juan matos capote

PROXIMO TALLER DE CIRCUIT BENDING EN MISCELÄNEA (BARCELONA)

2010-02-22T14:32:00.001-05:00

(Hangar, Barcelona, imágen de Ferraz, Ozone Films)

EN MISCELANEA (www.miscelanea.info)
Fechas: Sábado 27 de Marzo, Sábado 10 y Domingo 18 de Abril de 2010
Horario: De 6 a 10 pm (3 sesiones de 4 horas cada una, 12 horas en total)
Precio: 93€ / 90€ (socios) (incluye los componentes electrónicos necesarios)
Cupo máximo: 15 alumnos
Inscripción: Se pagará la mitad del curso para hacer la inscripción. Contactar Miscelänea a info@miscelanea.info o llamar al 93 317 9398
Para más información: Escribir a jmatoscapote@gmail.com
www.juanmatoscapote.com - www.myspace.com/juanmatoscapote - www.miscelanea.info
Incluye las herramientas y los componentes electrónicos necesarios para realizar las modificaciones (potenciómetros, resistencias, condensadores, LEDs, etc.)

(Imágen de Miscelanea, Barcelona)

TALLERES DE CIRCUIT BENDING
impartidos por Juan Matos Capote

La finalidad de los talleres es el dotar a cada participante con los conocimientos y práctica necesarios para que una vez terminado el taller, el/ella en su propio estudio sepa modificar un circuito electrónico siguiendo las técnicas del Circuit Bending.

En el primer día de clase se impartirán los conocimientos teóricos necesarios, y durante los otros dos días del taller se practicarán las técnicas del Circuit Bending en el circuito del juguete o aparato electrónico que el participante trajo consigo. Así mismo, en el taller se repartirán apuntes, anotaciones y diagramas explicativos.

Al final del taller, el participante tendrá un instrumento musical o dispositivo modificado según las técnicas del Circuit Bending.

CONTENIDO DE LOS TALLERES

Circuit Bending es la modificación creativa, a base de cortocircuitos, de aparatos electrónicos de bajo voltaje (juguetes, pedales de efectos, etc.) con el fin de crear nuevos instrumentos musicales y generadores de sonido.

Normalmente los aparatos que se modifican no son nuevos sino reciclados. Una vez transformados, adquieren una nueva vida, ajena a la pensada por el fabricante original. Muchos de estos dispositivos acaban siendo utilizados como instrumentos en ciertas formas de música experimental contemporánea, aleatoria e improvisada.

Para la participación en este taller no hay necesidad de conocimientos previos de electrónica. Durante el taller, se enseñará los conocimientos necesarios.

Cada asistente ha de traer consigo el juguete o aparato electrónico que desee modificar siguiendo las técnicas del Circuit Bending. Estos han de funcionar con pilas y ser de bajo voltaje (9 voltios máximo).

Se enseñará:

- Historia del Circuit Bending.
- Cómo hacer Circuit Bending sin riesgos.
- Cómo utilizar las herramientas esenciales.
- Conceptos básicos de electrónica y como actúan los componentes electrónicos y controladores manuales al implantarlos en el circuito a modificar.
- Cómo saber qué circuitos son mejores para modificar.
- Cómo buscar sonidos interesantes en el circuito.
- Cuáles son las conexiones y combinaciones típicas.
- Cómo marcar las conexiones que implantaremos y tomar notas.
- Cómo conectar con cables los diversos puntos.
- Se explicará el método de soldar y cómo taladrar la caja del dispositivo para implantar los diversos controladores electrónicos.

MONOLITH (Alfredo Costa Monteiro + Juan Matos Capote) in Concert @ MISCELÄNEA (19 Febrero 2010)

2010-02-05T03:35:00.002-05:00

MONOLITH
(Alfredo Costa Monteiro + Juan Matos Capote)
in Concert
Friday, February 19th 2010, at 9.00 pm

At:
MISCELANEA
C/ La Guardia 10
Barcelona

Entry: 5 Euros / 3 Euros (members)

CIRCUIT TORÇAT SHOWCASE @ CHANDAL

2010-02-03T18:05:00.001-05:00

PRESENTATION OF OUR RELEASES

ARNAU SALA + JUAN MATOS CAPOTE in Concert

Friday, February 5th, 2010 at 8.00 pm
at CHANDAL
C/ Valdonzella 29
Barcelona
Free Entry

More info:
http://www.souvenirofchandal.com
http://www.juanmatoscapote.com
http://www.arnausala.info

CIRCUIT BENDING DOCUMENTARY

2010-01-21T05:36:00.004-05:00

CICLO HUM presenta JUAN MATOS CAPOTE en Concierto

2009-12-20T14:00:00.000-05:00

HUM es un ciclo de sonido que se inauguró el pasado mes de Noviembre de 2009 en la Sala El OFF de Gracia en Barcelona. Los artistas que participan en HUM presentan mensualmente sus propuestas sonoras en un ambiente en el que la experimentación e improvisación son elementos constitutivos del caracter y desarrollo del performance mismo.

PROXIMO CONCIERTO

JUAN MATOS CAPOTE
(circuitos electrónicos modificados,
micrófonos de contacto)

Sábado 16 de Enero de 2010
A las 21 horas
Entrada: 7 Euros
(Reservas: Tel. 93 185 4840 ó en Atrápalo)

Sala EL OFF
C/ Església 4-6 (Plaza de la Virreina)
Barrio de Gracia
Barcelona

Juan Matos Capote (Santa Cruz de La Palma) vive y trabaja en Barcelona desde 2008.

Su práctica artística se desempeña tanto en el campo sonoro como visual.

Posee el Master of Fine Arts Degree por Pratt Institute (Nueva York) y es Licenciado en Bellas Artes por la Universidad de La Laguna (Tenerife). Así mismo, estudió en el National Higer Institute of Fine Arts, en Amberes, Bélgica. Sus obras visuales se han exhibido a nivel nacional e internacional. Su últimas exposiciones fueron en la Dak’art Biennale OFF 2008 en Senegal y en el P.S.1 Contemporary Art Center (MoMA) en Nueva York. Ha sido el recipiente de una beca Fulbright y de Erasmus.

