Don McLean: 'The music business as we knew it is dead' - BBC HARDtalk https://t.co/aPLqJToNno via @YouTube
— castrovalva radio (@castrovalvafm) August 14, 2015
viernes, 14 de agosto de 2015
Don McLean: 'The music business as we knew it is dead'
jueves, 6 de agosto de 2015
miércoles, 5 de agosto de 2015
domingo, 2 de agosto de 2015
sábado, 1 de agosto de 2015
miércoles, 29 de julio de 2015
martes, 28 de julio de 2015
Michael Moore WHERE TO INVADE NEXT, PERISCOPE
Here's the 6-min video from the Periscope I just did regarding my new film, WHERE TO INVADE NEXT. #W2IN #TIFF15
https://t.co/lKhLhTPUpn
— Michael Moore (@MMFlint) July 28, 2015
lunes, 27 de julio de 2015
new collage retrato eva 33 eduardo paz carlson
new collage retrato eva 33 eduardo paz carlson - http://t.co/KFN48lvVQp http://t.co/qVqJnq7CCw
— castrovalva radio (@castrovalvafm) July 28, 2015
jueves, 23 de julio de 2015
miércoles, 22 de julio de 2015
martes, 21 de julio de 2015
domingo, 19 de julio de 2015
jueves, 16 de julio de 2015
ALGUNOS ORIGINALES de mis manifiestos,primeros poemas (1975) y dibujos (partes)
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| ¡A justino lo corrió la canaaaa! (de El Poema de Justino,1980) |
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"El Hombre Solo" (1974), del libro UNO (1976)   
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| epc, 1981 |
miércoles, 8 de julio de 2015
A Quien Le Interese : sobre mi poesía y mis experimentos sonoros... +
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| epc, entrevista en El Observador, 1995 compre mi libro: http://articulo.mercadolibre.com.uy/MLU-427620891-libro-poesia-uruguaya-contemporanea-vanguardia-_JM |
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| epc con el viejo piano del Liceo Francés, Montevideo, 2002 ESCUCHE aqui: http://laboratoriodesonido.wix.com/musicaporeduardopazcarlson o aqui: https://soundcloud.com/eduardopazcarlson |
Sobre mis experimentos sonoros y demás en EMF/Idea7, 2004:
First of all, I believe that an artist must remain silent. The less he talks about himself and his work the better. What is important is the listener, the observer, the reader. They are the ones who must talk, analyse and as a last resort, create the work.
I feel like an inventor of "kits". I build kits of poems or "musika" so those who read or listen can deal with these kits as they wish.
It is difficult to date correctly each piece because all were composed in segments of works done in different times (between 1977 and 2004). I cannot affirm that all my "eletroascoustic musika work is really "electroacoustic" well.. the reason is because I don´t have a very clear vision of what electroacoustic music really is. It can be said that i "descend" from Varese, Stockhausen, Eno, Fripp, as all of those of my generation (I will be 46 in November).
By writing MUSIKA with a K expresses that I don´t consider myself a real musician, or as how the academy considers the status of a musician. However, do I compose electroacustica music? Maybe yes, I don´t know, and for that reason I selected some works which could be placed in the parameters of what TODAY is considered electroacoustic, I believe.. Each of the compositions I sent in these cds have something related to acoustic sounds.
Of course in some cases it is so transformed that it can´t be distinguished (concrete music?)
There are all sorts of transfigured sounds. In the majority of my works I make a mixture of every different sound which I have at hand at the moment, for example, in the work "Loor Beata Invernala" I captured unintentionally the discharge of electricity caused by lightning and as I was in the process of composing the sound remained travelling all around the work bouncing and mutating I have a lightning discharge locked in a cd!
A few weeks ago when summer was in full swing the pine cones in a pine tree in my backyard which has been bent by the wind (I live about 100 meters from the ocean en El Pinar) started to explode and I recorded the event. All the pine cones in El Pinar were exploding, but the trees are so tall that all different types of sounds were mixed with these explosions and I could not capture the crackling that I had in mind to do. However, I could record clearly the sound that this bent pine tree emitted and later I transformed them (actually with a great bit of good luck using a plugin that I did not even know existed or to be more explicit it just came out of the blue.. as almost all I try to do) into bells like very delicate liquid metal. Can you believe it? I consider myself lucky to have been able to trap the sounds of the exploding pine cones.
