Sound Installation

La ressemblance par contact de Georges Didi-Huberman entreprend une archéologie de l’empreinte comme geste fondateur de l’image et comme paradigme de la forme en art. On envisage à notre tour une pratique du sonore comme naissant elle aussi du processus et des procédures de l’empreinte. L’analyse des techniques de captation et d’enregistrement révèle ce qui survit de cette pratique archaïque dans les dispositifs des arts audio, et pose les bases d’un questionnement du sonore électronique et numérique comme art de l’image. Cet article fut rédigé au début de la recherche doctorale de l'auteure et il pose ainsi, bien qu'encore imparfaitement, une des intuitions fortes de sa thèse soutenue en février 2017 et intitulée : Le son plastique : empreindre le flux et l'inouï. Sonification et audification dans les pratiques installatives (2017).

Este trabajo propone un recorrido que me permita profundizar en lo que es la sonificación. ¿Quién, cómo y porqué? Los científicos usan la sonificación ya que en algunos casos el sonido es muy útil en la exploración de datos. También lo hacen artistas plásticos, artistas sonoros, músicos o compositores, con herramientas distintas y con propósitos distintos. En una segunda parte del recorrido, realizaré una serie de ejercicios de sonificación, con el fin de poner en práctica algunas de las ideas encontradas, para aprender haciendo más que aprender mirando (o escuchando en este caso).

An essay that overviews the installation works of Ryuichi Sakamoto, focusing on the concept of installing music in an exhibition space. It is written for a catalogue published on an occasion of the exhibition "Ryuichi Sakamoto: seeing sound, hearing time" at MWOODS Museum in Beijing (15 March - 8 August 2021).

Voice technology has reached a level where it is possible to create credible speech synthesis, close to human characteristics. It is now possible to implement any vocal identity into an artificial voice, a technique also known as vocal cloning. New companies are offering to create someone’s own vocal clone, bringing this technology accessible to individuals. Two examples of vocal clone services were studied in this work. It was noticed that the resulting clones, are unfortunately not capable of reproducing the original timbre of the voice. However, the research community produces speech synthesis that can credibly reproduce a specific vocal signature. For this work, I had my own voice cloned at IRCAM. Can a vocal clone give a glimpse of our identity ? By presenting THE VOICE IS VOICES, a sound installation about vocal cloning, we try to make the audience doubt its ability to discern a « real voice » from its artificial twin.

Theorists and musicologists have asked what particular musical works mean, what particular musical objects represent, what they narrate or disclose, and how those meanings got there. Recently, some thinkers have jettisoned music-language parallels in favor of investigating music’s ineffability, its sensuous effects, and the materialities of its performances. However, both routes of inquiry, whether sympathetic to the music-language analogy or not, rest on assumptions about the concept of meaning itself. Both typically ground the music-language analogy in the semantic aspects of language meaning—how language repressents, refers to, or discloses the world. If meaning and semantic representation are conflated, music’s efficacy—which exceeds its representational modalities—becomes, dissatisfyingly, the other of its meanings.

This project challenges the status of representation in conceptions of the music-language analogy, developing an alternative foundation for understanding musical meaning from philosopher J. L. Austin’s concept of “performative utterances.” Austin and other thinkers in a tradition now called “ordinary language philosophy” rejected the view that language meaning is chiefly a matter of how it represents states of affairs or states of mind—its constative dimension. The performative dimension of language, however, names the ways words and sentences are used to accomplish semiotic actions and produce effects. This concept grounds language meaning in the efficacy of language use in social praxis. In Chapter 1, I develop an analogous theory of musical meaning, grounded in the semiotic actions and effects produced by music as utterance. Music is often said to be, if anything, expressive; but expression—strictly speaking, the mapping of inner content to outer signifying form—is a weak conceptual basis for what we think of when describe music as expressive. Instead, conceiving of music’s meaningfulness in terms of its efficacy as sonic utterance supplies the condition of possibility for musical expression, reference, and disclosure while also eliminating the false dichotomy between music’s meanings and its effects.