Empezó a trabajar con el sonido como consecuencia de sus investigaciones en el campo visual y la percepción como actividad multisensorial. Ha estudiado Circuit Bending con el pionero Reed Ghazala en Cincinnati, Ohio, EUA, y técnicas de Deep Listening con la compositora e intérprete Pauline Oliveros en Nueva York.

En sus práctica sonora hace uso de circuitos electrónicos que ha creado y modificado (juguetes, radios, osciladores, pedales) y grabaciones de campo. Muchos de sus circuitos se caracterizan por comportarse de una manera aleatoria, y a la vez controlable, lo que implica que en sus performances coexistan elementos sonoros improvisados y estructurados.

Su último trabajo, Jabal, fue editado por la discográfica Circuit Torçat (Barcelona) de la que es fundador. Su anterior álbum, The Subway Aural Recordings, un conjunto de composiciones basadas enteramente en grabaciones de campo del metro de la ciudad de Nueva York, fue editado por Einzeleinheit en Alemania.

Enlaces:
MySpace
Visuals

FESTIVAL DES-CONCERTAT

2009-12-10T18:05:00.004-05:00

SÁBADO, 19 DICIEMBRE, de 17:00 a 23:00 h

FESTIVAL DES-CONCERTAT
con FEDERICO MONTI, ARNAU SALA, MINUIT & VATE, DÁRGELOS, INVASORS, MATER FILIUS, 1MUJER, JUAN MATOS CAPOTE, CARLOS VILLENA Y 25HOMBRES

En Niu : Espai Artístic
C/ almogàvers, 208
Poblenou, Barcelona
http://www.niubcn.com

Este año se celebran cinco años desde que el colectivo 25HOMBRES inició su espacio de conciertos en Contrabanda F.M. (91.4 de la f.m. de Barcelona y www.contrabanda.org), Los Des-conciertos de 25HOMBRES. Espacio radiofónico quincenal desde el que siguen ofreciendo la posibilidad a artistas experimentales, industriales y demás especímenes, de presentar sus proyectos en directo desde el estudio de Contrabanda. En este concierto actuarán algunos de los artistas que han particip[ado en Los Des-conciertos de 25 HOMBRES.

Se ha realizado una auto-edición de 25 copias de un doble cd, con partes de los conciertos que han dado 50 de los artistas que han pasado por Los Des-conciertos de 25HOMBRES a lo largo de estos cinco años. El precio del cd es de 5 euros, que irán destinados a la auto-gestión de Contrabanda F.M.

Más información de los artistas y el festival en:
http://desconciertos25hombres.blogspot.com/
veinticincohombres@hotmail.com

CONCIERTO FERRAN FAGES & JUAN MATOS CAPOTE

2009-12-04T04:30:00.007-05:00

ESTUDIO CIRCUIT TORÇAT presenta:

FERRAN FAGES & JUAN MATOS CAPOTE
en Concierto
Domingo, 13 de Diciembre de 2009 a las 20.30 horas
Entrada: 5 Euros

Ferran Fages: dispositivo electro-acústico
Juan Matos Capote: Casio Sk-1 y radios modificadas

@
Estudio CIRCUIT TORÇAT
Terol 8 , bajo 2 (cerca de la Plaza de la Revolución)
Barrio de Gracia, Barcelona

Metro: Fontana (L3), Joanic (L4)

More info:
www.circuittorcat.com
www.ferranfages.net
www.juanmatoscapote.com

HUM

2009-11-14T07:19:00.008-05:00

HUM, Experimental Sound Series

HUM
Experimental Sound Series
www.ciclohum.com

Sala El OFF
C/ Església 4-6 (Plaza de la Virreina)
Gracia
Barcelona.
Entry: 7 Euros @ doors and @ www.atrapalo.com

Program:

FERRAN FAGES & LALI BARRIERE
November 14th, 2009 at 9 pm.

ALFREDO COSTA MONTEIRO
December 12th, 2009 at 9 pm.

JUAN MATOS CAPOTE
January 16th, 2010 at 9 pm.

DIANA COMBO aka. EOSIN
February 13th, 2010 at 9 pm.

RUTH BARBERAN
March 13th, 2010 at 9 pm

HOMENATGES
April 17th, 2010 at 9 pm

PABLO REGA
May 15th, 2010 at 9 pm

BARBARA HELD
June 12th, 2010 at 9 pm

CONCIERTO EN MISCELÄNEA

2009-11-04T03:50:00.006-05:00

Juan Matos Capote es un artista experimental, sonoro y visual, de las Islas Canarias que actualmente vive en Barcelona. En sus conciertos hace uso de circuitos electrónicos que ha creado y modificado (juguetes, radios, osciladores, pedales) y grabaciones de campo. Muchos de sus circuitos se caracterizan por comportarse de una manera aleatoria, y a la vez controlable, lo que implica que en sus performances coexistan elementos sonoros experimentales, improvisados y estructurados.
www.myspace.com/juanmatoscapote

Leo Bettinelli. Basándose en la improvisación y utilización de objetos e instrumentos no convencionales, se sumergió en un mundo sonoro de infinitas posibilidades, de acercamiento al inconsciente musical y lo incorporó a su vida, tanto en el campo de la interpretación como así también en la organización de diversos ciclos de música experimental en diferentes salas de Buenos Aires contando con la participación de reconocidas figuras del ambiente tanto local como internacional.
www.myspace.com/teroasustado

Juan Matos Capote. Ha participado en diversos festivales de música en radio y en vivo. Su último album en solitario, Jabal, ha sido editado este año por la discográfica Circuit Torçat (Barcelona), y su anterior album, The Subway Aural Recordings, un conjunto de composiciones basadas enteramente en grabaciones de campo del metro de la ciudad de Nueva York, fue editado por Einzeleinheit en Munster, Alemania.

Ha compartido escenario con artistas como Elliot Sharp, Blues Control, Mudboy, Arnau Sala, Giancarlo Bracchi, etc., e imparte cursos de Circuit Bending o de modificación de circuitos electrónicos, habiendo estudiado en el pasado con el pionero Reed Ghazala en Cincinnati, Ohio, EUA.

