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Pluie/Noir Podcast 017

"Extrapolations"

 
Sound by Andrés Marcos
Visual Interpretation by Vitrio
Video by Max Binski.
 
 
Pluie/Noir Podcast is a bi-monthly audio-visual episode representing our work as an artist collective. Each episode will feature a one hour collage/mix by one of our producers/djs and a poster triptych by one of our designers. 
We interviewed both artists and dropped some questions about their vision:
 
 
ANDRÉS MARCOS
 
Andrés! How's life in the mountains these days? 
Fine, thanks. Autumn is wonderful here.
Full of emptyness! Reback is a project born from the union of our different musical experiences, aiming at the description of emotional impulses.
We wanted to express a language that is could be universally understandable, without words needed.
Full of emptyness! Reback is a project born from the union of our different musical experiences, aiming at the description of emotional impulses.
We wanted to express a language that is could be universally understandable, without words needed.
Full of emptyness! Reback is a project born from the union of our different musical experiences, aiming at the description of emotional impulses.
We wanted to express a language that is could be universally understandable, without words needed.
Full of emptyness! Reback is a project born from the union of our different musical experiences, aiming at the description of emotional impulses.
We wanted to express a language that is could be universally understandable, without words needed.
Full of emptyness! Reback is a project born from the union of our different musical experiences, aiming at the description of emotional impulses.
We wanted to express a language that is could be universally understandable, without words needed.
Full of emptyness! Reback is a project born from the union of our different musical experiences, aiming at the description of emotional impulses.
We wanted to express a language that is could be universally understandable, without words needed.
 
You're the jazz man from UNOIKI. What are you working at the moment? 
There is a period, every year, when I stop producing and playing gigs, and I make some research and try to renew my approach to making music. This usually happens in Autumn. I try to explore new software and hardware, change the elements I focus on, and find new workflows. Producing electronic music takes a lot of time, and in the winter time I try to reserve more time for acoustic instruments, without a goal or a deadline, this helps me in staying creative.
 
You definitely have a very specific sound signature highly chained to jazz. Where does it come from? 
I have fallen in love with jazz when I was 15, I decided to professionally study bass and double bass, and I’ve played in almost every sort of jazz ensemble, for a long time. The cubital tunnel syndrome forced me to take a break. I used this time exploring sequencers and synthesizers, and I loved it. My first attempts were too much influenced by jazz, this was an handicap to get prime time in some gigs. When I joined Unoiki I was asked to develop this handicap, and here I am...
 
Your podcast, how did you record it? How does it speak to you and how should it speak to us? 
It is, by the way, my first podcast ever. I didn’t want to make a mix of tracks, so I have approached it as a combination of mix, liveset and arrangement. Almost all tracks I used contain edits, and the parts I’ve played are all unreleased. As the title says, I’ve tried to develop existing tracks in a new direction.
 
Bucket list for the year to come? 

I would like to continue to spend time with my family, which is very important to me. Kids need lots of attention, and in order to be able to give it, I have to make compromises, and be very smart in how I use my time. 
I’m working at the my own music platform “Wondermachine”, which is focuses on interactions between improvised forms of music an electronics, and I would like to take care of this project with particular attention. 
I’m also preparing a new live act, with a different setup, integrating more played instruments and live looping. 
Continue producing under my name, and Clarabella Olssen (my alias).
 
 
VITRIO
 
How are you Nuno? 
Swamped with good stuff and connected with everything I love!
 
Who is Vitrio and what are his main focus?
Instead of defining myself by the mediums that I work in, I needed to have a term that would describe my working transparency approach. Vitrio tries to implement a very digital languange into various tangible forms, something that can develop multifaced concepts within a specific context or application. I believe that there's no recipies for what's good/bad design, good/bad visual art. Otherwise, everyone would keep them in a sort of cookbook diary and graphic design/ visual arts in general would be a pretty uninteresting act to resolve.
 
O Fluxo is a project you curate and manage for quite a while now. What can you tell us about it and what can we expect from it?
O Fluxo is a tight knit collaboration between me, André Moreira (fashion designer), and several contributors all over the world wide web. An ever-changing format which has established a sort of an examination on different creative perspectives and how they affect the visual culture in general. We can assure you that the intention of keeping this integrity intact is enough to focus on a big scale collaborative process-driven approach with more printed material, exhibitions, interaction, discussions, knowledge and IRL relationships. This should reflect our urge need to disclose work that is generated through open and discursive means between artists, scientists, curators, designers, photographers, essayists, public and basically everyone whos interested, connecting disparate fields and communities.
 
Your triptych is bold and it surely states something. Is that your vision of the new age technology vs. digital music?
I've been interested in the history of how cybernetics and systems theories affect the current art practice, the huge range of different subject areas it addressed, both looking into the past present and future, asking if this thinking still has some sort of currency on the modern society. The speculation of these type of theories can and should be appropriate to the said 'new age technology' and 'digital music'.
 
Future quests?
I had valuable experiences of designing and be part of several amazing creative initiatives. But my actual interest is to harmonize form and meaning as naturally as possible. (Do not confuse with 'form and function'. Although valid, it's an overrated notion and nowadays, being contemporary is something truly important.)
 
 
links:
http://vimeo.com/pluienoir/pnpodcast017
http://www.soundcloud.com/andres-marcos
http://www.iamvitrio.com
http://www.ofluxo.net
http://wwww.facebook.com/maxbinskidesign
 
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