Hernan Ordiales ia a software engineer, musician and composer, born in 1981 in Madrid, Spain. In the last 10 years, Hernán have worked in many audio related software projects around the world. Both in real-time digital signal processing as physical controllers implementation, user interfaces and network protocols under distributed systems. He participated in projects of the Free Software community like CLAM (C++ Library for Audio and Music), RedPanal, Musix GNU+Linux, and other personal software hosted and published in github. He also worked developing this kind of software in commercial products from Argentina, Italy and Canada. As a musician, with a past as guitar player in many rock bands, he is currently playing and performing with Banda de Mutantes. He studied Software and Electronic Engineering at University of Buenos Aires and University of Palermo.
Discovering new sounds from large databases or Internet is a tedious task. Standard search tools and manual exploration fails to manage the actual amount of information available. This work presents a new approach to the problem which takes advantage of grown technologies like Big Data and Machine Learning, keeping in mind compositional concepts and focusing on artistic performances. Among several different distributed systems useful for music experimentation, a new workflow is proposed based on analysis techniques from Music Information Retrieval (MIR) combined with massive online databases, dynamic user interfaces, physical controllers and real-time synthesis.
Based on Free Software tools and standard communication protocols to classify, cluster and segment sound. The control architecture allows multiple clients request the API services concurrently enabling collaborative work. The resulting system can retrieve well defined or pseudo-aleatory audio samples from the web, mix and transform them in real-time during a live-coding performance, play like another
instrument in a band, as a solo artist combined with visual feedback or working alone as automated multimedia installation.
Dialectic in suspense is a sound work about the conflicting relation between nature and contradictory human development. Natural spaces and ambient sounds mixed with residual human pollution are combined with real-time audio and data processing (using above bigdata technology) that shows both human and nature strategies to overcome the critical anthropocentric presence. The work has three different movements bringing the people (public) the opportunity to enhance their environmental conscience and perspective about it. The first is a sound landscape, that takes original environments and natural sounds. These sounds, begin to be contaminated by human interventions, which are modeled as sound processes. Meanwhile, the noise generated by feedback (techniques of “no input”) starts to be heard, and during the second movement, the sound level of the “no input” feedback surpass the natural landscape, arriving at the anthropocene concept. In the last movement, both nature and the human are given strategies to overcome the present crisis. On the one hand, information on relevant climatic factors is taken to model sound processes in real time. On the contrary, live performers play through chains of sound as parallel processes proper of the human.