“Matos Capote’s work isn’t exactly minimal but that influence is present. He focuses on constructing pieces from small fragments of sound…Sound placed into odd but clearly defined structures.”
(Drew Dahle @ AUXILIARY OUT)

“Jabal revolves around an ambient interplay between chance and determination, between human intervention and machinal initiative, between strangely organic movement and alien timbres.”
(Tobias Fischer @ TOKAFI)

www.juanmatoscapote.com
juanmatos-capote.Neoimages.net

Leo Bettinelli
Editó por sus propios medios 5 discos de música experimental además de incorporar esta modalidad dentro de la música popular, editando dos discos más de reggae (sien volando) y electropunk (karmanoise) como productor e instrumentista y presentando en varias oportunidades estos trabajos en directo.

Una vez llegado a Europa desarrolló también su faceta como fotógrafo y performer, participando de varios festivales de arte y exhibiciones de fotografía, mostrando su trabajo en los 3 campos: el musical, el fotográfico y la performance.
www.leobettinelli.com.ar

TALLER DE CIRCUIT BENDING EN MISCELANEA (BARCELONA) - CIRCUIT BENDING WORKSHOP IN MISCELANEA (BARCELONA)

2009-09-01T15:56:00.010-04:00

(image by Ferraz, Ozone Films)

Taller de Circuit Bending en Miscelänea (Barcelona).
Octubre - Noviembre 2009

Circuit Bending es la modificación creativa, a base de cortocircuitos, de aparatos electrónicos de bajo voltaje (juguetes, pedales de efectos, etc.) con el fin de crear nuevos instrumentos musicales y generadores de sonido.

Fechas: 17, 24, 31 de OCTUBRE y 7 de NOVIEMBRE 2009
Horario: Sábados de 18 a 22h. 16 horas (4 sesiones de 4 horas)
Precio: 93€ / 90€ (socios)
Cupo máximo: 15 alumnos
Inscripción: Se pagará la mitad del curso para hacer la inscripción.

Normalmente los aparatos que se modifican no son nuevos sino reciclados. Una vez transformados, adquieren una nueva vida, ajena a la pensada por el fabricante original. Muchos de estos dispositivos acaban siendo utilizados como instrumentos en ciertas formas de música experimental contemporánea, aleatoria e improvisada.

Para la participación en este taller no hay necesidad de conocimientos previos de electrónica. Durante el taller, se enseñará los conocimientos necesarios.

Cada asistente ha de traer consigo el juguete o aparato electrónico que desee modificar siguiendo las técnicas del Circuit Bending. Estos han de funcionar con pilas y ser de bajo voltaje (9 voltios máximo).

Contenidos:

- Historia del Circuit Bending.
- Cómo hacer Circuit Bending sin riesgos.
- Cómo utilizar las herramientas esenciales.
- Conceptos básicos de electrónica y como actúan los componentes electrónicos y controladores manuales al implantarlos en el circuito a modificar.
- Cómo saber qué circuitos son mejores para modificar.
- Cómo buscar sonidos interesantes en el circuito.
- Cuáles son las conexiones y combinaciones típicas.
- Cómo marcar las conexiones que implantaremos y tomar notas.
- Cómo conectar con cables los diversos puntos.
- Se explicará el método de soldar y cómo taladrar la caja del dispositivo para implantar los diversos controladores electrónicos.

Incluye las herramientas y los componentes electrónicos necesarios para realizar las modificaciones (potenciómetros, resistencias, condensadores, LEDs, etc.)

+ info:
Miscelänea

PERFORMANCE AT APOLO 2 (Barcelona, Spain) on 7/11/09

2009-07-21T15:15:00.012-04:00

(image of the performance by Visoposiv)

PERFORMANCE AT APOLO 2 (Barcelona, Spain) on 7/11/09

Artists:
Keiichiro Shibuya
Juan Matos Capote
Reactable (Carles Lopez)
Roc Jiménez de Cisneros (dj)

Organized by L'ull Cec

Playing a modified Casio Sk-8

2009-06-28T06:50:00.007-04:00

CASIO SK-8 modified by Juan Matos Capote

LOS DES-CONCIERTOS DE 25HOMBRES

2009-06-10T11:44:00.016-04:00

PERFORMANCE:
Friday, June 12th at 22.00 hours (Barcelona, Spain).
LOS DES-CONCIERTOS DE 25HOMBRES
At Radio Contrabanda, 91.4 FM Barcelona, or online at
www.contrabanda.org
This performance has been recorded. You can listen to it and watch as well a video with excerpts at LOS DES-CONCIERTOS DE 25HOMBRES

OPTOSONIC TEA BARCELONA (LOOP FESTIVAL 2009)

2009-05-26T18:21:00.008-04:00

This is a short video excerpt of the performance on May 23, 2009, during the OPTOSONIC TEA as part of the LOOP FESTIVAL 2009 in Barcelona (Spain) at Espai Ubu. The curator was Barbara Held.

Live Video: Noemi Sjoberg
Live Sound: Juan Matos Capote

Both, video and sound were recorded in situ, at the Besòs River in the city of Barcelona. The performance took place at Espai Ubu.

For more info, please visit Espai Ubu.

CIRCUIT BENDING WORKSHOP AT HANGAR (BARCELONA)

2009-05-01T11:20:00.002-04:00

Circuit Bending Workshop with Juan Matos Capote
Organized by L'ull Cec
With the support of Hangar

For more info, please visit L'ull Cec

When:
Friday May 8th, 2009, from 18:00 to 22:00
Saturday May 9th, 2009, from 16:00 to 22:00
Sunday May 10th, 2009, from 16:00 to 22:00

Where:
At Hangar
Passatge del Marquès de Santa Isabel, 40.
Barcelona.
Subway: Poble Nou

Cost:
90 Euros (includes materials)

Sign up:
Before Friday, May 8th at info@lullcec.org

Circuit-bending is a term used to designate creative and innovative modifications (based on short-circuiting) on low-voltage electronic devices (children's toys, guitar pedals, etc.) with the aim of creating new musical instruments and sound generators.

The circuit-bending technique is normally developed on recycled devices or devices found on the streets or in second hand shops. After their transformation, such objects, rejected by society, acquire a new life form completely different from the one planned by the original manufacturer. These devices, originally not associated with music production, eventually become musical instruments in certain aesthetics of experimental contemporary music.

Knowledge on electronics is not require in order to attend this workshop.

These are some images of this workshop:

CIRCUIT BENDING WORKSHOP AT ESDI (SABADELL)

2009-04-30T16:13:00.003-04:00

Here are some images of the Circuit Bending Workshop at Escola Superior de Disseny (ESDI) at Sabadell, Barcelona, during the Break & Creativity Week 2009.

