Orbital Eccentricity. Sound performance, using commercial and military satellites with real time tracking data

This music performance starts with an inquiring about the possibility to generate sound and music elements using commercial and military satellites, established in a process of acquirement and conversion of satellite movement data sonified in real time, merged to midi-data language. Used to control hardware and software musical instruments. It`s importance, reflects on the autonomy of the satellites as objectual performers, actants that generate sonic content in an ecology of casual movements and programmed computational music rules. The routes and trajectories are mediated elements to think about composition in a performative dynamic environmental system, manipulated in real time by the performer in direct dialog with the external technological body. The satellite as an actant suspended in the edge of the human perceptive border that articulate a direct relation with the planet Earth as a place with external telematic objects. It represents the human activity in the boundaries of the universe limits. This performance starts with the production of hardware and software that captures the movement of public and military satellites. In technical collaboration and partnership with Christopher Zlaket (1992) from the Arizona State University who specializes in interface design and David Stingley (1993) of MIT who specializes in computer science. The sonic qualities are dependent of improvisational approaches developed in real time, pointing to aesthetic elements about dynamics, granulation, noise, and drone. Pointing to post-digital and micro sound aesthetics traditions and proposing ruptures.