“Si intento recordar un acontecimiento, me acordaré más probablemente de la imagen que del sonido. Pero si oigo una grabación de algo ocurrido en el pasado, mi memoria se pondrá en funcionamiento. El sonido es un desencadenante perfecto para la memoria.”—Christian Marclay en conversación con Michael Snow
“Intentar representar visualmente el sonido o la música, que por naturaleza son inmateriales o invisibles, es siempre una forma de fracaso, porque la visualización excluye lo audible. Una representación silenciosa del sonido, en pintura o en escultura, me intriga porque su mutismo subraya la naturaleza intangible del sonido. La imagen se convierte entonces en una representación de una ausencia.”—Christian Marclay
“Well, the voice, yes: gramophone. Have a gramophone in every grave or keep it in the house. After dinner on a Sunday. Put on poor old greatgrandfather Kraahraark! Hellohellohello amawfullyglad kraark awfullygladaseeragain hellohello amarawfkopthsth.”—James Joyce, «Ulysses»
Siempre es un buen momento para reivindicar a Esplendor Geométrico y su extenso legado. Para tal fin recuperamos un interesante documento sonoro encuadrado dentro del programa especial Avant (monográficos sobre el Avant-Garde español), producidos por Radio Web Macba, donde realizan un preciso y…
«La escucha nunca es natural. Requiere y genera alfabetización.» Ultra-red
El trabajo del colectivo de activismo sonoro de Los Ángeles Ultra-red desde los años 90 del siglo pasado se había regido por un acercamiento al trabajo sonoro como una práctica espacial, potencialmente capaz de…
En este programa, nos acercamos a
«Augmented Spatiality», un proyecto
expositivo sobre espacio público, espacialidad y arte sonoro
comisariado por María Andueza entre los
pasados días 31 de agosto y 5 de septiembre en el barrio de
Tras unas intensas semanas de escucha y contactos con la escena experimental y ruidista Libanesa, Teslaradio ha preparado una mixtape con grabaciones propias y de otros artistas/activistas de esos territorios.
The listening section is created by aggregation. It is intended to address the contextual sound creation linked to urban issues, social space and as well to political questions related to the listening. This process aims at visualizing some of the networks and the different approaches operating when working this broad topic.
The community working in this field has built/curated this section as a collaborative process. To activate it some artists were invited to start simultaneously different columns for which they contribute a piece, and invite the following artist repeating the same step till reaching a fifth contributor.
Acoustic Mirror / Anna Raimondo / Edu Comelles / Pablo Sanz / Younes Baba-Ali / Juanjo Palacios / Albert Murillo / Katrinem / Mustapha Akrim / Simohammed Fettaka / Chinowski Garachana / O+A / Peter Cusac /
Raúl Hinojosa / Mohamed Laouli / Camilo Cantor /
/////// Brief explanation of all the pieces ///////
Madrid #GlobalNoise #13O
«Madrid #GlobalNoise #13O» is a composition based on field recordings taken on October 13th 2012 in Madrid, Spain, during the «GlobalNoise» global call. For the city of Madrid this represented the, up to now, most massive act of occupying public space through noise.
The piece is based on recordings gathered during the creation process of Transient Lapse, a site-specific sound installation in public space realized in collaboration with Juan Cantizzani for a pedestrian and bicycle tunnel in Den Haag in 2012. Assembled for Augmented Spatiality in August 2013.
go your gait! part21
The liveliness of a city is reflected in the activities of its inhabitants: how, when and where they move around in it. Walking is the most individual form of locomotion in terms of its direction and speed. Sidewalks, pedestrian areas, traffic-free roads and squares are the public spaces most preferred by those navigating a city on foot, marking its pavement and paths with the pulses of their steps.
The format path_of_awareness explores the personal experience of space while walking, especially the effective context of the built environment and a sound event (step) within. For path_of_awareness_braunschweig, I was using the Allgemeinen Konsumverein in Braunschweig as starting point and chose a route offering a wide variety of opportunities to engage with walking itself, characteristics of footwear, navigating cities on foot, and also with architectural and atmospheric space.
