Field: Atom(s) Entropy

Recordings

“Field: Atom(s) Entropy” documents the inter-relationship between sound, vector graphics and colors in various forms: installations, CD releases and print editions. A quantum system and microscopic field that consist of many independent micro-components having distinctive properties and short life span.

Intended for headphone use and quiet room.

As a curator, listener and observer of the digital sound art scene, one is constantly in search of a particular aesthetic position and of an artist whose work can overtake the flat panorama of thousand work proposals that use of common tools of digital media made stereotypical artefacts. In my case, Fabio Perletta plays such a role. Once I bumped for the first time into his work, I found so many interesting connections among art, science and sound, with a particular attention to perceptive issues. Fabio Perletta’s works are analytical arrangements based on the strategies of creating a unique relationship between conscious and unconscious. As Perletta states, “the threshold that unifies (or separates) these apparently distinct sides is always different. Maybe my main passion as a human being, before art, is to discover my identity as much as possible.” As regards content, his works create perceptible and experiential audio(visual) signals that focus on complex processes and natural phenomena, delving into the creation of an immersive experience and exploring the relationship between human’s intimacy and the infinitely small in science (light, space, color, geometry, movement). In the immersive world of Perletta’s works the audience can experience an intimacy between human and technology, sound and science, going deep into the infinitely small. His use of quantum physics and molecular models aims not only at creating functional and descriptive models but mainly at experiencing multi-sensorial moments in a complex but comprehensible world where every element is subject to order and organization. The projects that Fabio Perletta presents for his exhibitions are all inspired by this idea of making audible and visible the invisible, exploring the relationship among the physical elements (space, light, sound waves) and something we are not able to see: “I find the idea that sound originates from – and goes – nowhere quite fascinating. It simply exists.”

Leandro Pisano (curator, writer and new media producer)

Produced by Fabio Perletta in Roseto degli Abruzzi, Italy between September 2011 and May 2013.

ITA: Sottile lo scricchiolio neurale. Continuo il click di fondo, eppure non c’è alcun mouse. Comincia così l’esplorazione della caverna del suono ideata da Fabio Perletta. Una misteriosa aura avvolge l’ascoltatore, ma non fa paura. In lontananza, echeggiano elettroniche gocce che piovono su un manto d’acqua stagnante. Alcune sono stridenti per il riposo dello spirito. Altre soavi per appagare a pieno l’udito.

Ogni brusio, ogni fruscio fa parte del grande affresco realizzato sulle note di una natura sempre benigna. Il respiro si rallenta. Il tempo scorre. La vista si offusca. La rilassatezza s’instaura. “Field: Atom(s) Entropy (Pantone 441 C)” (2013) è un esperimento dalla breve durata che cattura l’attenzione sin dal primo ascolto, per i suoi alti e bassi volumi e le luci bianche che filtrano tra ombre nero pece. Venti i minuti di pace.

ENG: A subtle neural crunch. Intermittent the background click, but there is no mouse. Thus begins the exploration of the sound’s cave created by Fabio Perletta. A mysterious aura surrounds the listener, but it makes no fear. In the distance, echoing electronic drops raining down on a surface of stagnant water. Some are strident for the rest of the spirit. Other sweet to satisfy a full hearing.

Each buzz, each hiss is part of the great fresco composed on the notes of a nature always benign. Breathe slows down. The clock is ticking. View dims. The relaxation is established. “Field: Atom (s) Entropy (Pantone 441 C)” (2013) is a short-time experiment that catches the attention since the first listen, for its high and low volumes and white lights that filter between pitch black shadows. Twenty the minutes of peace.

Witclub

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Although digital sound art is essentially operated by technology, its real transcendence is found when the listening experience leads the listener to a deeper connection with the subtlety of the self, like facing the shadow of any possible universe; a sonic bridge to the unconscious. When listening to pieces such as Fabio Perletta’s “Field: Atom(s) Entropy” published at his own label Farmacia901, you get the idea. The sudden appearance of small particles of sound creates a reflection of time not only present in the delicateness of the sonic micro-montage process, but also in the meticulously placed moments of nothingness. A cyclic and yet diverse cloud of microsounds get articulated in really precise ways, building vast environments and fragile plaints inhabited by a convergence of all sonic possibilities inside the emptiness of listening; wide and open, as the listener while resting after the player stops the piece.

