musical composition

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Description (in English)

This work started to be built in the year 2013, out of scripts, texts writing, musical composition, and a crime investigation (aside from the compilation of images from the web) that I carried out during previous years as if gathering pieces from a puzzle. “Hotel Minotaur” first was entitled “It`s Enough to Open a Hotel`s Doors” and I first started to visualize it when writer Fernando Marias, invited me to be part of his anthology “Solitude is the Home of the Monster” (Imagine Press, 2013), with a multimedia piece. To facilitate the reader`s turn from paper to the digital space a QR (Quick Response Code) in the book`s Codex was added.

Staging was possible due to the support of David Losada, who decisively contributed to the idea and the concept and brought the means of Maloka Media, and to the collaboration of Fidel Cordero (music), Jesus Jimenez (design and programming) and Paola Rey (production). Programming of “Hotel Minotaur” was brought to an end back in 2015 with subtle changes on both, text and interface and was part of the Conclusions to the Doctoral Thesis “Form and Core of the Multimedia Narrative” (Humanities, Carlos III University, brilliant cum laude, 2015).

It was first presented on the opening to the European Digital Literatures (House of Velazquez, Madrid, June, 2013) and since its advent it has been a subject to study, being included on the Ciberia Anthology (Madrid Complutense University). It has been translated into French by Christian Roinat and into English by Montague Kobbe.

Description (in original language)

Esta obra comenzó a construirse en 2013, a partir del guion, escritura de textos, composición de la música e investigación de un crimen (con la recopilación de imágenes en red) que realicé durante los años previos, como si reuniera piezas de un puzle. “Hotel Minotauro” se llamó primero “Basta con abrir las puertas de un hotel”, y comencé a visualizarla cuando el escritor Fernando Marías me invitó a participar en su antología “La soledad es el hogar del monstruo” (Imagine Press, 2013), con una pieza multimedia. Para que el lector pudiera saltar del papel al espacio digital se colocó un QR en el libro códice.

La puesta en escena fue posible gracias al apoyo de David Losada, que contribuyó de manera decisiva a la idea y el concepto, y aportó los medios de Maloka Media, y a la colaboración de Fidel Cordero (música), Jesús Jiménez (diseño y programación) y Paola Rey (producción).

“Hotel Minotauro” se terminó de programar en 2015, con sutiles cambios de texto e interfaz, y formó parte de las conclusiones de la tesis doctoral “Forma y fondo de la narrativa multimedia”(Humanidades, Universidad Carlos III, sobresaliente cum laude, 2015). Fue presentada por primera vez en la apertura de European Digital Literatures (Casa de Velázquez, Madrid, junio de 2013) y desde su aparición ha sido objeto de estudio, incluyéndose en la antología Ciberia (Universidad Complutense de Madrid). Ha sido traducida al francés por Christian Roinat y al inglés por Montague Kobbe.

Description in original language
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"The Minotaur runs through the labyrinth. He follows the map that will take him to the woman who is capable of loving even a headless creature, and therefore, also a hybrid one like him".

 

"He's unaware of these paths. The labyrinth expands, or he loses his memory".

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Hotel Minotauro
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Hotel Minotauro
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Hotel Minotauro
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Hotel Minotauro
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Description (in English)

“Strathroy Stories” is an immersive, spatialized sound piece that explores space and place through a series of adolescent and teenage memories of people, places, and events. This work explores the notion of memory as a dynamic, malleable construct that falls somewhere between archival and living narrative. Guided by the memories of a small town boy, the listener will explore sites and events ranging from the prosaic; swimming at the town pool and hanging out at the arcade, to the aberrant; Turkey Festival murder and an ice fishing party gone wrong. Created as a locative listening piece, the end user is encouraged to listen, as they would a music playlist, while they walk to work, ride transit, clean the house, or walk the hedgehog. This piece is intended to enable a hybrid listening experience where the listener will be at times unable to distinguish real from virtual, thus creating a sort of Schizophonic low-tech AR experience.

Description in original language
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Description (in English)

Clickbait is a music project by Talan Memmott. The album CAPTION THIS is a collection of nine pop-punk tunes about various internet memes.
A limited edition CD was made.
The album is also available for streaming on Spotify and for download from iTunes, Amazon Music, and Google Play Music.

Song list:
Duckface
Forever Alone
Confused Travolta
Disaster Girl
She's Still Planking
The Most Interesting Man in the World
Scumbag Steve
Hotdog Legs
Bad Luck Brian

All songs written performed and produced by Talan Memmott

Description in original language
Pull Quotes

Lyrics for the song DUCKFACE:
she’s got a new selfie stick
gonna take lots a pictures, gonna make you sick
just look at her instagram
looks like her lips got stuck in a door jamb
she thinks she’s lookin’ hot
but her duck face is all she’s got
pursed lips, raised brow
do that again and you go to the hoosegow

HOPE YOUR FACE GETS STUCK THAT WAY
HOPE YOUR FACE GETS STUCK THAT WAY
HOPE YOUR FACE GETS STUCK THAT WAY
YOU LOOK LIKE A CLOWN ... DUCK FACE

she’s doin’ everything she can
to look like a kardashian
plastic surgery costs too much
put her lips in a shot glass and sucks
lookin’ into her smartphone cam
duck face, she’s her number one fan
raised brow, pursed lips
gotta get her facebook kicks

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By Eric Dean Rasmussen, 14 June, 2012
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Abstract (in English)

While discussion of the relationship of image and word has been prominent in the discourses
surrounding new media writing, the role of sound is rarely addressed in this context, even
though words are sounds and sounds are a major component of multimedia. This paper
explores possibilities for new theoretical frameworks in this area, drawing on musico-literary
discourse, intermedia theory and inter-cultural theory, and using ideas about semiotic and cultural exchange as a basis.

The paper will examine the different types of sound in new media writing from voice-based
performance of words to soundscapes and musical composition, and the role of sampling, vocal
manipulation and improvisation. Building on my previous work on affective intensities in new
media writing (Smith 2007 ; Smith 2009), and the manipulation of the voice to create cultural
effects such as sonic cross-dressing (Smith 1999), I will discuss the ways in which sound plays
a distinctive role in new media writing. I will argue that it creates mood, immersion and affect,
and can be very important in questioning stereotypical concepts of gender or racial identity. I will
also talk about sound as part of the process of making a work, and how the sound can drive the
writing, as well as writing driving the sound.

(Source: Author's abstract, 2012 ELO Conference site)