THE ARCHIVE OF LOOPS (in development)
Sound loops reproduced by a computer script, ∞, 2017.
Since the beginning of a residency at the WIELS Contemporary Art Center of Brussels, where I set up a music studio next to my editing room, I have started to collect an archive of loops. As a painter would probably have a regular practice of sketching preparatory drawings for her pictures, I regularly embark in improvised music sessions that make use
of loop machines and effects to generate layers of guitar, voice and percussions melodies. Every session, that can rage from 10 to 40 minutes, is unique and recorded including the ambient sound (in this sense the recording is deliberately lo-fi and encapsulates the room and body sounds) and archived unedited. The recordings include those "mistakes" that one can only accept and use when adding another loop phrase. The archive constitutes the basket from which I would then select sections to be edited or developed in film works
and live performances. I have started working with a physicist on a computer script that
will scan the entire length of the loops archive (by the end of the year it could have reached
at least 7 days, which are more or less 10.000 minutes) and will continuously and “infinitely” select 30 random seconds to be reproduced at a time. A loop within loops.
The reason for the randomised 30 seconds reproductions and not a linear reproduction
of the entire recorded sessions one after the other, is to stress that the value of improvisation is in the moment, in its appearance and disappearance and not in its fixing,
in the recognition of the fleeting moments where value emerges out of a not immediately conscious process. In this sense the computer script, by randomly moving and scanning every 30 seconds along the entire recorded time as if it were one long session, makes it possible for those moments to re-arise just as unconsciously.