Salvador Bahia Brazil Matrix

The Matrix Online Network is a platform conceived & built in Salvador da Bahia, Brazil and upon which people & entities across the creative economic universe can 1) present in variegated detail what it is they do, 2) recommend others, and 3) be recommended by others. Integrated by recommendations and governed by the metamathematical magic of the small world phenomenon (popularly called "6 degrees of separation"), matrix pages tend to discoverable proximity to all other matrix pages, no matter how widely separated in location, society, and degree of fame. From Quincy Jones to celestial samba in the favelas of Rio de Janeiro to you, all is closer than we imagine.

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  • (Bahia)
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  • From Brazil with love →
  • @ Ground Zero
  • El Aleph
  • If You Can't Stand the Heat
  • Harlem to Bahia to the Planet
  • Why a "Matrix"?

From Brazil with love →

@ Ground Zero

 

Have you, dear friend, ever noticed how different places scattered across the face of the globe seem almost to exist in different universes? As if they were permeated throughout with something akin to 19th century luminiferous aether, unique, determined by that place's history? It's like a trick of the mind's light (I suppose), but standing on beach or escarpment in Salvador and looking out across the Baía de Todos os Santos to the great Recôncavo, and mindful of what happened there, one must be led to the inevitable conclusion that one is in a place unique to history, and to the present*.

 

 

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."Música: Assis Valente of Santo Amaro, Bahia. Vídeo: Betão Aguiar.

 

*More enslaved human beings entered the Bay of All Saints and the Recôncavo than any other final port-of-call throughout all of mankind's history.

 

These people and their descendants created some of the most uplifting music ever made, the foundation of Brazil's national art. We wanted their music to be accessible to the world (it's not even accessible here in Brazil) so we created a platform by which everybody's creativity is mutually accessible, including theirs.

 

El Aleph

 

The network was built in an obscure record shop (Kareem Abdul-Jabbar found it) in a shimmering Brazilian port city...

 

...inspired in (the kabbalah-inspired fiction of) Borges' (short story) El Aleph, that in the pillar in Cairo's Mosque of Amr, where the universe in its entirety throughout all time is perceivable as an infinite hum from deep within the stone.

 

It "works" by virtue of the "small-world" phenomenon...the same responsible for the fact that most of us 7 billion or so beings are within 6 or fewer degrees of each other.

 

It was described (to some degree) and can be accessed via this article in British journal The Guardian (which named our radio of matrixed artists as one of ten best in the world):

 

www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world

 

With David Dye for U.S. National Public Radio: www.npr.org/2013/07/16/202634814/roots-of-samba-exploring-historic-pelourinho-in-salvador-brazil

 

All is more connected than we know.

 

Per the "spirit" above, our logo is a cortador de cana, a cane-cutter. It was designed by Walter Mariano, professor of design at the Federal University of Bahia to reflect the origins of the music the shop specialized in. The Brazilian "aleph" doesn't hum... it dances and sings.

 

If You Can't Stand the Heat

 

Image above is from the base of the cross in front of the church of São Francisco do Paraguaçu in the Bahian Recôncavo

 

Sprawled across broad equatorial latitudes, stoked and steamed and sensual in the widest sense of the word, limned in cadenced song, Brazil is a conundrum wrapped in a smile inside an irony...

 

This is not a European nation. It is not a North American nation. It is not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn. Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin. It was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — was almost certainly brought to Brazil by these people). Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David. Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth. Pandeirista on the roof. Nowhere else but here.

 

Oligarchy, plutocracy, dictatorships and massive corruption — elements of these are still strongly entrenched — have defined, delineated, and limited Brazil.

 

But strictured & bound as it has been and is, Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of — or perhaps because of — the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.

 

For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...

 

Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.

 

"Onde tem miséria, tem música!"* - Raymundo Sodré

 

And it's not just music. And it's not just Brazil.

 

Welcome to the kitchen!

 

* "Where there is misery, there is music!" Remarked during a conversation arcing from Bahia to Haiti and Cuba to New Orleans and the south side of Chicago and Harlem to the villages of Ireland and the gypsy camps and shtetls of Eastern Europe...

 

Harlem to Bahia to the Planet



Why a "Matrix"?

 

I was explaining the ideas behind this nascent network to (João) Teoria (trumpet player above) over cervejas at Xique Xique (a bar named for a town in Bahia) in the Salvador neighborhood of Barris...

 

Like this (but in Portuguese): "It's kind of like Facebook if it didn't spy on you, but reversed... more about who you don't know than who you do know. And who doesn't know you but would be glad if they did. It's kind of like old Myspace Music but instead of having "friends" it has a list on your page of people you recommend. Not just musicians but writers, painters, filmmakers, dancers, chefs... anybody in the creative economy. It has a list of people who recommend you, or through whom you are recommended. It deals with arts which aren't recommendable by algorithm but need human intelligence behind recommendations. And the people who are recommended can recommend, creating a network of recommendations wherein by the small world phenomenon most people in the creative economy are within several steps of everybody else in the creative economy, no matter where they are in the world. Like a chessboard which could have millions of squares, but you can get from any given square to any other in no more than six steps..."

 

And João said (in Portuguese): "A matrix where you can move from one artist to another..."

 

A matrix! That was it! The ORIGINAL meaning of matrix is "source", from "mater", Latin for "mother". So the term would help congeal the concept in the minds of people the network was being introduced to, while giving us a motto: "We're a real mother for ya!" (you know, Johnny "Guitar" Watson?)