(from left to right: Albert, Esteve and Alan)

(from left to right: Ana, Maria José, Manel, Cynthia, Esteve, Alan and Paul)

(from left to right: Ana, Maria josé, Manel, Cynthia, Albert and Esteve)

(Paul bending his casio Sk-8)

(Efren and his rehoused bent circuits)

(Jordi and his bent circuit)

OUT NOW! "JABAL," CASSETTE 18 MINUTES WITH CIRCUIT TORÇAT LABEL

2009-03-20T03:59:00.012-04:00

(CT01) JUAN MATOS CAPOTE "JABAL" C18

It comes in an edition of 50, full color both-sides J-card +1 panel, and white case and CrO2 cassette. Total time 18 minutes.

PRICE: 7 Euros plus shipping & handling.

Play List:

Side A
1. Goat Scape
2.Jabal
Side B
1. Tide
2. Star Dust

More info at Circuit Torçat.

To buy contact CIRCUITTORCAT@GMAIL.COM

REVIEWS

—Frans de Waard, Vital Weekly 670 (3/17/09)

"...Capote's love goes out to circuit bending, which he uses here on this eighteen minute cassette, most notably the 'pink oscillator', modified electronic gear, some field recordings, contact microphones and prerecorded software synth phrases. Four pieces in total. 'Goat Escape' is quite a noisy piece of waving electric circuits, being touched, whereas the title track is a bit more spacious, like cosmic dust or SETI like signals. The best pieces are on the b-side, with the loop based 'Tide' and the more complex noise based composition 'Star Dust', which includes a lot of the things he credits himself for, and contact microphones play an important role. Its a nice release, a bit short, but surely to the point."

—Auxiliary Out (5/11/09)

"Jabal is the debut release from Circuit Torçat, a new label out of Barcelona. This tape is quite good, if a bit too short.

The first piece “Goat Scape” begins with a strong but not harsh hi-pitched sine tone, which is modulated by other frequencies. Though there are brief flashes of melody, the track mostly focuses on textures brought about by combining various frequencies. By the end there’s a loop of a vocal-esque melody through I can’t tell if its from a human source or not. The title track also starts off with a loop of a manipulated sine tone. There’s another loop, reminiscent of turning a tape recorder on and off, that provides a percussive base as sustained, harmonized sine waves take over and the side ends.

The other side contains two pieces as well. “Tide” features sine tones also but over a shuddering bed of lower pitches. Over that base, various other fragments of other sounds are structured. They are probably all of electronic origin but some sound quite percussive causing the piece to scrape along capably. The finale, and my favorite, “Star Dust” reminds me a bit of the lo-fi new age thing going on now a la Dolphins into the Future. Despite a rough patch of distortion in between, the beginning is mellow waves of synthesizer and later brings out a pieced together, seasick melody before getting noisy again with oscillators and metal objects.

Capote’s work isn’t exactly minimal but that influence is present. He focuses on constructing pieces from small fragments of sound. Though the two work from very different source material, Capote’s work might possibly sound like an isolated strand of Tomutonttu’s sound clutter. Sound placed into odd but clearly defined structures. A real pleasant jam.

Edition of 50 and packaged very cleanly, check it out."

—Mangoon, Tiny Mix Tapes, (May 2009)

"Across the pond, interest in the electronic underground has been spreading virally throughout Europe since the late 90s; its tendrils weaving itself throughout England and Scotland, the Scandinavian north lands, and of course Austria and Germany (where electronic music was invented). Finally, Spain is saying “me too.” Circuit Torcat is a new Spanish imprint run out of Barcelona by visual and sonic artist Juan Matos Capote, and its first release is one of Capote’s own.

Jabal is a contemplative work that sees Capote testing the limits of his centerpiece instrument, a four oscillator pink and grey tone box that buzzes, squeaks, and squeals sanctimoniously throughout. Juan’s expertise in hardware-hacking comes from studying under circuit-bending progenitor Reed Ghazala. Since then, Juan has become an expert in the field ripping through and rerouting consumer electronics much like a hungry bear would rip through pieces of wolf flesh. Jabal is a made-up word for Juan’s secret spot of solace, a mountaintop overlooking Barcelona’s booming metropolis that has for him become a sacred place where he communes with nature. There is a meditative aspect of this cassette that undoubtedly stems from those fleeting moments of peace experienced on the mountaintop. In addition to the oscillator, Jabal is peppered with Capote’s own personal field recordings (much taken from atop the mountain), weaving bits of his own personal auditory nostalgia with gently oscillating sine waves to converge in on some serious prospects of nirvana, though tinged with a sense of foreboding paranoia.

The tape comes in a miniscule edition of 50 and boasts full-color card stock and beautifully printed tape labels, all courtesy of Capote himself."

ELI KESZLER + JUAN MATOS CAPOTE CONCERT in BARCELONA (March 11, 2009)

2009-03-04T16:11:00.007-05:00

Wednesday, March 11, 9 pm.

eli keszler (percussió)
+ juan matos (circuit-bending and field recordings)

At:
Associació Cultural Albricias
c/ Robí, 5.
Barcelona
Spain
(Fontana Subway)

Cost: 6 €

Organized by l'ull cec

DRAP-ART'08 FESTIVAL AT CCCB (BARCELONA, SPAIN)

2008-12-22T05:24:00.043-05:00

Drap-Art'08 poster (with image of Shilpa Chavan's design)

DRAP-ART'08 Festival was inaugurated on Thursday 18th, and continued until Sunday 21st, at CCCB (Barcelona, Spain).

Performance on Sunday 21st, 2008 at CCCB's Auditorium during the DRAP-ART' 08 Festival (images by Ferraz, Ozone Films).

After the Circuit Bending workshop and performance at CCCB during the DRAP-ART' 08 Festival (image by Ferraz, Ozone Films)

DRAP-ART'08 is an international festival of the creative potential of recycling, which includes a group exhibition and interventions in public space using recycled materials, a recycled art and design market to promote sustainable consumption, round tables, workshops for the old and the young, shows, concerts and environmental cinema.