Miguel Isaza, Infinite Grain

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Campo. Átomo. Entropía. Las líneas de sonido crean figuras transparentes, un campo de grabaciones que parecen romper la barrera del silencio de manera sutil. Es el sonido de lo imperceptible, energía eléctrica que genera campos de fuerza que sabemos que están pero no podemos ver. El ruido en su expresión más mínima, reducida a los elementos más básicos, ondas que se desplazan en el vacío generando pequeñas alteraciones en un espacio quieto y volumen bajo, cercano a cero. Es esa electrónica delgada que circula por corrientes paralelas a la perturbación habitual, una que surge de una investigación detallada de las partículas de audio, buscando la raíz última. Una de las plataformas enfocadas en esa búsqueda es Farmacia901, aquel label y red de medios fundada sobre los principios de la belleza como minimalismo, música como diseño y sonido como material maleable, desde la electrónica experimental al sound art y los microsonidos, los mismos que hemos podido apreciar en dos de sus últimas ediciones, “Blue.Hour” (Farmacia901, 2013), de Yann Novak, y “Undefined” (Farmacia901, 2013), del mismo Novak junto a Richard Chartier, dos hermosos trabajos de electrónica microscópica. El director artístico de este sello y quien funda esta extensión del ruido quieto es Fabio Perletta, un artista sonoro y multimedia, además de diseñador, nacido en 1984 y que reside y trabaja, por ahora, en Roseto degli Abruzzi, en las costas de Italia, junto al Mar Adriático. “Usando computador, generadores de sonido digital y softwares personalizados, la búsqueda de sonido de Perletta explora las intersecciones entre diferentes pero a la vez complementarias áreas como la física, psicología y la percepción humana”. Varios trabajos por distintas editoriales (Ripples, Nephogram, Murmur, taalem, Oak), la mayoría utilizando otros nombres, como Nō, al lado de Matteo Meloni y, principalmente,Øe, Por tanto, estas últimas dos impresiones de su propia marca son también los primeros dos trabajos acreditados desde la cubierta con su nombre real, trabajos donde realiza esa exploración del sonido

Como parte de una nueva serie del artista italiano, este nuevo trabajo es presentado con la elegancia habitual del label, en forma similar a uno de sus ediciones previas, “Blue.Hour”, es decir, CD Minimax, con solo tres pulgadas impresas y el resto en hermosa transparencia, todo dentro de una especial caja, Slim CD Clamshell Case, con los bordes redondeados y hecha de polipropileno. En el exterior de la plástica belleza, la información detallada, objetivo, duración, enlaces y croma codificado. En el interior, los archivos comprimidos en aquellos mismos colores antes especificados, Pantone 441 C y Pantone Cool Gray 8 C. Y, aún más en el interior, el audio minimizado en puntos e intersecciones imperceptibles. “‘Field: Atom(s) Entropy’ marca el primer lanzamiento del ‘Color Series Project’, el cual documenta las interrelaciones entre sonido, vectores gráficos y colores. Un sistema cuántico y campo microscópico que consiste en muchos micro-componentes teniendo propiedades distintivas y un período corto de vida. Destinado para uso con audífonos y en una habitación callada. Producido por Fabio Perletta en Roseto degli Abruzzi, Italia entre septiembre de 2011 y mayo de 2013”. Veintiún minutos en una única pieza que enlaza un punto quieto con otro, formando un segmento de música minuciosamente desplegada. El silencio inicial pronto se irá convirtiendo en pequeños estruendos generados artificialmente, enlazados con otros de naturaleza similar. Desde dentro de un objeto indeterminado surgen trozos de suciedad binaria, trozos que se separan de su núcleo estrellándose contra paredes frágiles, generando tonos de calor desperdiciado. Capas inestables sostenidas una encima de la otra, capas que se deshacen acumulando restos de energía que avanza sobre una tonalidad blanca. El sonido se fragmenta en partes infinitas, generando un plano de audio milimétrico, electrónica infinitesimal donde suceden millones de eventos irregulares que parecen iguales desde el cristal en el cual se unen, mientras en su trasfondo fluye una corriente unidireccional sostenida en el aire, inaprensible. Un flujo constante de que conforme avanza aumenta de intensidad hasta que la curva ascendente llega a un punto máximo que se prolonga en un mismo nivel por largos minutos, para descender lentamente en una línea cada vez más oscura. El color atomizado multiplica sus dimensiones, aunque comprimidas, que luego se disuelven concentrándose en un mismo matiz de los muchos que se desprenden de su luz invisible. “Field: Atom(s) Entropy” reduce la música en una panorámica mínima y, a la vez, produce una disgregación en innumerables de segmentos que representan magnitudes con un punto de dirección infinito.

Hawái.