As you can see I use anything and everything that comes along and I don´t intend to imitate any "traditional instrument" with the computer. In addition as my musical formation is really a deformation, a leap without shame of ignorance to "compose anything". Naturally I give my work ostentatious and mysterious titles as the surrealists with their painting because for me this MUSIKA which I compose is like blots of colour and shapes, sonorous magmas (collages of sounds) that I mix with tremendous pleasure using the techniques of "pure psychic automatism" that Breton and Tzara invented.
I find great enjoyment with these works. For me it is like a game...
Musically I am still an adolescent: I started my electronic musical studies at the age of 15 but at 18 I had to interrupt them when I found myself crushed by a mountain of ideas that where trapped in a dead end: I didn't have the technical equipment to realize them!
In1997 I decided to start the harvest of all those sounds and imaginary compositions I had been working on for so many years. Now, when I "compose" or "play" my "musik" i am really a kid again. My mind goes back in time, it is like a part of me is still 15-18 years old...its great! At 15 I also began my experimentation with poetry and I have continued up to date.
I have published quite a number of books. Two years ago I published "OBRAS COMPLETAS 1973-2002" and last year: Poemas Del Verano. Since last year I am working on a new book "Cuerpo" a long poem. Various friends who are composers (sometimes without, but almost always with my authorization) have used some of my poems in their musical compositions. Pedro Ipuche Riva was one of them, and for me it was an honor (poema Oración).
I was born in Montevideo, Uruguay, November 6, 1958. My father was a diplomat therefore I travelled in Europe and America until the age of 17. My mother is American. I studied in innumerable primary schools and high schools: first English schools, then French schools and finally Uruguayan-French schools. I have studied ethnography, philosophy, literature, publicity, graphic design, and journalism.
My first skirmishes as a journalist happened during 1980 and 1983 in Uruguay. Due to the civic-social-military dictatorship that governed the country as it wished until 1985, I was not permitted to exercise this profession until then.
I wrote for different news papers in Uruguay: El Día, La Mañana, El Ciudadano and El Observador.
Since 1999, I am dedicated to my career of composer of Contemporary Music or Technoconcrete and I have retired myself from society. I am not an asetic but I live tranquilly, without children, no wife. I write, I read. I study and make mixtures happily. I have no dependents, and as I have sent all to hell, or almost all the superfluous, I am tranquil and concentrated. So one can say that I am practically free.
I worked in radio ~ FM cultural programs including poetry. I published my first book in 1979. During the past two years I am working on a new book. Up to now I have edited fifteen works (poetry and prose).
I consider myself a direct descendent of two monsters in electronic music and/or electroacustic. Edgard Varese and Karlheinz Stockhausen. Varese drove me crazy when as a youngster I heard for the first time his "Poeme Electronique. It was an impact of immense pleasure, I was young, no more than ten years old and I lived in Paris and it was as if the world had given me permission to do "any kind of madness". I thought "this is the music I want to make". I remember that I repeated to myself "What is this? Is it music?" It seemed to me to be very amusing and my spirit was elated. It changed my life.
Varese is a true maestro. How could I give myself the title of composer? I consider myself a potter of "sonorous magmas". I make collages of sounds as Braque or Picasso made collages with painted papersor as Magritte invented ingenious and disturbing
titles for my works. The fact is that I enjoy so very much making this music and I don´t really know what it is.
It is a game, or the stimulation of spiritual atmospheres. The composer Sergio Fernández told me that my work seemed like "strokes of light", that is was "visual" music. I learned by myself and in disorder although I felt the very important impulse (although short) from professors such as Mateo and Carlos Pellegrino. The pianist Luis Batlle Ibañez one afternoon heard in my grandmother´s home in Uruguay, by chance, a recording of me playing the piano which I had recorded during one of my many "absences from classes in the Lycée Français (I would escape from class and would go to the lycée´s theatre and I maltreated the poor piano and recorded these "sessions with my old "Panasonic recorder).