 

The original idea was that musicians would recommend musicians, the network thus formed being "small world" (commonly called "six degrees of separation"). In the real world, the number of degrees of separation in such a network can vary, but while a given network might have billions of nodes (people, for example), the average number of steps between any two nodes will usually be minuscule.

 

Thus somebody unaware of the magnificent music of Bahia, Brazil will be able to conceivably move from almost any musician in this matrix to Bahia in just a few steps...

 

By the same logic that might move one from Bahia or anywhere else to any musician anywhere.

 

And there's no reason to limit this system to musicians. To the contrary, while there are algorithms written to recommend music (which, although they are limited, can be useful), there are no algorithms capable of recommending journalism, novels & short stories, painting, dance, film, chefery...

 

...a vast chasm that this network — or as Teoria put it, "matrix" — is capable of filling.

 

  • Kim André Arnesen
    I RECOMMEND

CURATION

  • from this node by: Matrix

This is the Universe of

  • Name: Kim André Arnesen
  • City/Place: Oslo
  • Country: Norway

Life & Work

  • Bio: Kim André Arnesen (b. 1980) is one of the most frequently performed classical composers from Norway today. He grew up in Trondheim, and while being a daily follower of MTV, and no one understood why he was such a big The Cure fan at the age of 10, he also played the piano at the music school and was a chorister in the Nidaros Cathedral Boys´ Choir.

    He was educated at the Music Conservatory in Trondheim. With a big interest in baroque music, contemporary classical music, and popular music, Kim could have taken many roads, but choral music became his greatest passion. As a composer, he had his first performance at the age of 18 with the boys´ choir. Since then he has written music that has been performed by choirs all over the world.

    In 2010, his first large-scale work, Magnificat was commissioned and premiered by the Nidaros Cathedral Girls´ Choir. The premiere got an overwhelming feedback leading to several new commissions. A recording was released by 2L in 2014 and the album has received excellent reviews in Gramophone, Choir & Organ and other classical magazines. Gramophone calls the music "haunting, beautifully arched, warmly compassionate".

    In 2011 his choral work Even when He is silent had its premiere during the St. Olav Festival (Olavsfestdagene) in Trondheim. The piece was commissioned by the festival and has since its premiere been performed many times around the world and recorded on several CDs.

    In 2013 Even when He is silent and Cradle Hymn featured in the TV production "Christmas in Norway" with St. Olaf Choir and Nidaros Cathedral Girls' Choir. Cradle Hymn has been the bestseller of Santa Barbara Music's Christmas music in 2014, 2015 and 2016. In 2016 it was performed at The White House for President Barack Obama.

    In April 2014 his Requiem was premiered by the Nidaros Cathedral Boys' Choir, and the work had its U.S. premiere in April 2015. The work had its New York City premiere at Carnegie Hall in January 2017, in a production with the Distinguished Concerts International New York (DCINY).

    Kim was the Composer-in-residence for the Denver-based choral ensemble Kantorei and Artistic Director Joel Rinsema in their 2015/16 Season, which will end with Kim's second CD album to be released in January 2018 by Naxos. In 2016 the new large-scale work The Wound in the Water was premiered during the St. Olaf Festival in Trondheim, with Conspirare, conductor Craig Hella Johnson, soprano Elin Manahan Thomas, and TrondheimSolistene.

    The National Lutheran Choir commissioned the Holy Spirit Mass in commemoration of 500 years since the reformation and was premiered in Washington D. C. and Minneapolis in 2017. Several new commissioned anthem length pieces were premiered throughout 2017 including a commissioned work for the Texas Choral Directors Association and Oregon Bach Festival. In 2018 the album INFINITY was released by Naxos with the Denver choir Kantorei and conductor Joel Rinsema. The album included a selection of Kim's choral works. In 2018, the 5th large-scale work Tuvayhun - Beatitudes for a Wounded World with lyrics by Charles Anthony Silvestri was premiered in New York City by the Manhattan Girls Chorus. In October 2018 the work So That the World May Believe was premiered in Rome together with the European premiere of the "Holy Spirit Mass."

    Kim is an elected member of the Norwegian Composers Society, and a full-time composer focusing on choral music. From September 2017 he has signed with Boosey & Hawkes as one of their house composers.

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Twitter: kimarnesen
  • ▶ Instagram: kim.a.arnesen
  • ▶ Website: http://www.kimarnesen.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCDOZCD8r5E4HjlLg5BanIng
  • ▶ Spotify: http://open.spotify.com/album/1HQpJCaOLXaNUL4UxcO46R
  • ▶ Spotify 2: http://open.spotify.com/album/7pivWnof0qxIWAq5fk9N6C
  • ▶ Spotify 3: http://open.spotify.com/album/5NFrliI7zp4WE3bHNrRPAl
  • ▶ Spotify 4: http://open.spotify.com/album/4VduQzFXMVjZSCMEDLr72j

Clips (more may be added)

  • The Wound in the Water (excerpts)
    By Kim André Arnesen
    395 views
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YOU RECOMMEND

Imagine the world's creative economy at your fingertips. Imagine 10 doors side-by-side. Beyond each, 10 more, each opening to a "creative" somewhere around the planet. After passing through 8 such doorways you will have followed 1 pathway out of 100 million possible (2 sets of doorways yield 10 x 10 = 100 pathways). This is a simplified version of the metamathematics that makes it possible to reach everybody in the global creative economy in just a few steps It doesn't mean that everybody will be reached by everybody. It does mean that everybody can  be reached by everybody.


Appear below by recommending Kim André Arnesen:

  • 0 Choral Works
  • 0 Classical Music
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  • 0 Norway
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 'mātriks / "source" / from "mater", Latin for "mother"
We're a real mother for ya!

 

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