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Music, data, breaths, strings, files, instruments, cables, distance, doubts, frequencies, emails and other impulses, the master's right foot toes, his buttons, Manel's throat impossible to digitize, nights full of thoughts, the noises of the fuzzy cables, their sparks and their intrigues, the sound in the middle of the catastrophe has something poetic, also something moving and obsolete at the same time.
A WAY TO APPROACH CREATION
"Death is only a consequence of our way of life. We live travelling from one thought to another, from one sensation to the next so that our thoughts and feelings do not flow serenely, like a river, but rather "overwhelm us", falling on us like stones. If you look closely, you realize that the soul is not something that gradually changes its colors. What happens is that thoughts rise upwards, like figures, from a black pit. Now you have a thought or a feeling, and then it moves to another one, like out of nowhere. If you observe well, you will be able to perceive the moment between two thoughts and in which everything is black. For us, that precise instant is death; because our life is nothing other than laying down marker stones and jumping from one to another, each and every day, over thousands of seconds of death.
In a way, we only live on the footholds. That is why we have that ridiculous fear of irremissible death, because it is an immeasurable abyss into which we fall when we do not have those stones to rest our feet. That way of living really represents total annihilation; but only in the perspectives of this life, only for those who have not learned but to feel it from moment to moment. This is what I call the evil that jumps, and the secret to success is to overcome it. It is necessary to awaken the feeling that life slides serenely. The moment this is accomplished, one is as close to death as to life. According to our earthly concept, you no longer live, but neither can you die anymore. Because death has been annulled, along with life. That is the moment of immortality, the moment when the soul, leaving our narrow brain, enters the wonderful gardens of its life.
Pay attention now. Put all thoughts to sleep, stare at the flame..., do not think of one thing and another... Concentrate all your attention inwards... stare at the flame ... The thought will gradually become like a machine that goes slower and slower... slower and slower... Look inward..., until you find the point where you sit without any thought, without any sensation... Your silence will give me the answer... Do not look away from yourself... A few minutes passed..."
Tribulations of the student Törless.
Robert Musil Collective of musical, visual and performative creation.
(A platform open to collaborations in a continuous process) Music, data, breaths, strings, files, instruments, cables, distance, doubts, frequencies, emails and other impulses, the master's right foot toes, his buttons, Manel's throat impossible to digitize, nights full of thoughts, the noises of the fuzzy cables, their sparks and their intrigues, the sound in the middle of the catastrophe has something poetic, also something moving and obsolete at the same time.
The objective of this proposal is to explore the spaces of non-consciousness, and also of fusion between different disciplines, dimensions, aesthetics and artistic practices. Trilaphon is a sustained moment in constant transformation between imagination (music) and image, between thought and nothingness, between the tangible and the invisible. It is still an idea, a noise, an installation, a possibility of being inside and outside the virtual world. In short, a shared experience.
The first musical and visual composition
The first musical and visual composition of Trilaphon was born from a scenic creation that was presented at the Lliure Theater in Barcelona during February 2020. The play was inspired by texts by David Foster Wallace and was titled as one of his most atypical and inspired stories, Forever Overhead.
Quarantine arrived and we felt the need to continue the musical creation as the performative part was impossible due to the new pandemic paradigm. Rodolfo Castagnolo and Juan Navarro continued developing this sound space that we present here, between the cities of Mendoza (Argentina) and Barcelona (Spain). At the same time, Manel Barnils continued his visual experiments, digital and material, in his studio in Sant Cugat (Barcelona). The result is a triptych that offers us a leap into the void. We do not know very well what kind of void, perhaps it is a jump to an idealized or naive nothingness, or to a form of abstract meditation that, at times, distances us from the predominant noise of this restless year.
SEE MORE INFORMATION ABOUT TRILAPHON 1
TRILAPHON 2. in ProcesS.
Project Brueghel. A sound and visual speculation from the painting
"The triumph of death" 1562.
“Our time is the time where everything ends. We saw the end of modern history, ideologies and revolutions”
Marina Garcés, New radical new illustration.
Part I: The noise of the satellites. The Landscape.
The noise of the Satellites is comparable to the noise in our head, our thoughts. An invisible landscape, responsible for the modus vivendis of these days. The end of the world takes on relevance again in the popular imagination, just as it did in the years when the Old Man painted The Triumph of Death to make some kind of pact with it. Now the pact is proposed by Netflix. We let ourselves be seduced by obscurantism again. Depression, anxiety, fear, moral and ethical chaos, post-truth, the excessive noise of communication and the thousands of satellites that rotate around us without being seen. Drifting satellites, atmospheric garbage navigating uncontrolled orbits, intelligent devices processing data at 11,070 kilometers per hour, a variable speed depending on the distance they keep above our heads. White Noise is produced by the friction of the antennas with the atmosphere.
Part II: The death of the others.
It is about looking for a certain light, a digital light that illuminates us and to which we cling to try to avoid the worst, to try to avoid fear. It is a fragile light, it hardly gives off heat, it can be turned off at any time. There is a certain coldness, the emotions are not real, they are a download-for-free smart App. A light that illuminates us and makes us question whether we are dead or alive. In the painting there is a door through which most of them flee, they run in terror towards hell without realizing it. Perhaps that door is the key to this second part, an escape outward rather than inwards as the fallen angel proposed once. Inside is the ugly death itself, outside is the laughter that keeps us alive. A beautiful hell.
Part III: Love has no noise; love does not smell of anything.
Talking about love as a naive self-absorption that can save you for a moment. We do not know if Brueghel wanted to highlight that moment of refugee lovers in his eyes or, quite the opposite, tried to satirize or even ridicule the idea of love in the midst of the catastrophe. How is love in the 21st century? How has it changed? What does it sound like? What is this new economy of digital affections? Thousands of people in love, falling madly in love out of nowhere, in love with themselves, with animals, with their intestines and with organic vegetable juices… we could expand the list infinitely to talk about love and the end of the world, which are nothing more than survival.
How to reach us
Benet Cortada 14, 2o 3a
Sant Cugat del Valles
THE WALL RECORDS STUDIO
You can tell us anything that comes to mind, we like loud feedbacks. in Sh*t yet.
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