es un estado emocional,
una expresión percusiva
del estado metafísico
The vision behind this work with the assembly of batteries is born from an analogy between the pictorial impulse and the percussive impulse. Of the rhythmic gesture of color on the surface, of the stroke and the texture on the membrane (empty canvas), which serves as a compositional model for the elaboration of a universal elementary percussive phenomenon that delves into different levels of the drummer's being. POLLOCK is a "work" composed in three compositional matrices that expands like a large battery treated in an assembly format; it is a large extended / prepared battery, which forms a fertile sound field for the creation of transient exploratory moments and excursions to remote regions of color movement, shapes, masses, dynamics, sound textures, energy states; which are concentrated within the elementary conception of the matrices, and through which infinite forms of rhythmic treatment and percussive synergy are erected.
POLLOCK ¨tambores pintores¨ is conceived as a compositional process, evolving within a pioneering unique project in its kind in Mexico, which was born and developed as a creation space for the integration of a deep drum practice whose origins begin from the momentum -Internal movement originated in percussive inertia (that which is and is formed in the drummer at psychophysical levels) and that is externalized and expressed by working through the corporal gesture - initially from the posture of action painting and the elementary principle of chaos/new order - as a means for the exploration and expression of percussive projective structures generated by the auditory thinking inherent in the drummer mind and the audisensory system intertwining to the neuromuscular memory of the body, which is in itself a state of complete phenomenological order stimulated as a percussive phenomenon through the three compositional matrices and which are graphically fixed as a score; with a deep and complex theoretical-conceptual support, from where each member in the ensemble becomes an active elemental creational species within the score, and from where he is immersed in a deep space of psycho-physical-acoustic realization for the elaboration of an intense state of transforming energy and of entropic percussive volumes that finally have to culminate in the essential realization of what I have come to call POLLOCK ¨tambores pintores¨.
POLLOCK attends to a need for collective extension/expansion by deepening in the percussive audiosensory sense; interlacing the intentionality of the pictorial action with the drumming/stroke/hitting/splashing/rolling action. Conceiving the pictorial brushstroke trace as a trainer of the percussive gesture and the percussive movement as an agent for the action of the pictorial-drumming imaginary, which extends creatively within a vacuum ∞ that makes use of diverse systems of creative exploration such as improvisation, randomness and change controlled, researching methods, kinesiology and beyond, as vital work tools for the construction and satisfactory completion of this working project.
The concept of ensemble is about an extended/expanded huge composed drum set. This is not a band or group project. It is a work that is carried out collectively to create a field for generating a palette of colors, surfaces, textures, timbres, tones, harmonics, masses, volumes, noise producers, percussive forests, environments of diverse agglomerations, a multi-dimensional instrument, a great rhythmic ship, a mountain of indeterminate exploration and beyond, and all this is integrated into the creation field that supports the idea of POLLOCK.
The compositional matrices are a resulting matter of the compositional process that I have been developing since the beginning with SchlagArt-Arte Percusivo Integral Libre, in 2001. It has been a concentrated process of researching and practices within years that closes as a full cycle and begins a new one with my last work OXYOQUET which is a total synthesis that naturally unravels into a new proposal for the process of creation and development of this compositional matrices. The matrices are nothing more than containers of a complex elementary parameters found in the history of percussion music, and beyond that, of the universal percussive element in nature since the Big Bang Theory. It is a whole process of researching, creation, work on the imaginary and a worldview that delves into the acoustic physical psyche of the human being and its intimate relationship - interior and exterior - with the physical and metaphysical world. In addition, the pictorial and visual element, the cinematics, audiovision and even the synesthesia, offers a perfect equation for deepen into the work within the compositional matrices. The support in concepts and theories of quantum physics as well as in aspects of experimental psychology and the field of projective structures comes into play as well as the process of elementary parametrization within the field of metaphony, and they complete the equation and make it complex by proposing a project of unprecedented percussion ensemble creation process.
Music inhabits, emanates and develops from the imaginary ...
Color is an emotional state ... a percussive expression of the metaphysical state of the body ... the object of percussive creation is an intuition of the unrepeatable instant in the eternity of the present moment; where the action happens ... the color trace evokes the inner invisibility of the real/unreal revealing its pure existence in space ... the percussive trace is a visible evocation of the real/unreal interiority as a revelation of existence in time. ..
This compositional matrix, works from the projective structure that is formed in the imaginary at a subconscious level from everything we observe. It is not an interpretation of the graphic material et all; it is about thinking within the abstract universe of the unknown that inhabits under our conscious thought. It is also beyond reason or logic, mere intuition and improvisatory play, but there is an open possibility of creating existing sound worlds to be materialized, but never before heard or understood as such.
POLLOCKINAS is about the expression and release of the tensions between the physical action of the body and the inner intuitive impulse; and inertia that leads towards the physical expression of an imaginary- creative action in space-time. This two fields - the internal and the external - involves a simultaneous conscious/subconscious activity transduced into the body neuromuscular apparatus and the mind invention process intertwining.
Using an abstract painting as a graphic musical score calls for a parametric interpretation that enters into the transductive field of animal-intuitive and consciousness-intelectual experience. It has to do with how we interpret, play and create something out of that that we hear in our minds after the stimuli of the abstract visual experience. And then, how can we parametrize that content to composing a subjective-objective dialogue in an alive re-composing in real time percussive experience.
The God Particle
Visualizing suspended floating without gravity inside an empty space. Imagine to be in the inner concavity of an spheric distribution of mass where the gravity field is nule. Visualizing an origin point Pi which is an initial point for a cone forming which force is identical in any side or direction. The initial force Pi is always equal to cero in its origin, it is nule, nor positive nor negative.
The graphic for this matrix represents the meeting point between geometry and intuition; the initial mass in the Pi ( ∞ 0) can be any, but always has to be punctual, and its volume is very small (see blue arrow) compared with the one in the center point of the hollow -hueco- sphere (see red arrow) that in this case exploits into a sonorous collapsing cluster
The idea of generating a mass
Nature manifests in equal similar masses
but always crescendoing and changing:
it is a conditioning given without any explanation
for the comprehension of all evolution.
Before the beginning of All. The Nothingness. Cero Infinite. Then it comes the Big Bang.
¿From where it comes this initial vibrational point? ¿Where it goes? ¿What it is that that gives it spatial mass? Mass derives from the degree of inertial acceleration of a particle/body in gravitational proportion to the space it occupy. In this case, it concentrates in the degree of acceleration of the vibrating/resonant body in constant acceleration. It is a fundamental fact revealed in Nature: an inertial acceleration generates by itself a growing of mass as an expansion. The Creation of mass it is not other thing that very concentrated energy or concentration of much inertial acceleration.
TIME SCULPTOR/NOISE SPECULATIONS
...spontaneously bringing into being that which did not exist in any meaningful form before. The making of the real from the unreal, the breathing of the fire into the equations that underpin the world. Men objects, are the traces of time. Time, the greatest judge; the magician and the matter artisan, on which man has created his own world and reality.
¿What is real?
That which reaches our senses is, at best, a confusion of phantasmal energies. Not sights or any of the coherent qualities or sound, or any of the coherent qualities that we project outward onto the physical world. The Universe, as we know it, is built and experienced entirely within our heads, and until that mental construction takes place, reality must wait in the wings.