For more info, please visit Drap-Art & Centre de Cultura Contemporania de Barcelona (CCCB)

ABOUT DRAP-ART:
Drap-Art is a non-profit organisation founded in Barcelona in 1995. Drap-Art promotes creative recycling, through the organisation of festivals, exhibitions and workshops.

Drap-Art’s aim is to enhance creative recycling as a tool of transformation in the arts, the environment and society. Recycling, reusing and recuperating revaluates things. This, not only helps to induce a more reflexive consumerism, but also contributes to the growth of respect for the environment and for the people living in it, leading towards cultures based in knowledge and respect. Moreover, creative recycling is a global and multicultural phenomenon that occupies a significant position in the popular arts and crafts, in all societies of the world. It was introduced into western art by the avant-garde at the beginning of the 20th century, and towards the end recycling has entered the world of design and architecture.

INTERVIEW BY DORIS LIPPITSCH AT CITY MAGAZIN FÜR ARCHITEKTUR UND URBANES (WIEN, AUSTRIA)

2008-12-10T16:14:00.012-05:00

Aus der Serie Feathered Sounds: onomatopoeias

Puzzle Monochrome: urbane Landschaften mit elektronischen files

The whole interview by Doris Lippitsch, icluding the one to Peter Rantasa, can be read at CITY MAGAZIN FÜR ARCHITEKTUR UND URBANES (VIENNA, AUSTRIA).

Interview. Der Künstler Juan Matos Capote schließt Schaltkreise kurz, experimentiert Feld- aufnahmen im urbanen Raum und stellt seine neue Rauminstallation für das PS1 (MoMA, N.Y.) vor. Über Ambient Music auf Baustellen und die Notwendigkeit für einen liquiden Konzertsaal in Wien berichtet der Musiker und mica-Leiter Peter Rantasa.

City: Du bereitest eine Rauminstallation im PS1 (MoMA) in New York vor, die zeitgleich im MACBA, Múseú d’Art Contemporani de Barcelona, im Oktober präsentiert wird. Ist sie an das Album Subway Aural Recordingsangelehnt?

Juan Matos Capote: Ja, seit Kurzem werden akus- tische Installationen im MACBA kuratiert. Im Oktober wird, gleichzeitig mit dem PS1, Zentrum für zeitgenössische Kunst (MoMA) in New York, die Installation The trembling of my Williamsburg Studio while they are constructing outsidegezeigt, die sich aus einem visuellen und auditiven Part zusammensetzt. Die Idee zu dieser Arbeit wurde mir gewissermaßen von außen zugetragen: Monatelange Bauarbeiten in Williamsburg, eine Water- front wird am Hudson River gebaut, und das nur fünf Meter von meinem Studio entfernt, haben mich dazu veranlasst, Aufnahmen von diesem oh- renbetäubenden Baulärm zu machen. Über Monate. Ich versuchte, das Problem mit Aufnahmen zu lösen, um überhaupt noch arbeiten zu können. Der industrielle Werkteil besteht aus recyceltem Baustellenlärm, derwiederaufbereitet wird. Sieben Minuten lang sind Baukräne, Pressluftbohrer und Baustellenarbeiter in einer Art Rückfluss zu hören. Der visuelle, taktile Part besteht aus einer horizon- talen Lautsprecherbox, auf der geometrische Figu- ren, aus Papier geschnitten, vibrieren. Der Be- trachter kann sich so buchstäblich ein Bild von \den immensen Erschütterungen und Schwingun- gen in Williamsburg machen.

Ähnlich ist dein erstes Solo-Album entstanden: Die Subway Aural Recordingshast du über Jahre in der New Yorker U-Bahn und in U-Bahn-Stationen zwischen Manhattan und Brooklyn aufgenommen. Sie bestehen aus elf Tonstücken und wurden im deutschen Label EinzeleinheitEnde 2007 herausgegeben.

Die U-Bahn, das unteriridische U-Bahn-Netz ist die Hauptader, die alle urbanen Zentren einer Me- tropole zusammenführt und -hält. Die Subway in N. Y. hat eine niedrige Frequenz, die den gesamten Klangraum überspannt und definiert. Fast keine Stimmen sind auf den Aufnahmen zu hören, die Bestandsaufnahmen von auditivem Abfall, sprich meist als störend empfundene Geräuschkulissen, sind. Sie bestimmen unseren urbanen Alltag, werden meist abstrahiert, demnach nicht bewusst wahrgenommen. Fast zwei Jahre lang habe ich Feldaufnahmen in U-Bahn-Stationen und in U-Bahnen zwischen meinem Studio in Brooklyn und Manhattan gemacht, selektiert, analysiert und wiederaufbereitet. Auch Störungen oder Ausfälle, wie der letzte Titel auf dem Album ironisch wie- dergibt: At Last the Poet Says: Again There Is No L Train.
Neue visuelle und auditive Beziehungen entste- hen, die diesen urbanen wie individuellen Raum neu definieren, den ich tagtäglich zurückgelegt habe. Die wiederholten Mitschnitte habe ich aus- nahmslos unbemerkt aufgenommen. Dadurch sind alle Aufnahmen authentisch. Zentrale Elemente meiner elektronischen Musik sind Zufall und Improvisation, die Struktur wird durch die Studioaufnahmen ziseliert. Struktur ist per se nicht statisch. Sinneswahrnehmungen werden dadurch sensibilisiert: Die Geräusche der field recordings gehen durch einen durch.

Planst du Aufnahmen in Barcelona?

Ja, ich beginne, nun den „Untergrund“, das unter- irdische Metro-Labyrinth in Barcelona zu analysieren ... Die Klangdichte und der Rhythmus der U-Bahn in Barcelona sind beispielsweise völlig unterschiedlich. Menschen unterhalten sich – lautstark. Vor Jahren habe ich in Antwerpen ein weißes Puzzle gefunden, ein Monochrom – ohne Motiv. Die einzelnen Puzzle-Teile zeichnen mit ihren Konturen eine Landschaft in das weiße Karree. Mit den Feldaufnahmen funktioniert das ähnlich. Ich entwerfe urbane Landschaften mit elektronischen Files. Ich recycle Lärm, elektronischen Müll, der uns tagtäglich umgibt, den ich verändere und im Studio neu zusammensetze. Die Kompositionen sind Exkursionen ins Unbekannte, die Versuchung ist um die nächste Ecke. Letztendlich definiert aber jeder Zuhörer Klangräume und Klangbilder für sich, die sich, nie unabhängig von Stimmung, Kultur oder Vorwissen, immer wieder neu abspulen, aber immer an die Intentionen dieser Musik, periodisch wiederkehrende Themen, gebunden sind.

