style=\"color: #808080;\">I am certainly not the only one and there is an important movement of people working with this kind of<\/span><br \/>\n<span style=\"color: #808080;\">instruments, perhaps as a response to the vertigo of the lack of material referent implied by the<\/span><br \/>\n<span style=\"color: #808080;\">digital information.<\/span><br \/>\n<span style=\"color: #808080;\">I don't feel like I'm going against the tide because I'm very focused on my work and I find it very<\/span><br \/>\n<span style=\"color: #808080;\">natural. Perhaps from the viewer's point of view it may seem so, but it's not my opinion either.<\/span><br \/>\n<span style=\"color: #808080;\">intention to be reactionary to a context, but to investigate and compose.<\/span><\/p>\n<p><span style=\"color: #808080;\">3.- Evidently there is an investigation and a development in your story about the Umbraphone, do you feel that you have already exploited all the possibilities?<\/span><br \/>\n<span style=\"color: #808080;\">Do you see yourself creating more and more films n\u00baXs that are nothing like what you have already managed to make sound?<\/span><\/p>\n<p><span style=\"color: #808080;\">A: I haven't exploited all the possibilities of the Umbraphone at all, it's quite infinite... the<\/span><br \/>\n<span style=\"color: #808080;\">following lines of research are e.g. ; frame composition by means of algorithms<\/span><br \/>\n<span style=\"color: #808080;\">mathematics, with JavaScript coding, research of sounds generated from developed<\/span><br \/>\n<span style=\"color: #808080;\">photochemical, research using stepper motors, speed control by photochemical systems, research using stepper motors, speed control by photochemical systems, research using stepper motors, speed control by<\/span><br \/>\n<span style=\"color: #808080;\">programmable devices such as arduino, explore the installation possibilities of the machine (adapting it to an<\/span><br \/>\n<span style=\"color: #808080;\">exhibition space for example), translation of antique ornamental patterns (provided they come from<\/span><br \/>\n<span style=\"color: #808080;\">of a mathematical pattern ) etc.<\/span><\/p>\n<p><span style=\"color: #808080;\">4.- Do you notice that the instrument itself and the staging make the spectator pay more attention to what is being done?<\/span><br \/>\n<span style=\"color: #808080;\">In other words, do you feel that the materiality of the instrument imposes itself, and transmits by itself, in addition to the fact that no matter how similar it may be<\/span><br \/>\n<span style=\"color: #808080;\">will never be the same again?<\/span><\/p>\n<p><span style=\"color: #808080;\">A: Of course, I think that the materiality of the instrument, its form, the mechanism, its<\/span><br \/>\n<span style=\"color: #808080;\">the sound of the machinery, the sight of the films themselves, are an essential part of the<\/span><br \/>\n<span style=\"color: #808080;\">of the performance. Nevertheless, all this physical structure of the performance has to be supported by<\/span><br \/>\n<span style=\"color: #808080;\">or rather they have to generate an acoustic performance that communicates something personal, original and<\/span><br \/>\n<span style=\"color: #808080;\">with artistic quality, so to speak. What is really important is what it sounds like. The<\/span><br \/>\n<span style=\"color: #808080;\">sound experience.<\/span><\/p>\n<p><span style=\"color: #808080;\">5.- You have philosophical ideas regarding the fact that the materiality of the tape (celluloid) can be so easily damaged, burned, destroyed,<\/span><br \/>\n<span style=\"color: #808080;\">etc. etc. Is your creativity also based on this?<\/span><\/p>\n<p><span style=\"color: #808080;\">A: With respect to film wear and tear, I have no philosophical position that would make it a<\/span><br \/>\n<span style=\"color: #808080;\">value. While it is true that wear and tear is an intrinsic condition of the material, which makes it evident<\/span><br \/>\n<span style=\"color: #808080;\">that what is being used is \"matter\" and not virtual or abstract data, so it is in<\/span><br \/>\n<span style=\"color: #808080;\">harmony with the whole project approach.<\/span><br \/>\n<span style=\"color: #808080;\">Execute performances with original films, single copies that deteriorate with use, gives<\/span><br \/>\n<span style=\"color: #808080;\">perhaps an added value to the show as a live event, as something unrepeatable.