In Chapters 2 through 4, drawing on fieldwork at European festivals of new music including the Darmstadt Summer Courses and Donaueschinger Musiktage, I explore works by four living composers and sound artists: Michael Beil, Peter Ablinger, Stefan Prins, and Ashley Fure. These works exemplify what I call an aesthetics of efficacy, and their meanings centrally involve the performance of communicative actions such as: the incitement of particular modes of listening, the construction of narrative identities, and the enactment of changed attitudes through musical sound and story. For instance, Ashley Fure’s The Force of Things: An Opera for Objects (2016) is a musical engagement with the problems of the Anthropocene. Through the lens of performative utterance, I characterize it as an ecocritical intervention. Fure’s work creates an abstract narrative that seeks to bring out a sense of the vibrancy and animacy of the non-human objects that star in the piece: vibrating speaker cones, percussion instruments, and elements of the mise-en-scène. Fure aims to incite listeners to leave the concert space with stronger senses of empathy and productive anxiety towards the vibrational events of the Anthropocene, including fracking-induced earthquakes or the calving of glaciers into warming oceans. The encouragement of empathies and incitement of anxieties towards the planetary ecosystem are highly salient aspects of the piece’s meaning, and these are, fundamentally, semiotic actions performed by musical sound.

To fully probe performative utterance and understand its value for musical study, we must expand beyond the study of art music to investigate music in contemporary social life. Like scholars who have used Austin’s work to investigate the injurious efficacy of hate speech, I turn to examine the ethico-political stakes of the performative utterance concept, theorizing music’s potential to become injurious utterance. In Chapter 5, I critique tendencies to frame discussions concerning music as violence in materialist terms, and expose some shortcomings of this materialist, vibrational model. In Chapter 6, I conduct an observational cyber-ethnography of web forums for adult entertainers and their patrons, showing how both groups discuss strip club music’s capacity to elicit erotic dance and facilitate forms of sex work that take place in adult entertainment establishments. I argue that, for victims trafficked into strip clubs, music’s efficacy surpasses its prompting and facilitating functions, becoming the semiotic enactment of sexual violence. Music functions contextually to induce behaviors that promote precarity and rob victims of sexual agency, prompting striptease and lap dances as well as the forced solicitation of commercial sex within grossly uneven power differentials. The final chapters offer a corrective to the admittedly attractive view that music is inherently personally and socially therapeutic, arguing that such thinking is ideological and politically inefficacious.

Mi propuesta es ampliar el vocabulario del análisis de las vídeoinstalaciones al incluir nuevos términos trans disciplinares apropiándonos de los conceptos del campo sonoro. Para mayor claridad metodológica, hablo por separado de las percepciones de las imágenes sonoras y de las imágenes de vídeo, proyectadas en las instalaciones. En la práctica de la producción artística contemporánea estas imágenes muchas veces se superponen para crear resonancias, consonancias y hasta disonancias trans mediáticas.

La mutación rápida de los términos especialmente atractivos impone la fijación local de marcos de referencia estables cuando necesitamos operar consistentemente con ellos. Así ocurre con soundscape, por lo general traducido al castellano como paisaje sonoro, que, antes de ser planteado en el dominio musical, había surgido de la teoría urbanística.  En la concepción,  la producción y la realización de mis instalaciones sonoras, tengo en cuenta distintos aspectos formales propios del entorno sonoro. Por ello se me hace urgente una reflexión acerca de las relaciones entre el entorno sonoro, el paisaje sonoro, la multifocalidad y la instalación sonora como opción alternativa a la forma de concierto, que, portadora de estructuras culturales ancestrales difíciles de asumir, percibo agotada.  

One feature that defines sound installation as a genre is the participa-tion of the user. Upon entering the space of a work, the user assumesan active role. Thereby the work takes on a theatrical and formativedimension: an art initially defined through space reveals its temporal-ity. This essay analyzes the theatrical dimension, that is,
the “modal
structure,
”
of works up to 1967, the first period of the sound installa-tion genre. Both interactive and non-interactive works are considered.The analysis shows various models of theatricality for the first yearsof the genre, during which a diversity of origins and genealogy is re- flected. What is common to these experiments is that they seek to in-volve the viewers, a strategy whose roots lie in the aesthetics and ex- periments of the first half of the twentieth century, but which since1955 has become conspicuous.

The Apologies is an ongoing project first created for a 2012 performance at Night Gallery in Los Angeles, California. This iteration of the work, developed by artist Amy Howden-Chapman in collaboration with the writer Andrew Michael Gorin, represents a series of twenty apologies etched on brass sheets that have been cut in the dimensions of legal-sized paper. The reflective sheets lean on wall shelves mounted behind an empty podium. An audio recording gives voice to this language.