Wie hat deine Auseinandersetzung als bildender Künstler mit experimenteller, elektronischer Musik und Circuit Bending begonnen?

Seit Jahren unterrichte ich Kunst. Die Auseinan- dersetzung mit monochromatischer Malerei, Arte Povera, konkreter Poesie, Liedertexten, phänome- nologischer Wahrnehmung, Synästhesie, onomatopoeias und John Cage haben mein Interesse fürden „physischen“ Klang mehr und mehr entfacht. Sprechblasen wie etwa in Comics, wenn sich ein Paar liebt, sollten schließlich leben und drei- dimensional, wahrnehmbar sein! In meinen „Gefederten Klängen“ wird diese Inspiration in meiner Arbeit deutlich, wie etwa in aaahhhh, 2001 (siehe Bild). Klänge sind zunehmend in meine bildnerische Tätigkeit eingeflossen. Spät habe ich Pauline Oliveros Lehre über tiefes Hörverständnis in New York kennengelernt. Seit der Begegnung mit Reed Ghazala in Ohio, arbeite ich mit Circuit Bending und habe begonnen, mit elektronisch modifiziertem Spielzeug zu experimentieren, Schaltkreise zu manipulieren und Instrumente für neue Klänge zu bauen. Reed Ghazala ist Begründer der Anti-Theorie aleatorischer Musik und beschäftigte sich ab den späten 1960er-Jahren mit der Verbindung von visueller Kunst und Musik, komponiert für Tom Waits ...

Welche Rolle spielt der Zufall in deiner Arbeit?

Eine sehr wichtige. Die Auseinandersetzung mit Zufall und Improvisation ermöglicht mir, Rigidi- tät, Starrheit in meiner Arbeit zu vermeiden und fließende Strukturen zu generieren. Ich arbeite mit Ton wie ein Maler mit Farbe. Ich mag diese experimentelle Annäherung, Töne zu erzeugen, ja, auszureizen, deren Synthese eine Sinfonie ist. Die Idee von Musik wird so erweitert, über das Geräusch identifiziert. Das ermöglicht neue, „er- neuerbare“ Energien, nicht nur in der Musikszene, sondern auch auf gesellschaftlicher Ebene. Musik wurde so demokratisiert. Das anspruchsvoll Besondere, das „Akademische“, geht über in ein Ganzes. Darin sehe ich eine große Chance und unzählige Möglichkeiten.

Wie sozial und politisch engagiert ist deine Arbeit?

Ich versuche, mehrere Sinne über meine Arbeit anzuregen. Über Jahrhunderte hat der Sehsinn dominiert. Das entspricht einem demokratischen Streben nach Diversität, die ich in der Verbindung zwischen bildender Kunst und Musik erreichen kann.

Der persönliche, individuelle Bereich wird über meine Räume und Erfahrungen neu formuliert. Als Künstler, der in einem gegebenen Raum und einer bestimmten Zeit lebt, nehme ich darin eine Position ein. Eine Position ist auch immer eine Definition. Daher politisch, weil eine Erfahrung immer auf Ursache und Wirkung zurückzufüh- ren ist. Egal dabei ist, ob man ein Bild malt, Musik macht, ebenso wie der Kunstmarkt geregelt oder wie die aktuelle Regierung besetzt ist.

Wie inspirieren die field recordings deine visuellen Arbeiten?

Die recycelten und komponierten Sounds übertragen sich auf meine Skulpturen und Rauminstallationen. Für die Dak’Art 2008, die achte Biennale für Zeitgenössische Kunst in Dakar, habe ich eine Toninstallation entwickelt.

Auch in meiner visuellen Kunst arbeite ich mit der Wiederaufbereitung von taktilen Stoffen: Material finde ich in den unzähligen Mülltonnen unserer schnelllebigen Konsumwelt und technischen Umwelt. Gebrauchte Gegenstände werden durch recycelte Verwertung transformiert – und vielleicht lebendiger? Der Gedanke gefällt mir, der mich immer wieder dahingehend bewegt, den Schaffensprozess zu dehnen und neu zu definieren.

Ein aktuelles Beispiel für Recycling in deiner visuellen Arbeit?

Im Dezember findet im CCBB, Katalanisches Zentrum für Zeitgenössische Kunst, das Recycling-Kunst-Festival Drap-Art 2008 statt. Meine Idee ist, eine Performance mit modifizierten Spielzeugverstärkern und selbst gebauten Instrumenten zu improvisieren. Auch ein Circuit-Bending-Workshop ist angedacht.

Die Aufnahmen in der U-Bahn in Barcelona laufen langsam an. Dafür nehme ich mir Zeit. Wichtig aber ist, mein Studio in Gràcia einzurichten, um richtig loslegen zu können.

[...]

CAP SEMBRAT HIVERN

2008-11-28T06:26:00.032-05:00

CAP SEMBRAT HIVERN
Concert at Sala APOLO 2 on December 8th, 2008, at 9.00 PM,
Barcelona, Spain.
Address: Nou de la Rambla 113, Barcelona, Spain.
Cost: 6 Euros
Organized by Ozonokids & l'ull cec

Juan Matos Capote and Arnau Sala at Cap Sembrat 08

Juan Matos Capote (left) with Arnau Sala (right) at Cap Sembrat 08 (photo by Ferraz, Ozone Films)

Juan Matos Capote (left) with Arnau Sala (right) at Cap Sembrat 08 (photo by Ferraz, Ozone Films)

Family Battle Snake (Bill Kouligas) at Cap Sembrat 08.

Weirding Module (Michael Troutman) at Cap Sembrat 08.

WEIRDING MODULE
(EEUU)

Weirding Module is Michael Troutman's solo project, Michael is better known for playing bass guitar in the psychedelic rock band, Awesome Color. Weirding Module sounds like a heady mix of synthesizers, samples and rhythms, heavily influenced by repetition (Steve Reich, Terry Riley, Tony Conrad, et.al.) and seasoned with some Tangerine Dream, dub and dancehall reggae.

