LISTENING TO THE ANTHROPOCENE:
A QUEDA DO CÉU

Authors: André Rabello-Mestre and Felipe Otondo

Computer Music Journal (2023) 1–15. https://doi.org/10.1162/comj_a_00633

Download: [manuscript]

Abstract: This article discusses the algorithmic design and implementation of A Queda do Céu, a sound installation and kinetic sculpture related to the Soundlapse project. In it we provide an overview of the project and go on to describe the main computational challenges related to the installation, which included a variety of real-time processing, interpolation, and mapping algorithms. We contextualize the work in relation to regional ecological and political debates, as well as the global climate crisis. In doing so, we echo other sound and field-recording artists in proposing that artworks have an important function as experimental arenas in which new technological applications can be probed and where new modes of listening can be investigated, reconfigured, and exercised.

Finding Art and the Art of Finding:
O Que Vos Nunca Cuidei a Dizer

Authors: André Rabello-Mestre, Claudia Núñez, and Mauricio Carrasco

Just Accepted Leonardo Music Journal, doi:10.1162/LEON_a_01965
Download: [manuscript]

Abstract. The article discusses the making of O que vos nunca cuidei a dizer, a gallery work for interactive garment, transducer-based interface and live electronics. A technical description of the work is framed by an account of the creative process with reference to media archaeological methodology and by a discussion of the role of composed instruments in the new paradigms of artistic research.

Creative Dispositions:
Teaching for Creativity in Engineering Education

Authors: André Rabello-Mestre and Felipe Otondo

Under review: International Journal of Engineering Education.

Download: [manuscript]

Abstract: In this article, we discuss the incorporation of a course entitled “Creative Sound Workshop” into the Acoustic Engineering undergraduate curriculum at the Universidad Austral de Chile. The course was aimed at offering an experience of applied musical creativity to engineering students. We provide a detailed account of the process of curriculum design, with reference to the current literature on creativity and, more specifically, creative thinking in education. We also introduce the notion of “thinking dispositions”, in the light of which we discuss students’ performance on their final project: the design of a semi-autonomous interactive digital instrument using Pure Data, an open-source visual programming environment. Finally, we reflect on our experience of two years of teaching the workshop, and discuss how the course has been received.

The Soundlapse Project:
Exploring Spatiotemporal Features of Wetland Soundscapes

Authors: Felipe Otondo and André Rabello-Mestre

Under Review: Leonardo Journal

Donload: [manuscript]

Abstract. The article discusses an interdisciplinary project aimed at highlighting the acoustical heritage of urban wetlands, by means of field recordings and a novel time-lapse montage method. We discuss a site-specific sound installation that was designed using original wetlands field recordings, live processing, and spatial audio multi-channel reproduction. The discussion focuses on spatial and temporal features of different types of recorded wetlands soundscapes. Future developments of this project will consider the implementation of a standalone spatiotemporal application, to be used in the context of virtual reality applications, game audio, and interactive dance performance.

A NEGATIVE OF KNOWLEDGE (2018)

concert work for two clarinetists and electronics  |  SCORE
premiered by David Angelo and Shannon Leigh

“A Negative of Knowledge” is based on a secular song by the 15th-century Burgundian composer, Gilles Binchois. His song, titled Triste Plaisir, is at moments heavily abstracted but can be heard throughout the work in the countertenor voice of Wee Kiat Chia. This vocal recording served as the basis of the work and its treatment in the digital domain is mirrored in the acoustic ensemble.

O QUE VOS NUNCA CUIDEI A DIZER (2019)

gallery work for transducer-based interface & live electronics

premiered at BIFEM on September 7, 2019, by:
Mauricio Carrasco (performance)
Claudia Núñez Pacheco (design and facilitated interaction)
André Mestre (live-electronics)

“Media archaeology is both a method and an aesthetics of practicing media criticism, a kind of epistemological reverse engineering, and an awareness of moments when media themselves, not exclusively humans anymore, become active ‘archeologists’ of knowledge”

Ernst, W. (2013). “Media Archaeography”

HAECCEITy (2022)

ensemble work for flute, bass clarinet, violin, zheng, and gongs.

As proposed by Duns Scotus (1266-1308), haecceity is a non-qualitative property responsible for identity and individuation. The piece attempts to engage this old scholastic debate and was born as an examination of the relationship between musical object as archetypes, as syntax, and as unique instances in live performance.

SCORE

The work was commissioned by the Time-Art Ensemble in Taiwan.

