1. Liminality

Liminality is the first collaboration between Yann Novak and Fabio Perletta and is co-published by Dragon’s Eye Recordings and Farmacia901. In Liminality the artists explore different states of ambiguity that occurs in the middle stage of the compositional process before its structure has comes to fruition. The piece inhabits the threshold between sonic discovery and fully realized composition. Liminality explores a similar pallet of sounds, always on the verge of becoming something more, but never fully materializing.

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Yann Novak is an artist, composer, and curator based in Los Angeles. His work is guided by his interests in perception, context, movement, and the felt presence of direct experience. Through the use of sound and light, Novak explores how these intangible materials can act as catalysts to focus our awareness on our present location in space and time. Novak’s diverse body of works – audiovisual installations, performances, architectural interventions, sound diffusions, recording, and prints – ask participants to reclaim the present moment as a political act.

Novak’s work has been experienced through exhibitions and performance at the Armory Center for the Arts, Pasadena; The Broad, Los Angeles; California Museum of Photography, Riverside; Commonwealth & Council, Los Angeles; de Young Museum, San Francisco; Getty Villa, Pacific Palisades; Hammer Museum, Los Angeles; The Henry Art Gallery, Seattle; Human Resources, Los Angeles; Los Angeles County Museum of Art, Los Angeles; Mutek Festival, Montreal; Norton Simon Museum, Pasadena; San Francisco Museum of Modern Art, San Francisco; Soundfjord, London; Susanne Vielmetter LA Projects, Los Angeles; Tanya Bonakdar Gallery, New York; and The Stone, New York, among others. His recorded sound works have been published by Crónica, Porto; Dronarivm, Moscow; Farmacia901, Berlin; Hibernate, Leeds; Home Normal, London; LINE Imprint, Los Angeles; Tigerbeat6, Los Angeles; and Touch, London, among others.

As a curator, Novak focuses on creating opportunities for artists and audiences to build communities that otherwise might not exist. This began in 2005 when he re-launched his father’s imprint Dragon’s Eye Recordings with a new focus on limited edition releases by emerging and mid-career sound artists, composers, and producers. Since its re-launch, Dragon’s Eye Recordings has published over 70 editions and has received critical acclaim internationally. In 2013, he became a member of VOLUME, a curatorial collective dedicated to presenting time-based work by emerging and established artists engaged in sound-based practices through performances, concerts, exhibitions, screenings, workshops, and publications.

Novak has participated in numerous artists residencies including the The Jental Artist Residency, Sharidan, Wyoming; The Mountain School of Arts, Los Angeles; The Taliesin Artist Residency, Spring Green, Wisconsin; and The Touch Mentorship Programme, London, among others.

In recent years, Novak has collaborated through select installations, performances and recorded works with Johanna Breiding, Rebecca Bruno, Richard Chartier, Robert Crouch, Rafa Esparza, Taisha Paggett, Fabio Perletta, and Alex Schweder, among others.


Aloïs Yang, born in 1986 Dax, France, raised in Taiwan, now based in Prague, is a media artist, interaction designer and experimental musician who produces work that explores the relation and interaction between people, sound, and the external world. His work is influenced both by scientific reference and human imperfection of understanding the nature. 

He overcomes the separation of art forms and genres with an integrated creative approach. He uses a wide range of media, from interactive installation to speculative design prototype and live audiovisual performance.

Interaction in Yang’s work takes place not just in objective reality, but also inside of intimate experience and imaginative projection. These includes traveling among such varied subjects as brain function, facial expression, micro/macro realities, virtual time-space, starlight, apocalypse, and the beginning of the Universe.


My work investigates the perception of time and space on both “outer” physical world and “inner” metaphysical levels of awareness – as a manifestation of how we contextualise the overlapping realities in between body and mind, objective explanation and subjective projection, analogue and digital, certainty and unknown.

I aim to engage viewer’s sensation and comprehension to the given moment of reality, portrayed by experiential phenomena and existential ideas – as an invitation to an incomplete journey waiting to be explored by active, participatory, intimate interactions that incorporate individual’s consciousness as the piece itself.

I am interested in the crossing line between the general explanation/application provided by science and technology, and how we actually grasp and make use of it on personal perspective. By combining conclusive theory and hard scientific data with integrated technological approaches, I aim to reveal the information in tangible and playable art forms, which create open spaces for imagination, speculation, and self-reflection.

