1. Parabolic Perspective

    02:04

    from russ chartier / Added

    87 Plays / / 0 Comments

    Most of this audio was recorded when trying to decrypt and downlink a pay per view fight at work. It was coming in RF on a Ku2 satellite and was heavily biss encrypted. Each element of the biss. code that was put in the audio would change and get different bands from that same bird. I found that interesting as well as the video feeding back scopes for some reason. much of the green lines that you may see going across the screen periodically are vector scope and waveform monitor lines which I still cannot figure out why they fed back the way they did. At any rate this was one of my first attempts at audio ad this was just something fun to play around with. (turns out I had the parabolic function disabled on the satellite dish hence the name).

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    • CONFINED 10-01-2 (1 min. preview)

      01:00

      from russ chartier / Added

      79 Plays / / 0 Comments

      Confined 10-01-2 Program Note In this piece Russell J. Chartier explores the sense of confinement that many people feel living in large cities despite the many people around them. The piece, created using manipulated footage shot throughout NYC, consists of textures comprised of feedback loops uplinked to satellites then down- linked back to Earth. These “feedback loops” were manipulated with various pieces of broadcast equipment through the looping process and were then further manipulated in the post production process. The textures and manipulated footage were then woven together to create this work. The musical component of this work was created through the use of a granular sampling algorithm developed by the composer, Paul J. Botelho The algorithm, written in the ChucK programming language, randomly chooses small fragments (grains) from an input sound, shapes their attack and decay, and then creates textures of user-specified density constructed of the sound fragments. The algorithmically-generated textures were then manipulated and layered to create this work. The piece was created through synchronicity—the composer Botelho and video artist Chartier had no knowledge of each other's component and worked only with an agreed upon duration during the creation of their individual pieces. Only upon the completion of both the video and audio components were two components combined to create “Confined 10-01-2”.

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      • 1999 deconstructed (1 min. preview)

        00:59

        from russ chartier / Added

        113 Plays / / 0 Comments

        1999 Deconstructed (2013) Russell J. Chartier, video Paul J. Botelho, music The video aspect of the piece, through layered and often opposing imagery representative of the artist's experiences in the year 1999, is intended to provoke a gestalten experience from the viewer. The video component exploits the artifacts that are inherent to the video medium as a conscious deconstruction of the medium itself. Various techniques, including varying of frame rates and aspect ratios, rescanning, and large-scale feedback loops achieved through satellite manipulation, contribute to the deconstruction process. The video is layered with different encoding versions (NTSC, PAL, and SEACAM) which results in a single unified piece that is uniquely experienced dependent on the locale where it is viewed. The musical component of this work centers around an ascending melodic fragment which is presented through distressed piano recordings. Viola da gamba, voice, and environmental recordings along with sounds found in the composer's archive that date from the year 1999 are collaged together to form a tapestry upon which various transformations of the piano fragment are set upon. This juxtaposition, of the tapestry and the piano line which tirelessly struggles in its ascension, acts as a metaphor for the continued hope and promise which lies beyond 1999. An important aspect of the collaboration between Russell J. Chartier and Paul J. Botelho is the principle of synchronicity. The video artist and the composer never work directly with one another’s work during the collaboration. Only the specific duration of the piece is agreed upon and no other communication in regard to the work is made during the collaboration. Solely upon the completion of both the video and music components is the work realized. The artists call this process a collective subconscious, a term which refers not only to the exclusionary creative actions which take place in their collaborative effort, but more broadly as the commonality that permeates betwixt the artists and those close to them. Full video available at: http://pauljbotelho.com/videoart.php?video=1999

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        • devil on a dam clip

          01:00

          from russ chartier / Added

          80 Plays / / 0 Comments

          Devil on a Dam (2010) Russell J. Chartier, video Paul J. Botelho, music The piece Devil on a Dam portrays the fragile emotional and cognitive state of a woman’s final moments as she writes her death note. The piece stands as a record of the woman’s fleeting perception of isolation to the decaying world that slowly envelops her. The role is performed by Jill Treadwell and intertwines her stream of consciousness writing into the visual tapestry. The video aspect of the piece was created by layering organic images of the act of writing together with distortions and manipulations of broadcast equipment output error messages and other abstractions. The output messages represent the subject’s alienation to the outside world, while the dense layerings of writing depict her inner thoughts and being. Various matted and keyed distortions were employed to weave together the organic imagery with the manipulated and distorted, abstract depiction of the woman’s thoughts and emotions. The musical aspect is comprised of fragmented audio samples taken from the composer’s one-act opera the falling. The theme of the opera, i am, is comprised of a collage of five melodic vocal fragments juxtaposed with a harsh, crackling, noise-based sound. The piece was input into software, authored by the composer, which “shattered” the input sound into a user-defined number of fragments in a stochastic rhythm. The textures generated through the software were then layered, along with other manipulated and found sounds, to create the musical component of the work. An important aspect of the collaboration between Russell J. Chartier and Paul J. Botelho is the principle of synchronicity. The video artist and the composer never work directly with one another’s work during the collaboration. Only the specific duration of the piece is agreed upon and no other communication in regard to the work is made during the collaboration. Solely upon the completion of both the video and music components is the work realized. The artists call this process a collective subconscious, a term which refers not only to the exclusionary creative actions which take place in their collaborative effort, but more broadly as the commonality that permeates betwixt the artists and those close to them. Full video available at: Paulbotelho.com/dod