The Apologies dramatises issues of blame, culpability, complicity, and uncertainty surrounding the climate crisis. As the human and environmental costs of climate change have increasingly been realised, questions of liability shift from being matters of speculation to matters of immediate concern. Yet securing acknowledgments of accountability from those responsible has been no easy task, in part because of the vast temporal and spatial scale of the problem. On the one hand, fossil fuel companies and the governments that have supported them are unequivocally at fault. On the other, the fact that the worst impacts of carbon emissions are often felt at a distance from sites of emission, coupled with the historical tendency to locate responsibility at the level of the individual consumer, has made it easier for the prime movers of climate breakdown to evade being held accountable.

In response to this circumstance, Howden-Chapman and Gorin imagine apologies for the climate crisis. Drawing on research into the historical form of the public apology, their installation represents durable commemorations of apologies not yet given. Gallery visitors are invited to move among the installation’s texts, stand at the podium, and sit on the benches positioned in the space of the audience. The Apologies call for consideration of our individual relations to the problem of personal responsibility, foregrounding everyday anxieties about carbon footprints and inaction, while asking us to contend with the question of who is to blame and why this matters.

Trabalho de conclusão de curso para o curso de bacharelado em piano na Universidade de São Paulo

Orientação: Rogério Costa

RESUMO

Este trabalho é um diário tecido durante aproximadamente
dois meses, levando em consideração a ideia de expansão
da minha relação com o piano. Foi feito como um processo
particular de estudo. Ele foi construído a partir de
palavras-chave, na tentativa de estabelecer uma rede de
assuntos que considero importantes durante a graduação
em piano, especialmente em torno de três conceitos:
presença, experimentação e interação. Dentre os múltiplos
tópicos abordados destaco a eutonia, a improvisação livre
e o feminismo.

Palavras-chave: piano, presença, experimentação,
interação, eutonia, improvisação livre, feminismo

ABSTRACT

This work is a diary wove for about two months, with
the idea of expanding my relation with the piano. It
was made as a particular study process. It was based on
keywords, as an attempt of establishing a net of subjects
that I consider important to the bachelor’s degree in piano
during athe piano graduation, specially around three
concepts: presence, experimentation and interaction.
Among the multiple topics explored I highlight eutony,
free improvisation and feminism.

Key words: piano, presence, experimentation, interaction,
eutony, free improvisation, feminism.

Trabajo de Fin de Máster en Arte Sonoro, Universidad de Barcelona, 2021.
Autor: Juan Pablo Moreno. Tutor: Josep Manuel Berenguer.
El presente trabajo consiste en la documentación de un proyecto artístico en el ámbito del arte sonoro. Para ello se presenta y describe el desarrollo de una propuesta que incluye elementos de instalación sonora, paisaje sonoro, videoinstalación y música electroacústica. Se ha tomado como punto de partida la ciudad como fuente sonora y como espacio de relaciones entre personas y medios tecnológicos que conforman un entramado de sonidos que se entrelazan de manera continua. Se trata de proponer una determinada escucha en un sentido amplio, puesto que se propone la utilización de varios medios simultáneos para la creación de la situación de escucha.

This paper explores a variety of existing interactive and participatory sound systems and the role of different actors in them. In human computer interaction (HCI), the focal point on studying interactive systems has been the usability and functionality of the systems. We are trying to shift the focus more towards creative aspects of interaction in both technology development and sound creation. In participatory sound art, the roles of technology creator, composer, performer, and spectator are not always distinct but may overlap. We examine some challenges in such systems, like the ownership of technical and aesthetic components and balancing engagement and interaction among different stakeholders (designer, composer , spectator, etc). Finally, we propose a discussion on participation, human-computer and human-human interaction within the process of creation and interaction with the system.

Nowadays, interaction represents an attractive approach for deploying new forms of entertainment and art. Towards this aim, novel technologies can make possible advanced concepts of interaction, hence supporting complicated application scenarios. In this work, an interactive audiovisual installation is presented, which aims to make the participant interact with the stars in the space. Human gesture based interaction is employed in order to control the visual and audio reproduction in real time.

When one encounters the works of Polish artist, Miroslaw Balka, one almost certainly feels perplexed by his highly minimalist-looking and individuated forms. Apparently, his body of work is a metaphorical language that correlates his art and sensibility with works by the hugely influential precedent set by the late German artist Joseph Beuys in terms of using simple and specific materials with transcendental and metaphysical properties. In this regard, he fuses his work with personal memories of growing up in post-war Warsaw. He allusively suggests a vision of hell and humanity on Polish land in the past. Hence, Balka's work is probably not art that holds one’s attention through visual impact but rather art that murmurs his story...