I use sound as the primary material of my work, also as the communicational medium that is inter-connected with data of context, visual, lighting, and human interaction. Through various sensor and real time computations, viewer’s involvement is always at the centre of the piece, where unique and unrepeatable contents are generated – as an organic sonic environment that evolves through time.


Distintas variaciones del ruido y el silencio, y el espacio que queda entre esos dos estados, aquella fracción de sonido que acontece justo en el momento inmediatamente siguiente a la inmovilidad. En el caso de estos dos artistas sonoros la investigación realizada para descubrir la esencia de la música radica en un punto donde el movimiento que esta genera desde una distancia relativamente considerable parece solo una quietud imperturbable. Es en la proximidad donde se percibe el desarrollo de planos auditivos, partículas que se desplazan a con una pasmosa tranquilidad que lentamente van formando secuencias de estruendo subliminal, capas de notas digitales con pequeños fragmentos de luz incrustados en la panorámica aural. Tanto Yann Novak como Fabio Perletta han creado una obra que se extiende a partir de esas formas, largas piezas donde la estabilidad se sobrepone a la actividad. Yann Novak, artista multidisciplinario que a través del uso de sonido, luz y espacio explora cómo estos materiales intangibles pueden actuar como un catalizador para enfocarnos en nuestra conciencia sobre el momento presente y alterar nuestra percepción del tiempo. Fabio Perletta, artista sonoro y multimedia, cuyo trabajo incluye música electrónica e instalaciones de luz y sonido, trabajo que a través de la utilización de computador, generadores de sonido digital y software personalizado explora las intersecciones entre diferentes y a la vez complementarias áreas como física, psicología y percepción humana.

Existiendo una relación que hasta ahora no había sido posible extender hasta campos sonoros, ahora finalmente es posible escuchar una composición donde ambos se desenvuelven en espacios similares. Además, esta misma temporada que ya llega a su término, los dos han entregado impecables obras de ruido minimalista. Por una parte Yann Novak presentó “Snowfall” (Dragon’s Eye, 2010) [301], dentro del relanzamiento del sello. “No es fácil describir el estado material en que se encuentran sus partículas de audio, pues pareciera que existe una tensión permanente oculta bajo un manto de mutismo. Como en sus otros trabajos, existe una linealidad, pero una linealidad que es solo aparente, pues bajo esa movilidad estática se suceden cambios imperceptibles, difíciles de apreciar… Una capa de electricidad tenue permanece durante un período largo, esa electrónica tan propia de Novak que parece más fibras de luz que tiende una red de energía brillante inapreciable. Esa red sufre distintas variaciones de intensidad durante el tiempo por el que se prolonga este trabajo, como diferentes tonalidades de un mismo color, una paleta expresada en hertz cuya altura se mueve en patrones reducidos”. Por su parte Fabio Perletta presentó “Interstitial Spaces” (Farmacia901, 2014) [310], un trabajo donde “el movimiento relativo de su obra anterior se vuelve estabilidad en su siguiente paso. “Interstitial Spaces” supone una estridencia oculta bajo una densa nube de electricidad, un extenso trabajo donde el desplazamiento de partículas adquiere formas intangibles y donde cada uno de los postulados que dirigen Farmacia901 cobran especial significado… Ciencia como música, música como ciencia. El eco del vacío reduce las notas a un esencialismo diáfano, una obra especialmente intensa dentro de su inmovilidad… La limpieza del sonido contrasta con la oscuridad latente, oculta bajo su aspecto impasible, una amplia materia obscura reflectante que más tarde abandonará para derivar en un brillo de suave incandescencia”. Planteado solo como una publicación digital y de edición ilimitada, “Liminality” aparece conjuntamente en las plataformas dirigidas cuidadosamente por estos dos artistas. Una extensa pieza de electrónica microscópica y eventos ínfimos, un desarrollo pausado de ritmos ocultos y armonías imperceptibles. La música de Novak + Perletta reside en un nivel del sonido en que las fracciones que lo componen permanecen en un estado casi incorpóreo. No obstante, es posible distinguir con una gran claridad cómo esas mismas fracciones se despliegan sobre un suelo de estática blanca, cómo se dispersan en una superficie de formas sintéticas. “‘Liminality’ es la primera colaboración entre Yann Novak y Fabio Perletta y es publicada conjuntamente por Dragon’s Eye y Farmacia901. En ‘Liminality’ los artistas exploran diferentes estados de ambigüedad que ocurren en la etapa intermedia del proceso compositivo, antes que su estructura llegue a fructificar. La pieza habita en el umbral entre el descubrimiento sonoro y la composición realizada completamente. ‘Liminality’ explora una paleta similar de sonidos, siempre a punto de convertirse en algo más, pero nunca materializado por completo. ‘Liminality’ contiene grabaciones recolectadas por Fabio Perletta en el Cementerio Père Lachaise, París, el 19 de abril de 2013”. Cuarenta y cuatro minutos, cuarenta y ocho segundos, un plano de electricidad prolongado donde los cambios ocurren de manera sigilosa. Desde el silencio comienza a formarse esta composición estacional, desde la inactividad surgen las primeras notas intangibles las cuales se quedan en un mismo punto, estirando su efecto hasta un limite indefinido. Y en ese lugar de la composición van cayendo sonidos, trozos de él, los mismos aparentemente recogidos por Fabio que se intercalan como pequeñas piedras sobre la nieve, generando una capa densa de ruido. Y así, de pronto, lo que antes era quietud deja de serlo, aunque no de forma explícita sino que más tácita. Un mar de sonidos abrasivos y de aspecto rugoso que se dilata por varios segundos hasta que un brillo refulgurante limpie la superficie convirtiendo todo en luz blanca, una fosforescencia que igualmente terminará por cubrirse de objetos de sonido, cuerpos infinitesimales que se filtran por los intersticios que quedan en la linealidad sonora. “Liminality”, los escombros que quedan, son una materia extraña de formas diferentes que se ocultan en la corriente de notas inmutables, una textura azul pálido.