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Field is beautiful. ‘Atom(s) Entropy’ is completely peaceful. What the piece seems to do is find microscopic digital organisms and continually zoom in further and further until it reaches that perfect heart. Although it is extremely digital in nature there is a sense of wonder that goes along with the sonic build-up. Little pieces snippets come together revealing something quite beautiful. Patience is very much a necessity for this particular piece as Field enjoys taking time to develop mood and texture before moving onto more traditional pastures.

Nearly three minutes pass by before any inkling of a melody presents itself. The introduction sounds reminiscent of Onkyokei which places greater emphasis on sound texture than musical structure. Upon the first few minutes of introduction it begins in earnest by about the fourth minute with a glossy drone emerging out of the textures. Various elements are introduced none of them specifically ‘musical’ in scope. Around the ten minute mark is the only sign of any sort of bass. When it initially hits it is jarring not because of the volume (everything on the piece is incredibly quiet) but because it comes it somewhat suddenly. Once the static drops out it creates a quiet spiritual hum of machinery. How such sound can be so absolutely clean (there are no harsh frequencies whatsoever) is quite impressive. By the time of the fadeout it has covered an unusually large scope for such a small quiet piece.

Field seems to be more interested in exploring this digital landscape than in creating something traditionally beautiful. Yet the result is quite stunning.

Beach Sloth

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Fabio Perletta ha imparato dai grandi nomi come Taylor Deupree, Lawrence English e Steve Roden ad essere leggero come una piuma, ma ricco come un gioielliere. Apparentemente sembrerebbe un drone che si sviluppa con un leggero crescendo, ma al suo interno, o forse sarebbe meglio dire al suo esterno, un piccolo mondo di suoni frizzanti e acuti, e rotolanti frequenze basse arricchiscono, avvolgono e accompagnano l’ascoltatore in questo viaggio all’interno dell’entropia.
La precisione e la cura del disegno del suono è quasi maniacale, ma fondamentale per questa prima uscita della Color Series Project; serie atta a definire la relazione tra suono, grafica vettoriale e colore. Una suite di 21 minuti precisi, che richiama toni di colore che vanno dall’azzurro al grigio. L’entropia disegnata da piccoli frammenti di suono puntiformi che potrebbero rappresentare il disordine della reazione entropica, e il drone portante che muta nella timbrica è rapportato all’energia degli atomi che tiene insieme le molecole. Bisogna immaginare di entrare in un microcosmo energetico rappresentato da suoni, dove avvengono le reazioni chimiche, dove l’aria si fa impalpabile, fredda, asettica. E’ come immaginare Un viaggio allucinante del 1966, ma non a livello soltanto del corpo umano, ma più in profondità fino ad arrivare alla grandezza di un atomo per poterne ascoltare e osservare tutte le reazioni fisiche. C’è chi forse avrebbe interpretato l’entropia in musica con un noise estremamente disordinato, chi invece come Fabio Perletta ha scelto la strada della geometria più pura e della matematica dai calcoli non arrotondati, ma precisi sino all’ultimo decimale per descrivere i particolari di questo processo.

Gianmaria Aprile, Sodapop

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A single 21 minutes long track which “documents the inter-relationship between sound, vector graphics and colors. A quantum system and microscopic field that consist of many independent micro-components having distinctive properties and short life span.” We’re not new here to Perletta’s research-into-sound-experimentant, micro-sounds, actually, a form of electronic/laptop drone Music which tempers graphic software with the oscillations and manipulation of related generated audio frequencies. This speculation curves down into a long suspended form of ecstatic state, watched (heard) with a microscope. In several passages the volume of these sound entities goes such so down that you would wonder if the track is still on. It goes anonymously deep into a cold, cerebral insight. An oblique density audio for art installations.

Paolo Miceli, Komakino ‘Zine

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“Entropie : Grandeur thermodynamique exprimant le degré de désordre de la matière.”

A la tête du label Farmacia901, Fabio Perletta œuvre lui-même dans le domaine de l’expérimentation sonore électroacoustique. Auteur d’un premier album, Transfer, paru en 2012 chez Murmur Records sous l’alias Øe, c’est aujourd’hui avec son propre nom qu’il donne le jour à Field: Atom(s) Entropy.

A la vue de son enveloppe physique quasi inexistante ou de son format très court délimitant une piste unique, on pourrait au départ rester quelque peu sceptique. Ou bien supposer qu’il ne s’agit là que d’une sortie mineure du label. Or une simple écoute au casque à un volume suffisant, tout en ayant pris soin de s’entourer de pans de silence, suffira à déjouer rapidement toute appréhension.

