Mirada Roja (“red sight”, first piece 1992) Electronic Music, is a homonym of an expressionist painting by Arnold Schomberg (1910). This piece tries to convey the expressive power of the picture. The imaginary voice emerges from the center of the picture, evoking transformation as an emotive symbol. At the same time, the sight stands out from its dramatic environment. Here, the yearning for change is also an illusion poetically expressed. The material is given a meaning and a temporal reference, having as a starting point the aesthetic value that the author elaborates in relation to a time and work. The material acts and dilutes itself, and throughout the three sections of the piece it modulates from an electronic voice simulation towards a real chorus. This work was completed at LIPM, using a DX7 and a Sinclavier II

Serie Perspectivas Editado por el Sello Tarka Tarka Record Company is releasing a series of Compact Discs devoted to be production of electroacoustic music in Argentina. CD-701 Tarka
Ficha Técnica
Procesamiento digital y premaster   Ricardo Renaldi
Foto  Susana Presta
Arte de tapa   Paul Stringa y Fabio Massaro
Direccion  Jorge Rapp
Obras del Cd
Julio Viera  "Divertimento II El Reloj"
Fernando López Lezcano "Búsqueda"
Jorge Rapp "Break Up"
Guillermo Pozzati "El Adiós"
Gustavo Chab "Mirada Roja"
Miguel Angel Calzon "La vida perdurable"
Carlos Cerana "Huellas Digitales"

Mirada Roja (Electronic Music) 2 channels 1993

Mirada roja (“red sight”, first piece1992) Electronic Music, is a homonym of an expressionist painting by Arnold Schomberg (1910). This piece tries to convey the expressive power of the picture. The imaginary voice emerges from the center of the picture, evoking transformation as an emotive symbol. At the same time, the sight stands out from its dramatic environment. Here, the yearning for change is also an illusion poetically expressed. The material is given a meaning and a temporal reference, having as a starting point the aesthetic value that the author elaborates in relation to a time and work. The material acts and dilutes itself, and throughout the three sections of the piece it modulates from an electronic voice simulation towards a real chorus. This work was completed at LIPM, using a DX7 and a Sinclavier II

Mezcla - Mix  Diego Losa

LIPM 1993

Composition  Gustavo Chab

Report on Residency and Exchange
Program in New Music Technology

Center for Research in Computing and the Arts University of California, San Diego
Robert Willeybobw@ucsd.edu htmlhttp://willshare.com/willeyrk/creative/recordings/intercambio.html https://ccrma.stanford.edu/LIPM/Welcome.html