Liminalidad proviene del latín līmen, que significa amalgama o bien membrana, concepto que se caracteriza por la ambigüedad, la apertura y la indeterminación, una fase intermedia que influye en el sentido de identidad del objeto que aborda. El primer encuentro entre los músicos de Los Ángeles y Roseto degli Abruzzi produce un trabajo momentáneo de sonidos que se descubren detrás de una apariencia vacía. Yann Novak y Fabio Perletta dan forma a una composición llena de detalles minúsculos que se interponen en las notas horizontales, como en la fotografía del propio Novak. “Liminality” es acústica fragmentada dentro de la luminosidad confusa e indefinida.



Sound is a poetic way of cosmology, a direct sign of an implicated order. Embracing that without forgetting the random and ephemeral nature of sound, Novak and Perletta find a shared world; or more than a world, a state; more than shared, diverse, surprising. The piece is an open space, an experiment of transition and interaction between gentle tonal clouds, cautious drones and hi-frequency sparks of micro-activity, often located on the verge of extinction, but so present that get to a point where the listener not only meets with a certain atmosphere, but also is incited to complete continue it and get immersed in a sea that takes perception out of itself, thus offering infinite structures appear in just seconds, concluding a composition that is perhaps not for being, nor inhabitating, but for remaining suspended in a middle state, liminality; such a genuine and intense meditation into the finest states of listening.



Ambient music is commonly thought of as a transcendent, general phenomenon, making US artist Yann Novak’s use of field recordings as ambient drones, rather than behind or beside them, an intriguing innovation. This time, however, the field recordings come courtesy of Novak’s collaborator, Fabio Perletta, who captured them at Père Lachaise cemetery in Paris. My guess is that it was quite a windy day, as there seems to be a distinctly wind-sculpted sonic topology to their work “Liminality”, one that roves around the audible spectrum before ending the piece rumbling around in subterranean depths. It is wind stripped of almost all its substance as wind, with only a contour remaining; yet the connection, once heard, is hard to unhear.

A sense of place thus permeates what is otherwise quite a straightforward ambient composition, an indexical link to the specific and the material that counterbalances the slow warm chords’ tendency towards a state of timeless everywhere- and nowhere-ness. It’s very difficult to distinguish the separate contributions made by the two musicians, but perhaps some of the timbres are a little rougher than Perletta would normally use, while some very high-pitched whistles and clicks seem characteristically his. There’s perhaps the tiniest impression of back-and-forth, of workings-out and changes in direction — traces of the material’s production; yet regardless of such details, “Liminality” presents itself in an immediate and self-sufficient fashion, in line with the traditions of the genre.

You’ve heard it all before, perhaps, but this matters little: such music proceeds by way of affects rather than novelties, and “Liminality” is nothing if not affective. By allowing the shapes of Perletta’s field recordings to sculpt the work, however, the two artists have created a distinctive and memorable take on ambient without losing the sense of absorption and suspension of time that make listening such a zoned-out, transportative pleasure. The balance between smoothness and substance here turns out just right: this is a fine work from two accomplished and compelling artists.