sier 1998 -

nachlicht 2018.4343372 live recorded 7th June 2018, 22-23h, 3rd partial reference pitch tuned from eb5 to g5.

n a c h t l i c h t

    m. bashô,   ‘ os meus dias são viajantes da eternidade. ’

    k. malevitch,   ‘ le reflet - comme dans le mirroir - du modèle sur la toile. ’

    a. tarkovsky,   ‘... the infinite cannot be made into matter, but it is possible to create
                                an illusion of the infinite in the image. ’

    i. xenakis,     ‘ porque não nos sentimos tranquilizados pelo ambiente que nos rodeia,
                        no qual mergulhamos. ’

[    n  a   c   h   t   l   i   c   h   t    ]

    n a c h t l i c h t n  a  c  h  t  l  i  c  h  t n   a   c   h    t    l   i   c   h    t n    a    c    h    t    l    i    c    h    t n     a     c     h t     l
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          t        l         i c        h         t n         a          c         h         t         l          i         c h        t n        a        c        h t        l

n a c h t l i c h t

n  a  c  h  t  l  i  c  h  t

n   a   c   h    t    l   i   c   h    t

n    a    c    h    t    l    i    c    h    t

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[ synopsis ]

nachtlicht wants to be the capturing process of a space in real-time.
the perception of this while it is transmitted, taking the indelible
modulations of motions made in time by the totality of elements that
fill the void. to capture the chaotic movement of a single drop of
rainbsupported by the huge mass of air in permanent tension, the harmony
of sound waves from the reaction of the tar floor to the heavy passage
of the rhythmic stride of an individual ,   the grimace of a look that
finds himself in a world where flow pure concepts adapted to the simplicity
of the phenomena that trigger them: to capture the dreams of the individuals,
lost in a social tissue each time more sterile and immune to soul´s utopias
and beyond bounds.

simulating its capture in audio / visual immersion. make it accessible;
generate a space zone; travel through the space in imaginary dynamical
lines caused by real sensations ( assuming real is real ) that twist to
the flavor of the mentally generated sound upon its intelligibility. then
a rhythm of capture commands and a granular analysis of the meticulous time
of occurrence of the phenomena becomes languid, slippery.

narrative does not exist: just actions, energy movements
carried to the extreme by those who cause it and simultaneously are effect.
flow from image to image, mimicking the human mechanism of visual apprehension.

ambient. evolutive in real time. the ambient is constituted by a three
dimensional space and an active matrix controller of space, sound, light,
emerging then in a vision, a mental image of consciousness and for that
purpose edified. the space / matrix presents constructions mathematically
harmonic, geometric solids according to the euclidean theory, that become
shapes / canvas of reception of filmed images, using texture mapping of
the 3d solids with previously processed films in real-time.

nachtlicht is the immersion in a simulacrum, a passage from one plane of
existence to another where the rules are placed in question.

spatial omnipresence in relation to control and manipulation of images,
whatever they might be: free accessibility to all / any worked instant / moment.

to capture all the dynamics of a space zone in its completeness;
construct a score of events and its support. Modulate the moments and
return them to the refined human sensibility.

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released June 8, 2018

Available at


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