Batlle heard these crazy recorded sessions and he took me by the arm directly to the Municipal School of Music and with a loud voice demanded that I should be incorporated in the classes: "This young man must learn. I leave him with you!"
So I went a couple of years on and off because these classes bored me tremendoualy and I finally desisted and continued my (de)formation with ups and downs and since then, (1975 or 1976) I haven´t stopped recording any sort of sound that passes in front of me..
Music is the best, but it is not knowledge nor is it beauty , it is simply "the best" as the maestro, Frank Zappa, says from heaven.
In the period when I studied with Pellegrino en the "Alianza Francesa" we used a Sinty 2000 or something similar. It was the most advanced product in that moment. We also used the old and ugly Revox recorders. Editing was done manually, with scissors and glue! Sometimes in order to compose 1 minute it would take us days to do so.
Today, with my "super machine" I can compose, edit and record with the same or better quality of sound in twenty minutes a piece in ten minutes.although sometimes it may take me days to finish one precious minute! A treasure of sound!
I Compose to find gold. Every composer secretly searches for a golden sound, in other words: A Beautiful Song,.. and what is A Beautiful Song? It is what eliminates the pain in this world. It elevates our spirit. It is what all great composers look for and they conceal it with great symphonies, grandiose works and brilliant virtuosity.
All of this is valid, of course it is, but one must not forget that behind all this formal adornment lie throbbing songs found or almost found or which escapes from the mind of the composer. We all are in search of A Beautiful Song and some find it, and how! I believe that I still have not been able to find it.
poema deTierra Luminosa, 1986
poemas del libro negro Lao2008
o acá: https://youtu.be/LCIKIvVbyPY
Yes 1991 Documentary. P.2. Tempus Fugit / Chris Squire solo bass guitar
Yes 1991 Documentary. P.2. Tempus Fugit / Chris Squire solo bass guitar
lunes, 6 de julio de 2015
martes, 30 de junio de 2015
collages digitales por epc
collages by epc pic.twitter.com/KTeBbCAeYl
— castrovalva radio (@castrovalvafm) June 30, 2015
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| http://eduardopazcarlson.artelista.com/ |
lunes, 29 de junio de 2015
domingo, 28 de junio de 2015
The mystery of the female orgasm, BBC
http://www.bbc.com/future/story/20150625-the-mystery-of-the-female-orgasm
The mystery of the female orgasm http://t.co/75swPPGRR1
— castrovalva radio (@castrovalvafm) June 28, 2015
sábado, 27 de junio de 2015
John Lennon @johnlennon in Street Art by David Florses in LA
John Lenon @johnlennon in Street Art by David Florses in LA
#art #arte #mural #streetart pic.twitter.com/crUDcsCGk8
— Street Art (@GoogleStreetArt) June 27, 2015
Brand New Philip Glass @GlassNotesBlog filmed interview + @bbc archive dig http://t.co/8R8iJ4zjKL pic.twitter.com/uCAgyD7IAu
— BBC Arts (@bbcarts) June 27, 2015
http://www.bbc.co.uk/programmes/articles/2BHDZ800nlRqCsYwn3Q8dJ0/art-of-glass-creating-a-new-musical-languageviernes, 26 de junio de 2015
¡... Si yo tuviera el corazón, el corazón que di;...! + entrevista con Mariano Mores, 2012
Letra de Enrique Santos Discépolo (1950)
Música de Mariano Mores (1950)
UNO escúchelo aquí: https://youtu.be/Gf2BmOwMFlg
Uno busca lleno de esperanzas el camino que los sueños prometieron a sus ansias.
Sabe que la lucha es cruel y es mucha, pero lucha y se desangra por la fe que lo empecina.
Uno va arrastrándose entre espinas, y en su afán de dar su amor sufre y se destroza,
hasta entender que uno se ha quedao sin corazón.
Precio de castigo que uno entrega por un beso que no llega o un amor que lo engañó; vacío ya de amar y de llorar tanta traición...
