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8.8 was the magnitude on the Seismological Moment Magnitude Scale of the earthquake and subsequent tsunami, known as 27F, which occurred in 2010 at 3:34:08 AM, being perceived, from Valparaíso in the north to Araucanía in the south, by a 80% of the country's population, in addition to locations in Argentina and Peru. The US Geological Survey estimates that the epicenter of the earthquake was three kilometers offshore from the coast of Pelluhue (Maule Region), six kilometers from the village of Chovellén, while the National Seismological Center estimates it thirty-four kilometers from the coast of the Ñuble Province (Biobío Region). Five hundred and twenty-five people lost their lives and fourteen were reported missing.

This is roughly the background of 8.8, the “transmedial art project” (video, sculpture, graphics, installation, technology, sound / music) produced between 2016 and 2017 by the Minimal Technology collective (Pablo Castro, Marcos Correa, Christian Soto, formed in the period 1990 - 1992), consisting of three "locations interconnected via the internet", in the Metropolitan Gallery, the National Museum of Fine Arts and the Cerrillos National Center for Contemporary Art, which is where all this is defines and ramifies all this between August and September 2017, while in October they inaugurated in Galmet and in December they released the album that ultimately meant the closure of this stage of 8.8, during a residency ("creative laboratory") of the collective, in where the production of 8.8 as a whole was devised, articulated around the notion of the earthquake as a massive fracture of LCD screens, a kind of land art "natural force" that provides a blow to the chin to our social order, expressed in an axis earthquake - broken screen,exposing ourselves as a landscape rather than a country (Nicanor Parra), articulated expositively in the context of the 13th Biennial of Media Arts (October-December 2017).

In terms of style, we can perceive several constants present in his previous discography, that is, an approach, let's say situated between sound art and experimental electronics, unprejudiced, in terms of sound and the manipulation of sound material already found in electronic music in yes, playing between site-specific and field recording, in a kind of minimalism, yes, at times almost ambient but with more or less rhythmic passages shuffled in between, a sound art ... "conceptual", no doubt, but with everyday elements -found / sampled / processed / decomposed folklore that dislodge and challenge a binary orthodox gaze. Produced in an edition of three hundred copies financed through a regional FONDART.” - Minimal Records

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