Introductory Text
by
José Iges
The last
program of IberWave includes fragments of collective works made in
different electronic communication networks, and a selection of works
representing electroacoustic and audiovisual poetics having radio
as a reference.
QUADRA V.3 is a project of Centro Experimental Oído Salvaje
("Wild Ear") which combined sound improvisation with exploration in web
connection of low-tech devices. Using Skype as a link, QUADRA V.3
developed on January 19, 2013 an improvised cycle. The tools used were
multiple: recording field, electroacoustic, processed mic, reactable,
algorithmic programming, etc.
QUADRA V.3 had as participants Janete El Haouli and José Augusto
Mannis from Sao Paulo (Brazil), Jorge Haro from Buenos Aires
(Argentina) and Lucho Pelucho Enriquez in Loja, with Fabiano Kueva as
producer.
The mexican composers Victor Manuel Rivas-Dávalos and Rodrigo
Sigal are more influenced by electroacoustic aesthetics;
Rivas-Dávalos describes his "Interminable espiral del abandono"
("Endless spiral of abandonment"), awarded in 2000 in the Biennial of
Radio of Mexico, as a "dark soundscape of a small apartment. Depressive
sounds intermittently emitting a loneliness that is diluted."
Sigal, who's director of Mexican Center for Music and Sonic Arts
(CMMAS), has based his "Boredom of familiarity" on a few phrases
written by Luigi Russolo on “The art of noise” and some of
Russolo’s sounds provided by Studio Forum.
The Brazilian artist and radio producer Lilian Zaremba is author of
works in which different aspects of language and radio broadcasting are
associated with sound and video art. in this convergence we find
recent experiences as the three short plays that here we have chosen:
Oculus Radio, Radio rasgo de luz and Saroldi.
"Concert Sounds in Cause", was based in a series of field
recordings made by Orchestra del Caos in different natural spaces in
Iberoamerica, subject to irreversible changes in the short and medium
term due to economic growth. A live telematic improvisation between
artists from five cities took place in 2011. They used Latin
America-Europe Cultural Ring (Anilla Cultural
Latinoamérica-Europa) to connect Argentina (Córdoba),
Chile (Santiago), Colombia (Medellín), Brazil (Sao Paulo) and
Spain (Barcelona). The name of the work is "Apeiron".
1. Several Authors, AR/BR/ECU:
Quadra V3
2013, 12'50"
QUADRA is a project of Centro Experimental Oído Salvaje ("Wild
Ear") which combines sound improvisation with exploration in web
connection of low-tech devices. This version was presented as a
quadraphonic concert in "Sonoridades Contemporáneas", curated by
Experimental Centre Oído Salvaje for the II Biennial of
Musical Arts of Loja (Ecuador) on January 19, 2013 in the Auditorium of
the Centro Cultural Municipal Alfredo Mora Reyes.
QUADRA V.3 had as participants Janete El Haouli and José Augusto
Mannis from Sao Paulo (Brazil), Jorge Haro from Buenos Aires
(Argentina) and Lucho Pelucho Enriquez in Loja, with Fabiano Kueva as
producer.
Using Skype as a link, QUADRA V.3 developed an improvised cycle of 4
sound moments. The tools used were multiple: recording field,
electroacoustic, processed mic, reactable, algorithmic programming,
etc. The result is a collective piece which from various latitudes
translates encouragement, ways of listening exercises, pushes SKYPE
support to its limits and amplifies a dialogue that moves from the
performance to the radio broadcast.
2. Victor M. Rivas Dávalos (MX):
Interminable espiral del abandono
(Endless spiral of abandonment)
8'20"
Dark soundscape of a small apartment. Depressive sounds intermittently emitting a loneliness that is diluted.
3. Rodrigo Sigal (MX):
Boredom of familiarity
2004, 11'
This work is dedicated to my friend Felipe Caramelos.
Noise exists. It rules our world. We should try to make peace with it.
Our minds are powerful enough to dissect noise and place it in a
logical order in time attaching meaning and coherence. Noise is
bigger than any sound.
This is a sound piece created for the “5 minutes pour
anéantir le silence” by Studio Forum in France. The work
is based on a few phrases written by Luigi Russolo on “The art of
noise” and some of Russolo’s sounds provided by Studio
Forum.