Rotterdam (Erasmusbridge june 2001)
O+A (Bruce Odland and Sam Auinger) are using a special resonating tube for their sound installations. The “tuning tube” is placed at a selected spot within the urban sound environment and responds to the surrounding sonic input by creating an overtone series through sympathetic resonance. Harmonic intervals are emphasized while background noise is suppressed. Despite their musical transformation, distinctive sounds and noises characteristic of the urban environment remain recognisable - emergency vehicle sirens, the deep throb of trucks, dogs barking and human voices - all retain their unmistakable character.
Symphony of Groans, Abandonned Ferris Wheel, Spreepark, Berlin
Spree Park, the abandoned fun fair of former East Berlin is derelict and overgrown. It is a spooky and intriguing place where decaying dinosaurs and giant swans eye you through the undergrowth. In stormy weather the magnificent and colourful big wheel still turns. How is not clear, but it seems that a strong wind is enough. The machinery is not in good repair and the rotation creates an amazing ever-evolving symphony of metallic groans and squeals. It is one of Berlin’s most extraordinary sounds.
Anna Raimondo (*)
The piece questions and re-imagines the relationship between private and public, looking for intermediate acoustic spaces. What happens when the surfaces of liminal spaces such as doors and windows become invisible, converting into sound?
Once recorded Sporobole art center’s doors and windows (fissures, hinges, surfaces) with different microphones and techniques to capture a combination of both recognizable and abstracts sounds, those sounds have been composed alongside the use of silence, working on the idea of the limen as the limit of the difference between private and public and silence as acoustic space in which the concepts of private and public inhabit simultaneously.
Tout le monde s’appelle Mohamed
Imagine a sound that can not only be issued, but audible to the listener and make the physical and react instinctively. Imagine a form of direct interaction is done through sound. This is the premise of this piece where the street, a voice calls in calling such Mohamed, an exclamation désigant any male person that we do not know the identity. A clear and brutal arrest which completes the handicaps of the radio medium where one can imagine the feedback from the listener.
The revolution of Sunday (2009)
The Sunday Revolution is a sound creation which mixes a recording of the call to prayer with a call for change, in the wake of the Arab Spring. As the neffar blows on an instrument, he calls the faithful men to gather. Folk music is heard, a man in the crowd calls for change, it’s a call to condemn corruption. The music starts up again, in the background this same man cries out his dissatisfaction, to which the men and women applaud. The feeling of dissatisfaction is unanimous; but change can only be initiated by the individual. One always responds to a call to come together in the spirit of gregarity.
Change is a sound intervention inspired directly by the informal market exchange as a virus that links itself to the public space. In this work Mohamed Laouli has created a rhythmic dimension where two sounds (one of money and the other one of a broken voice that keeps repeating the word «sarf / change») are juxtaposed as echoes until they reach their climax. This sound piece is part of an experimental approach by the artist who observes the relationship of the individual in relation to the profit. In a context where speculation and fraud are common, the artist looks critically at the pseudo-organization that is the financial system, its feverishness and arbitrariness.
Mustapha Akrim + soon
The 3rd of June 2006 a convoy of Valencia’s subway network crashed at the entrance of Jesús Station killing 43 people and causing 47 injured. A public investigation flooded by contradictions and corruption was held by local government resulting in a oficial statement that said that the causing of the accident was a human error by the convoy driver who died on the accident. The Victim’s Families have been struggling for 7 years to uncover the truth, point out political responsibilities and present to the public the evident manipulation of the official investigation.
Every 3rd of the month, the families of the victims gather in Valencia’s main square (Plaza de la Virgen) to expose their claims, public opinion since then has been silent about this issue. After 7 years, a TV program called “Salvados” exposed the case on prime time and raised awareness on this case bringing lots of people to support the Victim’s Families on the 3rd of June 2013. This recording gathers the silence kept at Plaza de la Virgen the 3rd of June 2013, a silent homage to those who perished 7 years ago because of political abandonment of public transportation infrastructures.
The noise of lawn mowers could soon be replaced by the bleating of a few sheep. In April 2013, four copies of Ouessant sheep took up residence in Paris File exterior n the 19th district, where mow and fertilize the ground. The project is an experiment to test more sustainable ways of maintaining the public spaces of the city, reducing the use of mechanical devices, which are noisy and consume fuel and plant protection products.