Weirding Module's first release was an American Tapes bootleg cassette for the No Fun Festival (NYC) in 2004. Other releases have followed on Troutman's own label Senseless Empire (US), as well as releases on Ozonokids (Spain), Scumbag (US) and Silver Ghosts (Netherlands). Future releases are due on: Night People (US) and an LP on Ultra Eczema (Belgium).

www.senselessempire.com

FAMILY BATTLE SNAKE
(UK)

Firmly established through a punishing touring schedule (more than 100 shows in Europe & U.S.) and an extensive back catalogue of many European and American releases, Bill Kouligas (occasional Sudden Infant member) using electronics, analogue synths, tapes, strings and reeds builds his own improvised heavy telepathic universe and conjures up a hazy psychedelic mayhem; from lulling numbness to fierce noise outbreaks. He has collaborated with the likes of Chris Corsano, Anla Curtis (of Reynols, Karen Constance, Damo Suzuki (CAN), Mark Durgan (Putrefier/The New Blockaders), Ashtray Navigations, Astro (CCCC), Family Underground, MV Carbon (Metalux, Bride of No No), Christelle Gaudi (No Neck Blues Band, Stellar et al) amongst others.. In his latest days he shares split releases with people like ASTRO, Birds of Delay, Astronaut. Also new Sudden Infant (ft. Bill Kouligas) CD 'Psychotic Einzelkind' on Blossoming Noise.

He recently started running his own record label 'PAN'.

www.pan-act.com

JUAN MATOS CAPOTE / ARNAU SALA

Juan Matos Capote is an experimental sound and visual artist from the Canary Islands who lives in Barcelona. He studied circuitbending with the pioneer Reed Ghazala in Ohio, EEUU, and techniques of Deep Listening with composer and performer Pauline Oliveros in New York, where he has lived for the past 12 years. His latest sound work, "The Subway Aural Recordings", is a series of compositions based on field recordings made in the New York City subway, recently released on CD by Einzeleinheit in Munster, Germany. He also performs as part of the duo called Thick Wisps (with Giancarlo Bracchi). His work has been exhibited in North America, Europe, Australia and Africa.

juan-music.blogspot.com

Arnau Sala is originally from Manresa. Better known for creating and running Ozonokids in year 1999 and back then taking part on several acts - generally as a drummer - such as Omegacinco, Les Aus, devoted to improvisation and accidentalism. Year 2003 moved to Philadelphia, USA for a short ammount of time where he met and interacted with visual and sound artists such as Eli Winograd, Nate Davis, Jacob Anodide, Jeff Mott, Lil' Howlin Wolf, Robert Francisco, Drums Like Machine Guns, amongst others. He also got involved in electronics and circuit modification. Back in Barcelona he created Cap Sembrat Festival of experimental music and arts, and the groups Bèstia Ferida (along with fellow Adrián de Alfonso and Mark Cunningham of Mars) and Homenatges. His works have been featured in many record labels such as Gravity, Faux Pas, Scumbag Relations, Widowspeak, Gold Standard Labs, True Panther, Senseless Empire, Isolated Now Waves, Glasvocht, Nosordo, Kindustria, Simple Social Graces, ... and has collaborated live with people like Au, Daniel Gutierrez, Don the Tiger, Inaudibles, Jacob Anodide, Justice Yeldham, Lydia Lunch, Marc Viaplana, Mark Cunningham, Mattin, Ospreys, Robert Francisco, Silvia Mestres, Silvia (Ultimo Resorte), Trigal, ... also featured in festivals like LUFF, Sonar, Primavera Sound, South by Southwest, Tanned Tin, Cap Sembrat, ...

www.arnausala.info

MINUS SPACE, an exhibition at P.S.1 Contemporary Art Center (New York) curated by Phong Bui.

2008-11-24T12:18:00.000-05:00

Juan Matos Capote, Puzzle over the grid, (1995-2008)
acrylic, blank puzzle, carton, wood frame
14 x 9 inches.

MINUS SPACE
Curated by Phong Bui

P.S.1 Contemporary Art Center
A Museum of Modern Art Affiliate
22-25 Jackson Ave (at 46th Ave)
Long Island City, NY
www.ps1.org

October 19, 2008 - January 19, 2009
Opening: Sunday, October 19, 12-6pm

The exhibition is curated by artist, Brooklyn Rail publisher, and P.S.1. Curatorial Advisor Phong Bui, and includes the work of 54 artists from 14 countries. The exhibition will mark MINUS SPACE's 5th anniversary. For info about MINUS SPACE, please go to http://www.minusspace.com

Participating Artists
Soledad Arias, Shinsuke Aso, Marcus Bering, Hartmut Böhm, Richard Bottwin, Sharon Brant, Michael Brennan, Henry Brown, Vicente Butron, Bibi Calderaro, Melanie Crader, Mark Dagley, Julian Dashper, Christopher Dean, Matthew Deleget, Lynne Eastaway, Gabriele Evertz, Daniel Feingold, Kevin Finklea, Linda Francis, Zipora Fried, Daniel Göttin, Julio Grinblatt, Billy Gruner, Terry Haggerty, Lynne Harlow, Gilbert Hsiao, Andrew Huston, Simon Ingram, Inverted Topology, Kyle Jenkins, Mick Johnson, Steve Karlik, Sarah Keighery, Andrew Leslie, Daniel Levine, Sylvan Lionni, Lotte Lyon, Gerhard Mantz, Rossana Martinez, Juan Matos Capote, Douglas Melini, Manfred Mohr, Salvatore Panatteri, Dirk Rathke, Karen Schifano, Analia Segal, Edward Shalala, Tilman, Li- Trincere, Jan van der Ploeg, Don Voisine, Douglas Witmer & Michael Zahn

LINES OF SIGHT#5 at Radio Web MACBA

2008-10-15T13:50:00.019-04:00

The Museu d'Art Contemporani de Barcelona (MACBA) presents:
"LINES OF SIGHT #5" (AN ORCHID IN THE LAND OF TECHNOLOGY), a sound program curated by Barbara Held and Pilar Subirá at Radio Web MACBA
NOTE: You can listen and download the podcast and information about the sound pieces in PDF format.