Si yo tuviera el corazón, el corazón que di; si yo pudiera, como ayer, querer sin presentir...
Es posible que a tus ojos, que hoy me gritan su cariño, los cerrara con mis besos sin pensar que eran como esos otros ojos, los perversos, los que hundieron mi vivir...
Si yo tuviera el corazón, el mismo que perdí; si olvidara a la que ayer lo destrozó y pudiera amarte... Me abrazaría a tu ilusión para llorar tu amor...
Pero Dios te trajo a mi destino sin pensar que ya es muy tarde y no sabré cómo quererte.
Déjame que llore como aquél que sufre en vida la tortura de llorar su propia muerte.
Pura como sos, habrías salvado mi esperanza con tu amor.
Uno está tan solo en su dolor... Uno está tan ciego en su penar...
Pero un frío cruel, que es peor que el odio, punto muerto de las almas, tumba horrenda de mi amor, maldijo para siempre y se robó toda ilusión...
jueves, 25 de junio de 2015
miércoles, 24 de junio de 2015
Turistas de La Realidad
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| http://laboratoriodesonido.wix.com/eduardo-paz-carlson-collagista |
Vamos por la vida como turistas por París.
¿Qué hace el arte con esto?
El arte nos da un empujón y nos saca del estado de turista.
Pasamos a ser parisinos.
Como no sabemos francés ni conocemos realmente la ciudad, nos encontramos perdidos, inquietos, estamos miedosos y a la defensiva.
De ahí la sensación de extrañeza que nos provoca toda obra de arte.
Con el arte clásico nos sentimos más tranquilos porque creemos que conocemos esa ciudad porque hemos vivido toda la vida en ella.
El arte contemporáneo nos obliga a ser parisinos.
El arte nos saca de una realidad funcional y cómoda y nos coloca en otra que es parecida a la realidad de todos los días pero
que no lo es.
Es otra realidad. Nos sacude.
Somos extranjeros en esa realidad.
No es el París de los turistas.
Es una nueva ciudad.
Y en ella estamos solos.
Pero esta nueva ciudad premia nuestro coraje: a cada paso que nos animemos a dar, a cada esquina que no atrevamos a doblar,
la ciudad se recreará para nosotros.
Los turistas de la realidad no quieren saber nada de esta nueva ciudad.
El efecto del empujón les dura un instante y enseguida están de vuelta paseando por la vieja y complaciente París de la publicidad de las agencias de viaje.
Pero el artista vive largas temporadas en esa
nueva ciudad.
Va y viene.
eduardo paz carlson, 2011
http://laboratoriodesonido.wix.com/eduardo-paz-carlson-collagista
lunes, 22 de junio de 2015
miércoles, 17 de junio de 2015
The Orb Stream New Album Moonbuilding 2703 AD, Announce Tour
The Orb (@Orbinfo) stream new album Moonbuilding 2703 AD and announce tour http://t.co/ev1qVuw23n pic.twitter.com/GeieyQo53P
— Pitchfork (@pitchfork) June 17, 2015
miércoles, 10 de junio de 2015
nuevo collage sin titulo 10juni15 eduardo paz carlson
sin titulo 10juni15 eduardo paz carlson - http://t.co/KFN48lvVQp http://t.co/hDzpkmn80h
— castrovalva radio (@castrovalvafm) June 10, 2015
eva retrato 1 eduardo paz carlson
eva retrato 1 eduardo paz carlson - http://t.co/KFN48lvVQp http://t.co/5y5wFS2a6r
— castrovalva radio (@castrovalvafm) June 10, 2015
martes, 9 de junio de 2015
ENTREVISTA CON EL MAESTRO JULIO BOCCA, por eduardo paz carlson
ENTREVISTA CON EL MAESTRO JULIO BOCCA, VERSIÓN PUBLICADA + VERSIÓN FULL SIN EDITAR
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| http://eduardopazcarlsonperiodista.blogspot.com/2011/06/entrevista-con-el-maestro-julio-bocca.html |
lunes, 8 de junio de 2015
sábado, 6 de junio de 2015
new collage maria headshot 3
maria headshot 3 eduardo paz carlson - http://t.co/KFN48lvVQp http://t.co/0RaJMSXhxK
— castrovalva radio (@castrovalvafm) June 6, 2015
lunes, 1 de junio de 2015
domingo, 31 de mayo de 2015