Acoustic mordor / atravesando el tunel de la Alcazaba
In May of 2012 was held in Spain a general strike defending Public Education against the cuts. In Malaga, the concentration overflowed and became a demonstration of more than 5000 people that walked the streets of the city and went through the tunnel of the Alcazaba.
A cinco - los sonidos invisibles de la ciudad
Music is everywhere; you just have to have the ears to hear it (John Cage). The city is full of horns, traffic and screams noises… these sounds are our everyday landscape but… Have we ever asked about the invisible sounds broadcasted by the electromagnetic waves of the devices we are surrounded by? This is an experiment and soundwalk made as a mixture of sounds recorded in the city of Medellín (Colombia). Some of them are daily experiences of the city, others arise from the recording of the electromagnetical waves of the space.
* The column started by Edu Comelles has branched, besides the previous participants, the following branch also emerged from Edu Comelles.
This sound was captured with contact microphone this summer. Is in a slide of a park in Amsterdam, with children running up and down.
Mari, que te quiero!
The piece documents a scene of Barcelona’s Gothic Quarter where I used to live. While some neighbors were celebrating a party, Ruben was arrested by hitting to Mari. During this process a neighbor tries to smoothe Ruben that screams again and again, desperately, that he loves Mari. Meanwhile, the music of the party played in the background. This is a soundscape that witness the reality of the neighborhood.
(*) This piece by Anna Raimondo is an excerpt of the work the artist has been doing in the Sporobole art residency (Shorebrooke, Ca) for the project Vitrine Sonore curated by Philippe-Aubert Gauthier. Has been created With the support of the project DE.MO./MOVIN’UP I sessione 2013. Con il sostegno del progetto DE.MO./MOVIN’UP I sessione 2013. MOVIN’UP I sessione 2013. A cura di/by MINISTERO PER I BENI E LE ATTIVITA CULTURALI Direzione Generale per il paesaggio, le belle arti, l’architettura e l’arte contemporanee . Direzione Generale per lo spettacolo dal vivo E/AND GAI - Associazione per il Circuito dei Giovani Artisti Italiani
«Pentálogo a modo de primera conclusión del taller DONOSTIA NOISE organizado por AUDIOLAB y celebrado en Arteleku durante esta semana.
El ruido siempre es ajeno
Siempre percibimos el ruido en los demás. El ruido de cada uno no existe. Nadie se considera a sí mismo ruidoso.
El pasado no fue más silencioso
Cada época tiene o tuvo su ruido. El ruido es principalmente un fenómeno cultural.
El 100% de los Donostiarras sufren el ruido.
Aunque las estadísticas oficiales ofrecen datos que oscilan entre 28% y 61%, y la exposición al ruido de cada ciudadano/a es diferente, el ruido es omnidireccional. Nadie puede escapar del ruido.
El ruido genera dinero
El ruido esta estrechamente relacionado con los interés económicos. A no ser que existan denuncias específicas, los mapas de ruido no contemplan en muchos casos espacios de ocio.
El ruido es sagrado
El significado de esta definición planteada en su momento por la corriente de pensamiento de la ecología acústica para definir aquellos sonidos que escapan de la escala humana (truenos, tormentas, mar…) cambia constantemente, dependiendo de cada realidad socio-cultural. Cada sociedad sacraliza sus ruidos, y los convierte en intocables.»
«A project by Anna Raimondo realized in residency program at Sporobole art center for “Vitrine Sonore”, curated by Philippe-Autier Gauthier, Agoust 2013, Shorebrooke (CA).
Recordings: Younes Baba-Ali and Anna Raimondo
“In Between” questions and re-imagines the relationship between private and public, looking for intermediate acoustic spaces.
What happens when the surfaces of liminal spaces such as doors and windows become invisible, converting into sound?
Once recorded Sporobole art center’s doors and windows (fissures, hinges, surfaces) with different microphones and techniques to capture a combination of both recognizable and abstracts sounds, those sounds have been composed alongside the use of silence, working on the idea of the limen as the limit of the difference between private and public and silence as acoustic space in which the concepts of private and public inhabit simultaneously.»