as long as humans can misuse technology, we will never be slaves to it. – e. kurenniemi
each of the pieces which conform obsolescencia programada were recorded and assembled using a hacked toy as my main sound source, pure data for digital sound processing, and whichever daw i had installed in my computer for panning, adding some final touches, and rendering each track into audio files.
most of the processes during each stage of its recording, processing and mixing were improvised. it was just obvious that i had to abandon some basic expectations which had become an unnecessary obstacle in order to proceed. for example, acknowledging the chaotic nature of short-lived hacked electronics, in the end becomes a richer experience than trying to take full control over them. this, during the creative process, inevitably permeated other aspects like form or editing. errors were always welcome; being understood as new possible paths instead of nuances to be corrected. when in doubt or blocked, it was always helpful listening to some early spk, erkki kurenniemi, derribos arias, esplendor geométrico or zoviet france.
i’ve been sporadically interested in the condition of “obsolescence” people and time label things with; how objects get fixed, replaced or thrown away at the chance of an “easier/better” way to achieve whatever purposes it was supposed to; most times simply neglecting alternative paths to do the same thing in favor of an univocal, strictly serviceable experience. not like i really care about it being correct or not — pedagogical, political or otherwise; nor important at all actually — but at least its always fun to use things for purposes they weren’t intended for and discover that in the same way words acquire new significance within the confines of poetry, something similar is translatable to whatever objects show up and give order or some sense to our everyday life.
all music by eduardo rosario
01. i 02. ii 05. iii 04. iv