G R I M M E R

Electronic duo creating experimental music through structured improvisation, unconventional usage of hardware, and live processing in Max/MSP. The project is made of Boston- and Bergen-based composers Aaron Michael Smith and André Mestre, who work together to construct gridless live sets that focus on the intimate entanglement of noise.

Listen to our release on Bandcamp:

https://grimmer-duo.bandcamp.com/album/v-n-s

Computer-Assisted Creativity and Learning in Higher Education (2022-2026)

Principal Investigator (PhD Candidate)
Supervisors: Ingunn Ness (UiB) and Vlad Glaveanu (Dublin City University)

Funded by the Center for the Science of Learning and Technology (SLATE)

About: This doctoral research project investigates how generative artificial intelligence is starting to shape learning and students’ creative process in higher education. In recent years we have seen the rapid development and broad dissemination of AI. It is anticipated that these tools will have a big impact on how we create and learn. Still, there is little understanding of what it means to think with or to think through artificial intelligence and how exactly generative models can participate in creativity. 

Transdisciplinary Group for Technology
& Sound Art (2018-2019)

Project coordinator

Funding: InnovING:2030 Project/Corfo (US$ 4,200.00)

About: A transdisciplinary research group at Universidad Austral supporting creative and educational initiatives related to music technology. The project brought to Chile guest speakers and artists, and funded applied artistic research projects such as O que vos nunca cuidei a dizer (2019), a solo gallery piece for interactive garment, transducer-based interface and electronics.

Curto-Circuito de Música Contemporânea Brasil/Canadá (2014-15)

Project Coordinator, Artistic Director
Documentation: https://youtu.be/CyU5pBy6aaY?si=2RoqsBDKjwFof33d
Funding: State University of Campinas (UNICAMP), University of Alberta, Alberta Foundation for the Arts (AFA), Sorocaba Foundation for Cultural Development (FUNDEC).

About: Curto-Circuito was a music education project that brought world-class performers to Brazil to work with young undergraduate composers. The project included classes, workshops, lectures and concerts. The project had a lasting impact in the lives of many young artists, serving as a catalyst in their careers and creating a community of collaborators. In two years, the project was responsible for the premiere of 33 new works by 30 different composers in 9 concerts across the country.

BU LAPTOP ORCHESTRA

Starting in the fall of 2017, I will be directing a newly created digital ensemble at Boston University. More details regarding our season, format, and programming will be coming soon. 

This project is made possible by the support of an Arts Grant from The BU Arts Initiative

@ University of Bergen (2022-23)

UPED688 Teaching Creativity, Creativity in Teaching
SDG900 Systems Thinking and Creative Problem Solving

@ Universidad Austral de Chile (2018-22)

ACUS090 Creative Sound Workshop
ACUS080 Music Language and Training I
ACUS088 Music Language and Training II
ACUS097 Music Harmony
ACUS165 Musical Analysis

@ Boston University (2016-18) as Teaching Assistant

MT435/635 Electroacoustic Music 1
MT436/636 Electroacoustic Music 2

@ University of Alberta (2011-13) as a Teaching Assistant

MUSIC 155 Music Theory 1
MUSIC 259 Introduction to Music Composition
MUSIC 445 Introduction to Electroacoustic Music
MUSIC 245 Introduction to Music Technologies

2021 Artistic Residency, Sierra Baguales, Latitud 53 Project
2020 Artistic Residency, Bergen Senter for Elektronisk Kunst (BEK)
2019          5th Bendigo International Festival of Exploratory Music, BIFEM          
2019          5th Electroacoustic Music Festival, Pontifícia Universidad Católica de Chile  
2017          Composit Festival – Sound Augmented Program      
2016          Artist Residency, Avaloch Farms Music Institute               
2016          Wellesley Composers Conference      
2015-16     Rising Artist Program, Arts Connect International              
2015          Festival de Inverno de Campos do Jordão      
2015          Commissioned Composer, Beijing Modern Music Festival   
2014          Emerging Composer Workshop, Soundstreams       
2013          Fall Residency, Banff Centre for the Arts           
2013          Array Young Composers Workshop          
2010; 12    6th & 8th soundSCAPE Music Festivals           
2012          Canadian Contemporary Music Workshop (CCMW)          

Magallanes, Chile
Bergen, Norway
Bendigo, Australia
Santigo, Chile
Rieti, Italy
Boscawen-NH, United States
Wellesley-MA, United States
Boston-MS, United States
São Paulo, Campos do Jordão, Brazil
Beijing, China
Toronto-ON, Canada
Banff-AB, Canada
Toronto-ON, Canada
Maccagno, Italy
Toronto-ON, Canada