9. 4. 2022 | 20:00 | SVITAVA lab


Max Eilbacher is an intermedia artist from Baltimore Maryland. He studied computer music and cinematic arts while maintaining an active touring schedule. With a number of different groups and projects, he works with conceptual and intuitive compositional systems that square the circle of the raw moment and the controlled display of an outcome. He has presented works in various galleries, clubs, museums, and basements all across North America, Europe, and Japan.

Max Eilbacher’s sound practice draws upon traditions of algorithmic composition, musique concréte, and avant-garde performance. With these traditions he creates conceptual systems in which synthesis and processing-intensive software environments are constructs of compositional and sculptural form. The sonic assemblage of social, political, and physical are reflected and inquired upon by treating space, timbre and perception as elastic and malleable parameters.

Concert will be in 4-channel sound setup!

Rough Music Volume I – “Imitating a particular word”
If he [the blind man] wished for an increase of his senses, then it would be for longer arms to be able to feel the moon’s surface with greater clarity and certainty, and not for eyes to be able to look upon it.
-Dennis Diderot

The terminology of “roughness” originates from the tactile – a finger moving across a surface made of asymmetrical spacing. The haptic interpretation of texture emerges from a communication between our senses and material. As the finger traverses such a surface, the perceived differences between the
material’s protrusion and depressions is translated as a summed sensory input. A rough texture has extreme and varied forms of protrusions and un-smooth surface qualities. In the many worlds where sound is a major concern- acoustics, musical composition, ethnomusicology, sound design, and the study of psychoacoustics, the term “roughness” is used as a timbral descriptor for complex sounds containing very fast amplitude modulations. The auditory result of such modulation on a signal is typically described as buzzy, raspy, or harsh. From this distance, language draws these sounds outside of the western understanding of harmony and relocates them as fit subjects for a post Kantian study in the biomechanics of hearing. To make sense of a sound that exists outside of music, we must metaphorically trace it with our hand. With this act, we shift an act of hearing into an act of touching. This sensory transposition leaves us only to discover that our capabilities of linguistically expressing such acoustic phenomena again fails. At the junction of this failure, I pose questions in the form of “Rough Music

Volume 1.” Mostly, these inquiries take the form of compositional prompts for “Imitating a particular word.” Utilizing only synthesized sound, I ask: what does it mean for sound to escape its linguistic relationship? Where in timbre does music
hide? Does sound outside of music become something else? A type of sculpture or a new type of architecture? What does it mean to disconnect the hand from the ear? Can rough sounds become smooth?





-> Vstupné: plné 100,- nebo studenti/ZTP/důchodci: 50,-

-> MÍSTO: 49.223147990914015, 16.649218702747817

Koncert se koná za finanční podpory statutárního města Brna.