Captivant, tel est le microcosme orchestré par Fabio Perletta. Manœuvrant les champs électriques comme autant de flux en transformation continuelle, il agite, bouscule et anime d’infinies particules suspendues aux versants de l’imperceptible.

L’italien travaille à l’échelle du microscopique et éclate le sonore en ses molécules élémentaires. Il se place face aux limites du spectre, module avec lenteur le détail de ses textures surgies de l’électronique. En résulte cette curieuse impression de frémissements de matière, de bruissements à la fois métalliques et aquatiques, de gouttelettes sursautant sur des ondes apériodiques.

Les fréquences aigues viennent former une cascade de grésillement dont l’épaisseur est reliée au minime, tandis qu’une nappe ondoyante devient le vecteur d’une combinaison empreinte d’une certaine douceur. Les graves se déplacent quant à eux par poussées, pénétrant l’effervescence hasardeuse des échanges de particules. Ici, les textures oscillent et se réinventent, font vibrer l’impalpable pour lui offrir un espace et une présence accrue.

Aiguisant l’écoute sur la lame de l’infime, Field: Atom(s) Entropy éveille la conscience de l’auditeur. Un album qui magnétise et s’étire au-deà de sa durée réelle, qui conjugue le travail des sens à l’expérimentation sonore renvoyant à cette infinie exploration des possibles que peut être la musique.

Aurélie Scouarnec, SWQW

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Something short and sweet from Italian label Farmacia901, courtesy of label owner Fabio Perletta. Consisting of a single twenty-minute track, “Field: Atom(s) Entropy” charts a path through an expansive yet subtly-contoured sonic space, fizzing and rumbling at the edges of the audible frequency spectrum. Hovering at the threshold of perception, the piece’s imprint is light, yet it buzzes with an electrical charge built up through shifting oscillations and razor-thin dissonances. Works of ambient synthesis such as this clearly demonstrate how music produces its own time and space, stretching out over vast distances and extending its own duration far beyond the minutes measured by the clock.

In a way, then, works such as “Field: Atom(s) Entropy” can be thought of as ways of ‘tuning’ our senses, sharpening our awareness of the sensual affectiveness of things. Close, quiet listening brings its own kind of pleasure that is not unrelated to its effectiveness as a critical strategy. Some would perhaps be quick to dismiss the music made by Perletta and other contributors to Farmacia901, such as Yann Novak and Richard Chartier, as mirages of superficial sensory percepts, their supposedly ‘pure’ sounds dissociated from any political or social context. Yet it is precisely in the careful probing and testing of percepts that we come to understand the relations between things that they enable — relations between ears and pressure waves, speakers and labour conditions, downloads and global corporations. Looking beyond deceptive spectacle does not require us to stop looking, but rather to look more attentively — a skill that artists such as Perletta translate into sound by homing in on the subtleties and limits of hearing. Listen and learn.

Nathan Thomas, Fluid Radio

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Founder and owner of the independent label Farmacia901, sound architect and electronic live performer, Fabio Perletta is fascinated by new perspectives in experimental contemporary music. From a heuristic angle his production admits a strong exploration through creative listening, temporal phenomenon and sonic qualities of electroacoustic projections (timbral micro-changes, spectral waveforms and their contextual meanings).

With this new album, Perletta goes a step further in the investigation of slowly evolving sound textures, passing from process-ambient drone music to a real-abstract sound painting, mainly attentive to spectrality and detailed microsonic sound structures. Incredibly magnetic, neurotically inflected, this album reveals its own unique psych-acoustic potentials. Micro-Intervals and sinuous timbral motives intuitively remind me the tonal-method and microscopic sound schemas of Alvin Lucier and Eliane Radigue. Outside of its neurophysiological / phenomenological components the effervescent and radiant spectro-electro realms lead the listener into a rare spiritual vacuum and leaves him with a feeling of expanded awareness. Field: Atom (s) Entropy is a remarkable way of expressing and invigorating experiences that motivate a state of intense meditative-cerebral reflection and challenges the capacities of listening. Well recommended.

Philippe Blache, Igloo Magazine

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One drone, hardly visible. Fabio Perletta inaugurates his label´s “Color Series Project” on a clear five-inch compact disc with a cool grey centre, which intends to document the “inter-relationship between sound, vector graphics and colors”. Mere vapor as opposed to TKT and TMS´ visceral flex, Field: Atom(s) Entropy is microscopic, a chimerical whiff of bouncing, glittery molecules borne by a drone of almost angelic beatitude.

Stephen Fruitman, Avant Music News