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Interference

by Taller Ciclo

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about

1. Prototype for suspending mediums: formulation for a distance from the subjectivities which made an object become a cultural-historical act. Therefore, in this case, the mode of interference is a system in which the identity-agency is partially removed to give place to a relation from the medium itself: the objects, in this case, communicate between themselves through the interference, and this is part of a differend inaccessible to any historiographic interpretation.

2. Objects, thus, have their own interference. A tissue of interferences is what defines models of behavior which are articulated as disputes.

3. Terza Pratica: it is the relation of a mode of interference in itself; not communion but conjunction of strata in very unstable conditions. There is no resolution.

4. Internal resonance: transductions of information, a symbolic language made of communicational residue. Both microphone's capsule and amplification system ignore the performer without responding to an analysis of their outer workings: they present themselves purely as unstable, speculative technical existence.

credits

released September 4, 2020

Vicente Araya: guitar (2)
Danilo Torres Meschi: guitar (2)
Francisco Martínez: electric guitar, radio (1, 3, 4)
Nicolás Kliwadenko: electric guitar, electronics (1, 3, 4)
Diego Behncke: amplified objects, electronics (1, 3, 4)

Tracks 1-3 recorded live November 4 2014 by Jorge Albarnez at Musicahora in La Serena, Chile.
Track 4 recorded by Nicolás Kliwadenko in Santiago, Chile.

Mastered by Taku Unami
Liner notes by Diego Behncke
Translation by Diego Castro Magas

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Prensa Manual Berlin, Germany

Strategic ambiguity, residual disparities, transductive traps, epistemic failure, prowesses in archival thought, and overarching inquietude practices.

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