"The recording can be a reflection of the thoughts and emotions of a human being (Arthur Russell), memory (see Brandon LaBelle's project, Phantom Music – Radio, Memory, and Narratives from Auditory Life), or museum (Edgard Varèse used recordings of the Holy Week procession of the Catalan village of Verges, presented every year since the middle ages, in his soundtrack for a film on Miró). A studio production records one perfect performance, its presence in time and space similar to that of a film. Destructive noise can be transposed into delicate vibrations of a transparent membrane (Juan Matos Capote)."
(Excerpt from "Lines of Sight #5 - An Orchid in the Land of Technology -" by Barbara Held and Pilar Subirá)

PROGRAM:
01 Edgar Varèse "La procesión de Verges", 1955 2'54''
02 Anne Wellmer, "needle", 2003 3'
03 Brandon LaBelle, "Dirty Ear" 2007 8'42''
04 Richard Garet, "Précis", 2007 6'
05 Octante, "Untitled" 2008 8'15''
06 Arthur Russell, "Home Away from Home", 1986 5'12''
07 Juan Matos Capote, "The trembling of my Williamsburg art studio while they were constructing outside", 2008 6'55'' (Note: Please cover your speakers with a thin sheet of paper or acetate film to better appreciate the vibrations)
08 Roscoe Mitchell, "Parched Plain", 2006 13'06''
09 John Bischoff, "Override", 2002 3'51''
10 Andres Lewin-Richter, "Study 1", 1964. 3'35''
11 Matt Davis "Rain", 2007. 8'55''

The Trembling of my Williamsburg Art Studio While They Were Constructing Outside, 2008, 6'55"
by Juan Matos Capote.

NOTE: While listening to the piece, please place small pieces of paper with different geometrical forms inside of the cone of the speaker (placing the speaker horizontally on a table). The papers will move and vibrate inside the speaker due to the low frequency vibrations.

"The trembling of my Williamsburg art studio while they were constructing outside is a piece with one part that is visual (see image above) and the other sound. The sound is an edited recording of the sounds produced by construction on various buildings near the studio where I lived and worked in Williamsburg, Brooklyn, during my last year in New York. It is a manifestation of the huge and rapid growth of real estate development in that part of the city. The recording consists of the noise of construction machinery, trucks, cement trucks, drills, etc.

These daily sounds, constant and irritating, kept me from being able to work properly in my studio, and woke me up in the early morning. During this period I was working on some paintings with geometric shapes, for which I needed precision and a steady hand. The construction machinery produced, in addition to the noise that invaded silence, vibrations in the building where I was working that made my hand tremble.

In order to take advantage of the adverse circumstances, I decided to record the surroundings in which I was destined to work, and to take advantage of it. My latest works (visual and/or sound) have to do with a reformulating of the experience of place or personal space. This is how the idea of this piece came about.

The visual part happens in the home or in the place where the listener is located. The listener can place a piece of thin acetate or some other similar material (sheet of thin plastic or paper), over the cones of the speakers without their protective covering, so that the low frequency sounds makes the acetate, or other similar material, vibrates. The more powerful the speakers, the more the effect of vibration is perceived, and a subwoofer works even better. In this way, the vibrations that attacked my building in Williamsburg, where I was trying to paint in silence and with a steady hand, are reflected. A variation of the visual element of this piece is to place small pieces of paper with different geometrical forms inside of the cone of the speaker (placing the speaker horizontally on a table). The papers move and vibrate inside the speaker due to the low frequency
vibrations.” (by the artist)

DAK'ART 08 BIENNALE OFF (SENEGAL)

2008-05-20T01:19:00.005-04:00

Dak'Art 08, Biennale Off, in Dakar, Senegal, will take place from May 9th until June 9th, 2008.

HITOS DE NUESTRA MEMORIA, an art exhibition curated by Celestino Hernández and made possible by Cámara de Comercio de Santa Cruz de Tenerife.

Artists:
Juan Gopar
José Herrera
Emilia Martín Fierro
Juan Matos Capote

Juan Matos Capote
"7 GEOMETRIC DESIGNS TO BETTER SERVE SOCIETY (PLANS OF TABLE ARRANGEMENTS IN NEW YORK CITY RESTAURANTS)" (detail)
2008
Vinyl on used and washed cotton restaurant napkins.
7 pieces, 50 x 46 cm each. 50 x 382 cm overall.

7 designs (in different colors) of table placements in New York City's restaurants (in some of which the artist, as well as other immigrant fellows, worked).

Juan Matos Capote
GOLD & NOISE
2008
"Rich Gold" oil paint on used cardboard box, cardboard boxes, scavenged speakers, cables, 2 audio channel CD, CD player.
32 x 140 x 115 cm approximately.

Scavenged speakers implanted into two cardboard boxes used by the artist in his move from New York City to Barcelona (Spain).
A two-channel Audio CD played through a Discman CD player and connected to the two speaker cardboard boxes.
- Right channel: Fellow immigrant voices that work in New York City restaurants are heard, telling their own experiences of crossing the US-Mexico border. This right-channel cardboard box is painted in "Rich Gold" color. Through this channel immigrants' point of view is heard, who think of the new country as an opportunity to enrich their lives.
- Left channel: The same told experiences from the right channel, but processed and transformed into noise, are heard. This left-channel cardboard box has been left in its natural state, without paint (showing its worn state by its shipping from New York to Barcelona). Through this channel the society's point of view is heard, which thinks of immigrants as noise that must be silenced (by deporting or naturalizing).

EINZELEINHEIT (MUNSTER, GERMANY) RELEASES THE SUBWAY AURAL RECORDINGS

2008-01-04T16:07:00.000-05:00

“The Subway Aural Recordings” are both an album of experimental electronics and a personal diary. For years, Juan Matos Capote secretly hid recording devices in his clothes, taping the sounds of the New York subway. He didn’t go there exlicitely to record. Every day, when taking a ride to work or returning to his home, he would just leave his MiniDisc and Edirol R-09 running, collecting all the noises that surrounded him.

On one level, these recordings represent a musical mirror image of the New York Subway. On the other, they document Capote’s search for the structures underneath the surface: “It was a discovery of hidden sounds that at the moment I could hear because I knew I was recording and I was putting more attention to anything that was sounding around me.”

Accordingly, “The Subway Aural Recordings” are not just a couple of field recordings which make for nice source material. They constitute a private, often rhythmic, musical vision and a small and diverse world in their own right." (at http://www.einzeleinheit.com)

The album is available to buy at EINZELEINHEIT