4. Lilian Zaremba (BR):
Three short pieces
2010-2013, 5'
a.) oculus radio (2012-2013)
luminiferous ether
one of the first names for that radiant electromagnetic matter born to
the lineage of Victorian physics – where light meets sound in the
guise of a message.
this radiant radius requires a new eye – occulus radio – or
radio-glaze, as Vertov would have it, in calling upon eve- ryone to
exercise this “radio-ear” for it signifies the mise en
scéne of “I listen!”.
Listening to this luminous message through the electro- magnetism of
galena crystal, it should be possible to tune back in to the voice of
Thomas Alva Edison recording “Mary had a little lamb” on
his gramophone.
In the end, seeing sounds received by stones will come as no
surprise... as Gertrude S. might have said: radio is a radio is a radio
is a radio....
b.) radio cleft of light (2010)
one of the earliest concepts of the word ‘radio’ derives
from light, something to be glimpsed and quantified – from the
latin meaning“radius”,which stems from
“radiare” (meaning to emit in the form of rays or to
radiate). In streams of ether, light and sound burn lamps and send
disembodied messages. A simulated radio echo, like faces made out in
mountains or clouds. Speech moves within this territory
previously-described as “a non-locatable and mysterious point in
which listener and radio have become indistinguishable”. Like the
shadow which is and is not its own object, the projection of a volume
without a closed content reveals another nature,
it exists precisely within this acoustic shadow, a topography in which
an aleph of convergences installs itself, opening up the spectrum to a
perception of this illuminated cleft of radio – between the
murmuring voice and its reverberation, an echo of cicadas intoning the
end of light and its evanescent heat... in the occultation of a
mechanism for recording and reproduction transformed into a specter of
light, obsolete valves or incandescent candles, a sound simulacrum in
the vision of this narrative: sound establishes itself only when its
waves are displaced by the wind - there,
where listening is made possible... a solar echo, a radio mirage.
c.) Ressonâncias Saroldi (2010)
The idea is starting from the perception of sound identity that a voice
or expression of this voice can offer, innovating and contaminating the
repertoire for several people. So, the program highlights the voice of
Saroldi and also other voices and its expressions features that entered
the national hearing culture, so to speak.
So, this resonance is the voice but is mainly of speech.
Presented at the Congress of Intercom (Communication Sciences) in
Recife, 2010, later broadcast in my series of programs Radio Escura
(Dark Radio) MEC-FM.
Artist Statement:
At the time of the years 90,
already working in radio for a long time, (about 25 years) beginning to
imagine that there could be only one routine: to write a script, to
record the locution, to put music and go to broadcast.
I decided to return to study.
I enrolled in the master's
course at the Federal University of Rio de Janeiro with the proposal to
analyse comparatively the radio production of Orson Welles and the
Glenn Gould radio. They looked like two opposite forms – and even
radicals- to make radio ... and radioart. After three years studying,
reading, listening, watching, it seemed that both the production held
by Welles and Gould were pure form of art.
And why?
Because I travel.
Can I indicate elements in this
analysis, show how much the scripts, voiceovers, time, and everything
on the radio Welles is rich, but also on the radio Gould. But in the
end what counts the same, I think, is this ability to launch you to
another planet, move the listener. It does matter if it's Mars or the
icy lands of Northern Canada.
Radio art is a form of open listening to the entire body and thought ... just a tool to remind that every ear is creative.
5. Several Authors, AR/ES/POR/BR/COL/CU: Apeiron (frg.)
2011, 12'
Concert Sounds in Cause.
Apeiron Laptop Ensemble (ES, BR, AR, COL, CU)
Lina Bautista, Esteban Bruson, Beatriz Carrillo, Suka Marli (s), Jan
Mech, Aulizio NET, Jordi Salvadó (s), Renato Souza, Nuno Rebelo
and Maria José Nieto.
Live telematic improvisation between artists from five cities in
connection with Latin America-Europe Cultural Ring (Anilla Cultural
Latinoamérica-Europa). In Cordoba (Argentina),: Gonzalo
Biffarella, Gustavo Alcaraz and July Catalano. In Santiago de Chile:
Santiago Astaburuaga, Nicolas Carrasco, Sebastian Jatz and
Álvaro Ortega. In Medellín (Colombia): José
Gallardo, Miguel Vargas and Manuela Vargas. In Sao Paulo (Brazil), to
determine.
In Barcelona: Apeiron Laptop Ensemble with José Manuel Berenguer.
Link:
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