Miguel La Corte
B. Caracas, Venezuela. 1999.
Music designer and programmer focused in researching and developing new instruments and experiences that address our modern digital condition.
His work has been presented within CTM Festival 2023 in Berlin, Goethe Institute Venezuela and within HKW Berlin, Centre Pompidou in Paris and CCCB in Barcelona through the Cultures d’avenir program.
Projects
<< Ensamble >> rhythm installation
10-11.2024
Ensemble is an exhibition that brings together three artists from different disciplines and diverse backgrounds. Together, they create a visual and auditory essay through rhythm. Ensamble is composed of 18 solenoids by musician Miguel La Corte, distributed across a Tambor Palitero by drum luthier Armando Pantoja and six paintings by visual artist Pepe López.
For over a decade, Pepe López has been painting drums crafted by Armando Pantoja for traditional festivals in the village of Todasana. The works here present are preliminary sketches for a group of cumaco drums made from avocado wood, which were used in the San Juan celebration in 2011.
In 2024, artist Pepe López invited musician Miguel La Corte to intervene in his paintings, translating the rhythmic motifs present in the colors into sound. La Corte, in turn, seeks to uncover the sequential patterns within these abstract compositions, proposing a synthesis of convergence between sound and color through the rhythm suggested by the traditional beats—Perra and Macizón—of Todasana, as taught to him by musician Armando Pantoja.
︎Project website
︎About Ensamble: Essay written within the context of this exhibition
︎Listen and view some individual pieces of the installation here
10-11.2024
Ensemble is an exhibition that brings together three artists from different disciplines and diverse backgrounds. Together, they create a visual and auditory essay through rhythm. Ensamble is composed of 18 solenoids by musician Miguel La Corte, distributed across a Tambor Palitero by drum luthier Armando Pantoja and six paintings by visual artist Pepe López.
For over a decade, Pepe López has been painting drums crafted by Armando Pantoja for traditional festivals in the village of Todasana. The works here present are preliminary sketches for a group of cumaco drums made from avocado wood, which were used in the San Juan celebration in 2011.
In 2024, artist Pepe López invited musician Miguel La Corte to intervene in his paintings, translating the rhythmic motifs present in the colors into sound. La Corte, in turn, seeks to uncover the sequential patterns within these abstract compositions, proposing a synthesis of convergence between sound and color through the rhythm suggested by the traditional beats—Perra and Macizón—of Todasana, as taught to him by musician Armando Pantoja.
︎Project website
︎About Ensamble: Essay written within the context of this exhibition
︎Listen and view some individual pieces of the installation here
CC0: Installation at CTM Festival 2023
CC0 (Collective Control 0) is a system for live collective composition that operates in Berlin at HAU2 and also globally through the portal cc0.participativeaudiolab.com. It has been designed to enable distributed control for the public through physical and digital instruments, allowing users to interact with and influence the system’s motion, sound, and structure directly.
On 31.01.23, after two months of collaborative development, CC0 went live at the CTM Festival 2023. Public participants were invited to engage in a live, interdependent composition accessible both online and at HAU2 in Berlin.
The CC0 system consists of three instruments: “The Forum,” “Pendulum,” and “Pulse.”
CC0 represents a significant part of my ongoing practice in creating instruments for public collective composition and forms a key component of my research into alternative forms of digital music distribution.
It is a system that proposes production-based processes of collective creation as an alternative to standard, reproduction-based models of music distribution.
︎Project website
︎Project development process, learning outcomes and conclusions
CC0 (Collective Control 0) is a system for live collective composition that operates in Berlin at HAU2 and also globally through the portal cc0.participativeaudiolab.com. It has been designed to enable distributed control for the public through physical and digital instruments, allowing users to interact with and influence the system’s motion, sound, and structure directly.
On 31.01.23, after two months of collaborative development, CC0 went live at the CTM Festival 2023. Public participants were invited to engage in a live, interdependent composition accessible both online and at HAU2 in Berlin.
The CC0 system consists of three instruments: “The Forum,” “Pendulum,” and “Pulse.”
CC0 represents a significant part of my ongoing practice in creating instruments for public collective composition and forms a key component of my research into alternative forms of digital music distribution.
It is a system that proposes production-based processes of collective creation as an alternative to standard, reproduction-based models of music distribution.
︎Project website
︎Project development process, learning outcomes and conclusions
Culturs d’Avenir 2023
Selected amongst 15 chosen artists for 6 month long research program held in collaboration between HKW in Berlin, CCCB in Barcelona and Centre Pompidou in Paris.
The program was set to understand new techniques and processes of cultural mediation and collective art-making.
Mentors included Tania Brugera, Olivier Marbeouf, Ahmet Ögüt (Silent University), amongst others.
As part of my work held within this project, I presented an essay/repository titled: The Open Media Ecology: Networks of Cultural Aaptation ︎︎︎
︎Project website
︎Project development process, learning outcomes and conclusions
Selected amongst 15 chosen artists for 6 month long research program held in collaboration between HKW in Berlin, CCCB in Barcelona and Centre Pompidou in Paris.
The program was set to understand new techniques and processes of cultural mediation and collective art-making.
Mentors included Tania Brugera, Olivier Marbeouf, Ahmet Ögüt (Silent University), amongst others.
As part of my work held within this project, I presented an essay/repository titled: The Open Media Ecology: Networks of Cultural Aaptation ︎︎︎
︎Project website
︎Project development process, learning outcomes and conclusions
Myriorama
est. 2016
Since 2016, I have been restoring abandoned electroacoustic Pianos found in Venezuela.
This project has since become a small Piano restauration/redesign company titled Myriorama.
It is a project intended to reflect on shared living environments (aka. living rooms) by designing and restoring the instruments and elements that define these spaces.
A focus has been thus set on restoring pianos as an essential way to redefine the living room.
Beyond piano restoration, future Myriorama projects include restoration manuals as well as furniture objects designed for remote-interconnected living environments.
︎Project website
︎Project development process, learning outcomes and conclusions
est. 2016
Since 2016, I have been restoring abandoned electroacoustic Pianos found in Venezuela.
This project has since become a small Piano restauration/redesign company titled Myriorama.
It is a project intended to reflect on shared living environments (aka. living rooms) by designing and restoring the instruments and elements that define these spaces.
A focus has been thus set on restoring pianos as an essential way to redefine the living room.
Beyond piano restoration, future Myriorama projects include restoration manuals as well as furniture objects designed for remote-interconnected living environments.
︎Project website
︎Project development process, learning outcomes and conclusions
