Electricity — 07.15.2020
I tend to think of the generative and destructive properties of electricity as analogous to the cycles of ideas until I remember that life often passes without metaphor. The network of these mechanical processes appears to be the structure that catalyzes the countless expressions of living itself.
In the early stages of quarantine, I found myself returning to live recordings of shows produced under the banner of Kamuning Public Radio, remembering my proximity to people, to machines, to auditory phenomena produced by the invisible undulations of electricity. My time with Green Papaya as a sound engineer involved the direction, documentation, and distribution of numerous electrical currents, all sites of encounter and emergence, of confluence and conversion. In those digital replicas of events, I found no trace of my own hand; I found only that I was completely subsumed into space, one among many folds in a field of frequencies, a part of everything else. And then came the news of the fire (attributed to electricity) and the sense that there is much more to be done to protect the spaces that form the horizon that resembles a future.
There is no solace in the tired myth of resilience, only a painful reminder of an uneven apocalyptic landscape, but there are faint echoes of hope in the possibility of transformation, a task no longer symbolic.
Itos Ledesma
July 15, 2020
In the early stages of quarantine, I found myself returning to live recordings of shows produced under the banner of Kamuning Public Radio, remembering my proximity to people, to machines, to auditory phenomena produced by the invisible undulations of electricity. My time with Green Papaya as a sound engineer involved the direction, documentation, and distribution of numerous electrical currents, all sites of encounter and emergence, of confluence and conversion. In those digital replicas of events, I found no trace of my own hand; I found only that I was completely subsumed into space, one among many folds in a field of frequencies, a part of everything else. And then came the news of the fire (attributed to electricity) and the sense that there is much more to be done to protect the spaces that form the horizon that resembles a future.
There is no solace in the tired myth of resilience, only a painful reminder of an uneven apocalyptic landscape, but there are faint echoes of hope in the possibility of transformation, a task no longer symbolic.
Itos Ledesma
July 15, 2020
Itos Ledesma's Maldoror set for Pareidolia, October 8, 2016. Courtesy of Yuji de Torres.
Pareidolia, October 8, 2016. Courtesy of Yuji de Torres.
Itos and friends outside Catch 272, Subflex 1, March 17, 2017. Courtesy of Yuji de Torres.
Erick Calilan fixing the Audacity recording interface, Subflex 1, March 17, 2017. Courtesy of Yuji de Torres.
Godfree Hardcore: Kill Ratio's 'Erehe' 7" Launch, May 19, 2017. Courtesy of Arlo Misa.
Sweaty Itos taking a breather outside Catch 272, May 19, 2017. Courtesy of Yuji de Torres.
"OO" for the 2nd Kamias Triennial, June 23 2017. Courtesy of Yuji de Torres.
Subflex 3, September 19, 2017. Courtesy of Yuji de Torres.
Ramon Mayor at KPR 8, April 28, 2018. Courtesy of Yuji de Torres.
