Re Re La do oTaoDoMinf | music | 2004
Sukorski and Pinto propose revisiting music written from 1986 through 1988, and creating a CD (perhaps a hybrid music-video CD), to enhance their experimental use of computers on stage together with the group oTaodoMinf . Bifrú was based on the intersection of everyday objects and sounds with synthesizers; it was performed live. The audio performance involves fruit juice made using household electrical appliances “fruit squeezer, mixer, blender and mixer, microphones, analog synthesizers and in the words of the artist, a “hot babe” making the juice. The work combines components of improvisation, voyeurism and humor . “Things” that do not produce very loud sounds were used for Bifriski, so these sounds were amplified. The consequence of this was a “gap” between what the audience thought that was being done on the mixer desk and what they were seeing, or what was being done: sensitive gestures amplifying the sound became an outburst of sound (microaudition). These experiences were derived from a poetics of free improvisation that developed here in the late 70s It was a means of making the most of the incipient easing of political control that was still affecting us subliminally; it was the “spirit of the times” says Sukorski. Free improvisation, in its broadest sense, produced a kind of anarchic freedom that joined with the technique of the instrument. The upshot was the founding of a group that rehearsed at Sukorski’s home. Experiments with computers on stage, interventions in the Eureka program broadcast by TV Cultura (around 1988), the first experiences in telecommunications, “low tech” experiments with the propagation of sounds and sensors – all of this took place live. The digital recordings on Betamax have all been registered. Sukorski is a composer and has been studying music and improvising since childhood. He and Pinto propose lending visibility to this story and organizing what has already been documented. “There is no conceptual limit to producing sound. The pleasure of closing my eyes and traveling in my mind to find this space that at bottom is … nowhere. The pleasure of playing music. If I come home tired, on sitting down at the piano and playing for 20 minutes, I feel six years old again. Shutting my eyes and traveling in my mind. This is all the world wants to take away from us. ”
Studying music since the age of six. Graduated in composition and conducting at IA-UNESP. Had intern experiences at MIT and NYU. Has worked on various aspects music for over 20 years ( cinema, experimental video, dance, theater, installations, multimedia performances and concerts). He has worked in partnerships with: José Wagner Garcia, Tata Amaral, Livio Tragtenberg, Luiz Duva, and many others. He is currently research the implications of neural systems in the organization of audio material and composing an opera called Hiléia.
Sérgio Pinto graduated at IA UNESP and studied electronic music under Igor Lintz Maués and twentieth-century music under Carlos Kater. He joined the Núcleo Música Nova (new music group) headed by Conrado Silva, who with Gilberto Mendes executed the curatorial design for Festival Música Nova (New Music Festival) in 1988-89. In this period, he played in groups oTaodoMinf and Stoppage, both led by Wilson Sukorski.He has been on the technical staff of SESC-SP since 1991, most often working on the musical side.Along with the above, he has partnered with Loop B for the disc A Música Toca and with Rodrigo Matheus for the soundtrack of História de Pescador. He is now preparing projects for audio installations with visual artist Elias Murad and designer Elcio Kudo.