Cáb Michal
Michal Cáb (*1980) oscilates in his productions between sound and image, discreet activism and natural humbleness, inventive collaborations and concentrated singleness.He teaches, plays and works with open software (PD), code and feed-back. During the audiovisual performance he underlines both noise and silence, and thus radically mediates their aesthetic quality.
- Didactically speaking,00:01:09.280
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- a white noise signal contains all audible frequences.00:01:12.280
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- For me this signal represents fullness.00:01:16.840
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- It can be an almost religious encounter00:01:20.280
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- with the fullness of the audible spectrum00:01:23.760
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- that you can't understand00:01:27.463
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- in the same way that one can't bear00:01:30.791
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- an absolute view of oneself.00:01:34.298
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- Small children have positive reactions to white noise.00:01:37.598
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- It often happens that people who don't expect00:01:42.779
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- this kind of sound get irritated.00:01:46.779
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- But my primary purpose00:01:50.349
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- is not to create situations of this type,00:01:53.438
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- to irritate people.00:01:57.684
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- I think that people who are open to reflection00:02:00.757
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- can find here a new horizon00:02:06.255
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- that they can try to reach.00:02:10.270
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- You can never start out of nothing.00:02:14.521
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- Something is always predetermined,00:02:18.218
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- some internal structures or audio material.00:02:21.718
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- But my way of working with it is close to improvization.00:02:25.753
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- I start with a few audio landscapes,00:02:31.410
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- toss them randomly in the air,00:02:35.750
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- and then try to find some connections between them.00:02:39.963
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- Ground works in the same way00:02:46.408
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- when creating visualizations.00:02:49.947
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- The cassette made me think of a walk in a forest.00:02:53.904
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- I heard there anthills, falling needles,00:02:59.137
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- or the seemingly chaotic process of growing trees.00:03:03.999
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- But I shouldn't be there, right?00:03:14.777
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- It's about the need to get closer to things,00:03:51.824
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- to understand them.00:03:56.324
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- When using a software made by someone else,00:03:58.899
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- there is always a gap between you and the tool.00:04:04.344
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- I find this uncomfortable when creating music.00:04:09.916
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- So the fact that I built the tool myself00:04:15.288
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- can be seen as my utopian attempt00:04:19.220
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- to return to a close relationship with the tool.00:04:22.720
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- I'm not indifferent to this relationship.00:04:28.207
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- I think it's important to feel close00:04:33.198
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- not only to what you do but also to the tool you use.00:04:36.698
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- You can follow strictly a given concept00:04:42.268
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- or, more interestingly,00:04:47.096
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- experiment with random connections,00:04:50.571
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- keeping those that you find the most exciting.00:04:54.784
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- This way you can hear00:05:01.025
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- something you've never heard before,00:05:04.025
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- which is like seeing a color never seen before.00:05:07.768
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- It's possible to spot an unknown constellation00:05:12.555
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- in the bandwidth and to use it.00:05:17.414
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- My parents, my brother,00:06:35.445
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- Láďa Heryán, Miloš Vojtěchovský,00:06:38.764
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- David Landa, Ladislav Čumba,00:06:43.292
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- Milan Guštar.00:06:47.548
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- Of course, there's also Stanislav Abrahám,00:06:53.060
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- Martin Blažíček,00:06:57.887
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- and many others who are a little more distant.00:07:01.544
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- They are a little blurry but they are still there.00:07:07.279
nice
Thanks :)
opravdu very nice:)
moc hezky
:]
Obávám se, že tyto zvukové krajiny nejsou v současné době místem pro odvážné dobrodruhy, ale spíše turistickou destinací se slunečníky. Po více než šedesáti letech intenzivního průzkumu se ani není čemu divit. V noisu jako takovém se už dají chytat jenom lelky…
no popravde, taky si nejsem jistej jestli nekdo vubec prisel v noizu s necim novym, nebo alespon s posunem. Myslim, ze je to dnes uz jen takovy v celku jasne definovany obor, ve kterem si lidi hrajou jako na hristi. Porad se da delat spousta babovicek ruzneho tvaru, ale porad to sou babovicky.
Je to opravdu hlavně formalistní hra, koncept se posouvá v oblasti nástrojů a maximálně ve spojení s obrazem. Stejně tak jako “postmoderní” mísení noiseových inspirací je dost ze všech stran prověřené – netvrdím, že nemá smysl v tomhle dělat, jen je (tak jako v jiných oblastech) nesmírně obtížné vyrazit z toho něco autentického (ve smyslu jasně rozpoznatelného od jiných). My jsme tomu kdysi v muzice říkali “sounds like” – tedy, že to zní jako tohle a tamhleto a tohleto. Defakto pak záleží jen na tom na co narazíš nejdřív, či co označíš jako stěžejní – od toho se pak odvíjí domnělá autenticita či plagiát ostatního…
to Jiří Mareček & 2046: jako by to byl jenom případ noisu…
no obecne to od 90 spi, neco malo se sice stalo, ale vicemene je to retro.
..sem zas chytrej co :)