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About

Monocore is a sound system and artistic project whose aim is the serendipitous and transient electronic music intervention using battery powered analog gear.

Electronic music is based on manipulating sound generated from electrical circuits. Although there are obvious differences between the hum generated by high voltage electrical panels (coil noise) and the sounds generated from an analog synthesizer, the origin of the vibration is very similar. The diffuse low noise of the electrified modern world is for many of us like a Proustian Madeleine which brings meaning to our immemorial belonging within the technology and machinery landscape. The synthesizer is a witness-messenger to this affect medium – Umwelt, created by the relationship between man and machine in a pre-post-Anthropocene Era.

Therefore, for the Monocore project is very important to integrate electronic music with the ambient space and nature and to build blocks of deleuziene becoming – biological and technological devices of machine and man for whom the sound, rhythm are transporting and transmitting emotional states which the analog computer that is the synthesizer generates abundantly and semi-automatically through a quasi-stochastic, transient programming initialized by the artist who, in turn, is stimulated by the cognitive and emotional serendipity of the moment. (Pfuuu …. I said it.)

The theoretical background comes from the Actor-Network Theory, the recent Speculative Realism movement, Deleuze-Guattari philosophy, Wilem Flusser’s “Towards a philosophy of photography” and others. The base idea is the equal treatment of human and non-human actors. In the artistic context this object-oriented and horizontal approach is translated as THE FIGHT AGAINST THE ARTIST-CENTRISM. To achieve this the Monocore project follows some practical guidelines:

  1. Anyone can learn. Anyone can be inspired. Anyone can be the artist.
  2. Avoid composition and programmatic music. Relay heavily on improvisation, indeterminacy and serendipity. Let your gear speak up. Find the improbable!
  3. Working sites, drafts and errors allowed! Make transparent as much as possible the (artistic) performance and the non-human actors involved.
  4. Go to least expected places. Be autonomous and mobile! Use battery powered gear.
  5. Fight quantification. Don’t break the continuity of the flow, don’t isolate it. Integrate into the ambient. Use more analogue and less digital gear.

PS: This is old. Think about experimental music (“musique concrete”, John Cage, Fluxus movement), industrial music and others.