el nacimiento de eva 10 eduardo paz carlson
el nacimiento de eva 10 eduardo paz carlson - http://t.co/KFN48lvVQp http://t.co/sz0LjZVeXR
— castrovalva radio (@castrovalvafm) May 31, 2015
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| El Nacimiento de Eva 10, Collage Digital |
jueves, 21 de mayo de 2015
miércoles, 20 de mayo de 2015
domingo, 17 de mayo de 2015
Tu te lèves I'eau se déplie Tu te couches I'eau s'épanouit Tu es l'eau détournée de ses abîmes P. Eluard
Tu te lèves I'eau se déplie
Tu te couches I'eau s'épanouit
Tu es l'eau détournée de ses abîmes
P. Eluard pic.twitter.com/9vuEzLv9XS
— Laurence (@f_lebel) May 17, 2015
martes, 5 de mayo de 2015
Obras y exposiciones de la Artista Plástica Argentina Viviana Guasch
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| http://kunstgalerie-bunter-hund.de/die-venus-vom-x-berg-und-andere-weibliche-wesen/ |
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| http://www.vivianaguasch.com/obra/el-color/
Statement
In the most of my recent works I explore
"The Venus" and other goddesses as female archetypes that enclose a
full circle of human qualities as well as "divine" ones.
My research is based on the myth of the
(pro)creation and on other mechanisms such as the relationships between nature
and society, spirituality. It is an exploration in which the female universe
acquires a special relevance.
I draw and use colors with special
markers that can be diluted with water. With this technique I discover random stains
that inspire me landscapes and scenes for the Goddess: domes, skies, ornaments
and elements of nature.
With clay I form female figures inspired by
prehistoric effigies (as the Venus of Willendorf and others). I transfer them from their
ancient history and match them with contemporary objects of everyday use,
creating ready-mades, assemblage and collage. In that way I create a new home for
that figures.
They pretend to be altars or places, with an
ounce of symbolism that reflects the "divine" acquiring a simple and
aesthetic form, with kitsch elements. This kind of "glorification" in
the message marvels me and amuses me in the antagony(because of its
contradiction) .
The textile sculptures have a feminine
conceptual value because of their connection with sewing and textile. The
fabrics are chosen by their textures, colors and patterns.
The figure´s clothing
is “own body”.
I work on female torsos looking for an exaggerated proportion,
usually organic forms, emphasizing the breasts, uterus, hips and belly. I let my
view shape what it is insinuated through the volume and the forms, and that
includes feeling of protection, affection and closeness.
My intention is to create visual poetry that
expresses my personal and cultural concerns(European and Christian), connecting
ancient concepts of the matriarchy with the contemporaneity.
I attempt a closer
consciousness view in the relationship with the feminine.
V.G |
lunes, 27 de abril de 2015
jueves, 23 de abril de 2015
martes, 21 de abril de 2015
viernes, 17 de abril de 2015
jueves, 16 de abril de 2015
sábado, 11 de abril de 2015
miércoles, 8 de abril de 2015
martes, 7 de abril de 2015
NUEVO COLLAGE: el heroe hacia la nada 3 eduardo paz carlson
el heroe hacia la nada 3 eduardo paz carlson - http://t.co/KFN48lvVQp http://t.co/CrXyHVf0oB
— castrovalva radio (@castrovalvafm) April 7, 2015
miércoles, 1 de abril de 2015
CASTROVALVA, LA RADIO INEXISTENTE, RECOMIENDA ‘Undertow’ by Drenge SUBVIERTANSE por el AMOR LOCO Y LA LIBERTAD Y LA POESIA, ¡SURREALISENSÈ!
Have you heard ‘Undertow’ by Drenge on #SoundCloud? #np https://t.co/9uIeaDfmnF
— castrovalva radio (@castrovalvafm) April 1, 2015
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