QUANTUM by Claudio Puntin solo

CLAUDIO PUNTIN
QUANTUM

I was inspired to this form of making music by looking at the superpositions known from quantum research. The relationship of musical actions in real time with the double-slit phenomenon has always seemed obvious to me. In principle, the music of "Quantum" is an ever-new interweaving of superpositions into an ever-new overall musical state, depending on which rhythmic elements are currently being paid attention to.
I could also say that I make music quantum mechanically.
To this end, I relate different levels of musical impulses through overlays. These are by their nature neither predictable, nor is their emerging polyrhythmic periodic.
The ear detects incoming and outgoing impulses by different criteria, and leaves already detected states in favor of the new superposition. The interesting thing here is to act musically, i.e. to maintain the proportion of tension and resolution in such a way that the maximum expansion of tension can be achieved within the respective situation, similar to a dominant-tonic ratio. From more than three independent voices, the individual can no longer be captured, a whole becomes, the perception changes from horizontal to vertical. And now it's getting interesting, because perhaps this is an indication of the limits of redundant and additive intelligence. There is a time-perception shift due to excessive proportions-capacity.
This album actually opens up the access of extended perception to artificial intelligence in relation to the water-based observation ability through organic amalgamation of sounds in time and texture, i.e. guided by instinctive and improvisational feeling. Improvisation is the essential way to feel unintentional.
Of course, this has always been one of the biggest attractors of music, but it has also remained its biggest enigma so far, which may be mutually dependent.
Now we have reached a time when we are naively flirting with the mixing of the two intelligence systems. We might find out. We could also get answers, but I strongly suspect that this will not be done through language. Let's keep listening.

As a basic tonal material, I use organic sounds, usually generated by clarinets in all ranges, to form the short rhythmic patterns. In their origin and sound, these are closer to the biological listening experience than the sounds of synthesizers, even if I lead them to changes by means of a concatenation of sound processors. The result is the same entanglement in the sound as in the rhythm.
These patterns are minimal melodies that create fragmentary interferences in repetition and transformation, come into relation with each other and thus create forms and emotional expressions that trigger our expressive repertoire. Tribe-like polyrhythmic groove music, simultaneity of different distances, temporal and spatial.
Even if we have never experienced these states, these tribe experiences in our own lives, there is information in us about the connection.
Explanations can hardly be formulated from the moment, but I am looking for this emotional place. We don't play a role there, because there is a link, no matter where I come from, what I have experienced. It is the pulse of the individual grooves of each of us, together with the groove of each other of us. It may go much further, but we are all where we are, in motion with everything.

As I write this down, I listen to the simultaneous cooing of several pigeons. I clearly feel how their shifting patterns from different distances, despite the motivation that is difficult for me to fathom, result in an unintentionally sensual polyrhythmic. After all, this is this access to states that, even if never experienced in one's own life, because of not being a pigeon, connect the eternal information in us!
TRIBE ACCESS.
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Claudio Puntin: Clarinets, Objects, Electronics
No rhythmic sequencers were used.
Everything has been played, processed, mixed, perceived and decided in real time without overdubs.

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