Le travail sonore de Steve RODEN utilise diverses formes de notation spécifique (paroles, partitions musicales, cartes, etc) et les traduit à travers des systèmes de partitions inventées qui, rigides en termes de paramètres et de règles, sont également pleines de respirations pour les décisions intuitives.
De la même manière, l'artiste met en œuvre dans ses peintures et dessins des traductions d'informations textuelles et des cartes, pour générer des actions visuelles telles que des choix de couleur, le nombre d'éléments, et la construction de l'image...

The sound work of Steve RODEN uses various forms of specific notation (words, musical scores, maps, etc.) and translates them through invented score systems that, rigid in terms of parameters and rules, are also full of breaths for intuitive decisions.
Similarly, the artist is implementing in his paintings and drawings of the translations of textual information and maps for generating visual actions such as choice of color, the number of elements, and the construction of the image...


Telepathic radio (lullaby), august 2011

on several consecutive evenings, i recorded myself listening to a radio with headphones and humming in response to the music i heard. i changed stations often, and for the most part, responded to music i had never heard before. the listenings ran the gamut from classical music to rap to “classic rock” to mexican pop to straight up contemporary pop music, etc.

the recordings were made live in a room with an open window, and were layered on top of each other in protools. the relationship of the voices sounding together were simply a symptom of randomly laying the tracks on top of each other – hence i had no idea what to expect of such harmonies.

the title ‘telepathic radio’ was inspired by upton sinclair’s book, ‘mental radio’ in which he describes a series of esp experiments performed with his wife, who was obsessed with mental telepathy. in the sinclairs’ experiments, sinclair’s wife would sit in an isolated room of their house and draw pictures based on the images she was receiving from her husband’s mind. the resulting drawings resemble fragmented suggestions of objects or ideas.

in a similar way, the melodies heard in these recordings are fragmented suggestions of former wholes. some of them might “feel” recognizable, while others totally abstract.

while listening to the radio on headphones, i was unable to hear the sounds around me that were being recorded into the microphone, and similarly i was unable to hear my own voice humming, thus the resulting recordings contained numerous surprises.

the recordings were slightly edited and layered. no other processing occurred.