This piece, written for two percussion sets, is inspired by the sounds that insects produce in their interaction with the world beings whose presence - sometimes annoying, sometimes scary, sometimes welcome - is gradually disappearing from our daily lives. Their touch and the sounds that they produce differ greatly from ours.
#Los amaya electronic y skin#
For those who have exoskeletons, their physical contact with their surroundings is radically different from those of us who have skin and muscles around our bones. Insects don’t have teeth-they are all teeth. “Siénteme / guerrilla de dientes entre los árboles” fragment of Pedro Vargilla’s sixth poem from “Marea” This is another - yet non-intentional - dual quality of the album that I came to realise after I chose the pieces for it. The types of non-human others that, conceptually, I deal with in the album are also two: 1) animals (mostly insects) and 2) collective memory (one should remember that collective memory behaves very similarly to a living organism as it has a genealogy, it evolves, and it goes extinct). In both cases (the musical duo and the relational human/non-human duo), I strive to find the porous areas where one-plus-one is not necessarily two but maybe one-point-six or three or seventeen. They share another peculiarity: all of them explore how humans relate to non-human others. All the works in this album are for duos - some of them between two instruments and others between an instrument and some sort of electronic source. It was only months or, in some cases, years after they were composed that I looked back and saw them align. But, can it?Ĭortahojas is a collection of pieces that, at the moment of their conception, had nothing to do with each other. ĭoes music-making transform how one relates to insects? What about plants, environments, or memories? Not necessarily. We asked Luis Fernando to guide us through the concepts behind the works of his debut album Cortahojas, released in February 2023 by Protomaterial Records. in composition and music technology from Northwestern University. He studied composition and music theory at the Centro de Investigación y Estudios Musicales (CIEM) and holds a Ph.D.
Topics such as collective memory and the relationship between humans and non-humans (such as plants, animals, or environments) are commonly present in his work. Collective memory, even more so.” Luis Fernando Amayaīorn in Aguascalientes, México, Luis Fernando Amaya is a composer and percussionist.
“It is through memory that ‘things’ acquire meaning(s) and that we are able to place them within an imaginary continuum of time that we call ‘the past’.
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