<\/span><br \/>\n<span style=\"color: #808080;\">However, it would not be contrary to any personal philosophical position to be able to make copies<\/span><br \/>\n<span style=\"color: #808080;\">photochemical copies of my original films. But right now there is no method of copying my original films.<\/span><br \/>\n<span style=\"color: #808080;\">altered negative.<\/span><br \/>\n<span style=\"color: #808080;\">Devising a way to do this is also an upcoming project in mind.<\/span><\/p>\n<p><span style=\"color: #808080;\">6.- Is there any experimental instrument that inspired you to make this one or did you later find some strange musical instrument?<\/span><br \/>\n<span style=\"color: #808080;\">that blew your mind and is related to the Umbraphone?<\/span><\/p>\n<p><span style=\"color: #808080;\">A: The truth is that I was not inspired by any instrument to make the umbr\u00e1fono, although I knew more<\/span><br \/>\n<span style=\"color: #808080;\">late that some similar instruments were devised in the 1940s.<\/span><br \/>\n<span style=\"color: #808080;\">Daphne Oram's \"Oramics\" is also very closely related to my instrument, although the Oramics<\/span><br \/>\n<span style=\"color: #808080;\">is much more complex, it is a synthesizer, and its operation is actually quite different and the<\/span><br \/>\n<span style=\"color: #808080;\">results as well.<\/span><br \/>\n<span style=\"color: #808080;\">At this moment I don't know anyone who is working on the same path as I am, in that<\/span><br \/>\n<span style=\"color: #808080;\">I do feel a bit like a rara avis, unique in a discipline.<\/span><br \/>\n<span style=\"color: #808080;\">Although the world is very big and someone else will surely be there, even if we haven't been there yet.<\/span><br \/>\n<span style=\"color: #808080;\">still crossed.<\/span><\/p>\n<p><span style=\"color: #808080;\">7.- Are you thinking about recording an album or do you have the same philosophy as Mart\u00ed Guillem, that the most important thing is the live performance, which also<\/span><br \/>\n<span style=\"color: #808080;\">is unique and unrepeatable?<\/span><\/p>\n<p><span style=\"color: #808080;\">A: The idea of a unique and unrepeatable live performance is not at odds with the idea of recording an album.<\/span><br \/>\n<span style=\"color: #808080;\">I would find it very interesting to do so. I can't do a desktop publishing right now, but I am<\/span><br \/>\n<span style=\"color: #808080;\">open to any proposal for recording or vinyl edition.<\/span><\/p>\n<p><img decoding=\"async\" class=\"alignnone size-full wp-image-59271\" src=\"https:\/\/teslafm.net\/wp-content\/uploads\/2022\/01\/sub-sombra-Umbrafono-Arts-Santa-Monica.jpg\" alt=\"\" width=\"606\" height=\"366\" srcset=\"https:\/\/teslafm.net\/wp-content\/uploads\/2022\/01\/sub-sombra-Umbrafono-Arts-Santa-Monica.jpg 606w, https:\/\/teslafm.net\/wp-content\/uploads\/2022\/01\/sub-sombra-Umbrafono-Arts-Santa-Monica-300x181.jpg 300w\" sizes=\"(max-width: 606px) 100vw, 606px\" \/><\/p>\n<p>&nbsp;<\/p>","protected":false},"excerpt":{"rendered":"<p>Teor\u00eda Incertidumbre #30 Sobre el Umbr\u00e1fono de Enrique del Castillo y Daphne Oram Audios &#8211;Enrique del Castillo (Live) In Sonora &#8211; Captcha Family del a\u00f1o 2020. &#8211;Daphne Oram &#8211; Oramics (2007) Compilaci\u00f3n de grabaciones de 1958-1977. 01. Adwick High School N\u00ba.1 track 10 02. Rotolock track 12 03. Studio Experiment N\u00ba.1 track 15 04. Adwick [&hellip;]<\/p>\n","protected":false},"author":19,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-59268","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Teor\u00eda Incertidumbre #30 -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/teslafm.net\/en\/teoria-incertidumbre-30\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Teor\u00eda Incertidumbre #30 -\" \/>\n<meta property=\"og:description\" content=\"Teor\u00eda Incertidumbre #30 Sobre el Umbr\u00e1fono de Enrique del Castillo y Daphne Oram Audios &#8211;Enrique del Castillo (Live) In Sonora &#8211; Captcha Family del a\u00f1o 2020. &#8211;Daphne Oram &#8211; Oramics (2007) Compilaci\u00f3n de grabaciones de 1958-1977. 01. 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Adwick High School N\u00ba.1 track 10 02. Rotolock track 12 03. Studio Experiment N\u00ba.1 track 15 04. 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