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          • 1999-deconstructed

            04:18

            from russ chartier / Added

            273 Plays / / 0 Comments

            1999 Deconstructed (2013) Russell J. Chartier, video Paul J. Botelho, music The video aspect of the piece, through layered and often opposing imagery representative of the artist's experiences in the year 1999, is intended to provoke a gestalten experience from the viewer. The video component exploits the artifacts that are inherent to the video medium as a conscious deconstruction of the medium itself. Various techniques, including varying of frame rates and aspect ratios, rescanning, and large-scale feedback loops achieved through satellite manipulation, contribute to the deconstruction process. The video is layered with different encoding versions (NTSC, PAL, and SEACAM) which results in a single unified piece that is uniquely experienced dependent on the locale where it is viewed. The musical component of this work centers around an ascending melodic fragment which is presented through distressed piano recordings. Viola da gamba, voice, and environmental recordings along with sounds found in the composer's archive that date from the year 1999 are collaged together to form a tapestry upon which various transformations of the piano fragment are set upon. This juxtaposition, of the tapestry and the piano line which tirelessly struggles in its ascension, acts as a metaphor for the continued hope and promise which lies beyond 1999. An important aspect of the collaboration between Russell J. Chartier and Paul J. Botelho is the principle of synchronicity. The video artist and the composer never work directly with one another’s work during the collaboration. Only the specific duration of the piece is agreed upon and no other communication in regard to the work is made during the collaboration. Solely upon the completion of both the video and music components is the work realized. The artists call this process a collective subconscious, a term which refers not only to the exclusionary creative actions which take place in their collaborative effort, but more broadly as the commonality that permeates betwixt the artists and those close to them.

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            • 06:24:11 excerpt

              01:00

              from russ chartier / Added

              93 Plays / / 1 Comment

              00:06:24:11 (2012) Russell J. Chartier, video Paul J. Botelho, music The video component of the piece—created using varying frame rates, aspect ratios and speeds— explores the inherent flaws and artifacts of video. Different encoded versions of the video (NTSC, PAL, and SECAM) were overlaid so that experience of the piece is intrinsic to the locale where it is viewed. Video segments, originally shot on June 24, 2011, were distorted through disrupted satellite transmissions, rescanned images, and digital and analog feedback resulting in much of the underlying tapestry of work. The piece stands as an homage to the video medium. The audio component of the work is composed of transformed vocal, piano, and viola da gamba recordings which through a software algorithm, authored by the composer, were fragmented into stochastic rhythmic patterns that were collaged together along with other transformed sounds to create the piece. An important aspect of the collaboration between Russell J. Chartier and Paul J. Botelho is the principle of synchronicity. The video artist and the composer never work directly with one another’s work during the collaboration. Only the specific duration of the piece is agreed upon and no other communication in regard to the work is made during the collaboration. Solely upon the completion of both the video and music components is the work realized. The artists call this process a collective subconscious, a term which refers not only to the exclusionary creative actions which take place in their collaborative effort, but more broadly as the commonality that permeates betwixt the artists and those close to them.

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              • Music Industry Forum – Paul Botelho & Friends

                41:39

                from Loyola University / Added

                Paul Botelho and his students perform on stage for Loyola University New Orleans students in Nunemaker Hall

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                • Paul Botelho Interview

                  24:56

                  from Loyola University / Added

                  Interview with Paul Botelho, assistant director of Music Technology

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                  • Devil On A Dam (1 minute Preview)

                    05:43

                    from russ chartier / Added

                    213 Plays / / 0 Comments

                    Devil on a Dam (2010) Russell J. Chartier, video Paul J. Botelho, music The piece Devil on a Dam portrays the fragile emotional and cognitive state of a woman’s final moments as she writes her death note. The piece stands as a record of the woman’s fleeting perception of isolation to the decaying world that slowly envelops her. The role is performed by Jill Treadwell and intertwines her stream of consciousness writing into the visual tapestry. The video aspect of the piece was created by layering organic images of the act of writing together with distortions and manipulations of broadcast equipment output error messages and other abstractions. The output messages represent the subject’s alienation to the outside world, while the dense layerings of writing depict her inner thoughts and being. Various matted and keyed distortions were employed to weave together the organic imagery with the manipulated and distorted, abstract depiction of the woman’s thoughts and emotions. The musical aspect is comprised of fragmented audio samples taken from the composer’s one-act opera the falling. The theme of the opera, i am, is comprised of a collage of five melodic vocal fragments juxtaposed with a harsh, crackling, noise-based sound. The piece was input into software, authored by the composer, which “shattered” the input sound into a user-defined number of fragments in a stochastic rhythm. The textures generated through the software were then layered, along with other manipulated and found sounds, to create the musical component of the work. An important aspect of the collaboration between Russell J. Chartier and Paul J. Botelho is the principle of synchronicity. The video artist and the composer never work directly with one another’s work during the collaboration. Only the specific duration of the piece is agreed upon and no other communication in regard to the work is made during the collaboration. Solely upon the completion of both the video and music components is the work realized. The artists call this process a collective subconscious, a term which refers not only to the exclusionary creative actions which take place in their collaborative effort, but more broadly as the commonality that permeates betwixt the artists and those close to them. Full video available at: Paulbotelho.com/dod

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