El arpa de fricción es un dispositivo de exploración sonora y de movimiento. Es un instrumento musical capaz de detonar una variedad de posibilidades acústicas, pero a la vez, su instalación implica la disposición de un espacio escénico para ser habitado por los cuerpos. Dicha dualidad funcional tiene como propósito incentivar el diálogo y la interacción performática entre dos o más agentes, con miras a revisar los momentos de coordinación entre los participantes dentro de un contexto improvisatorio.

This paper explores the relationship between sound installation art and the appropriation of urban public spaces in Latin America.
Latin America is a continent full of contrasts, and in various places throughout the countries, space reflects the history of each nation through its architecture. We find pre-Hispanic pyra- mids coexisting with colonial churches and modern buildings. In the last two decades, these sites have been used for purposes other than those for which they were created. On the one hand, these spaces have been used to provide cultural experiences for people in areas that cannot access traditional venues such as concert halls. On the other hand, political manifesta- tions have adopted such places as icons of social change, and sound has been used to provide a social/cultural meaning, using the space as a medium. These activities have changed the ways in which audiences and creators relate to sound and space.
This research paper explores how sound art and technology have been used to re-formulate public space in cities. The study analyses the strategies of major works and installations (that have used space as a medium of creation over the last twenty years in Latin America) from social and spatial perspectives. This paper highlights the potential of sound installation art and intervention of space as a way to engage audiences in urban contexts.

Throughout his career, Peter Ablinger has focused extensively on noise in nearly every capacity, especially as it appears in his ongoing Weiss/Weisslich (White/Whitish) series. This essay discusses some of these works along with a specific piece from Ablinger's phonorealism series, in which recorded speech is transformed directly into the music-mechanical production of tones played by a computer-controlled player piano.

In this presentation, I explore how a community at the margins of national histories registers sonic memory as a means of survivance. Makota’ay, a Taiwanese indigenous (Pangcah) community in present-day Hualien County, has both benefitted and suffered from its location at the mouth of the Siugulan River. As Pangcah oral history recounts, river and ocean brought the ancestors of Makota’ay Pangcah to Makota’ay and still delivers resources. The river also conveyed colonial merchants, armies, and settlers (including Taiwan’s ethnic Chinese majority). Thus, Maokota’ay Pangcah live in multiply occupied places in which sounds index both ancestral presence and a series of colonial occupations from the late 19th Century to the present. Employing soundscape documentation as well as oral historical and archival research, I listen for more than sonic traces of these multiple occupations: I consider how Pangcah register these traces as sonic memories. I argue that such registrations often display a gap between the intentions of occupiers and the lived experience of the community, a kind of failed mimesis through which indigenous people sound traces of occupation, making these sounds resonate as figures of survivance. At times, sound, such as the echo of waves within a coastal cave or a drop of dew into a canyon, transforms relationships of occupation; when these sounds are narrated, they become alternate histories. As such, sound in its various registrations forms part of an ethics of place opposed to settler presence. To understand the ethical force of remembered sound, I argue, requires us to think more clearly about how indigenous people employ sonic practices—some traditional but others borrowed from settlers—to register sounds of occupation. This work will require closer engagement with indigenous sonic practices and also suggests frameworks for collaborative sound installation art.

FluxOdiOcartO est une action/installation audio-paysagère qui mixe en temps réel des am-biances sonores locales, pour nous les faire voir et entendre autrement. Nous fabriquons ainsi une scène acoustique et une cartographique singulière, à la fois bâties sur des points d' ouïe emblématiques, captés in situ, identifiables, et sur un brassage sonore permanent réalisé par une sorte d'audio-morphose numérique. Cette exploration auditive nous fera percevoir un paysage auriculaire en perpetuel mouvement, naviguant entre un terrain (re)connu et d'autres inouïs, mais toujours alimentés par le terreau sonore local, les ambiances du cru. C' est une façon ludique et prospective de (re)découvrir des territoires auriculaires environnants, de la concrétude du paysage arpenté jusqu'au qu'à son interprétation via le dispositif de monstration. Entre apparition et disparition, cette installation, par de multiples morphings et polyphonies tissées en contrepoints, pose non seulement la question de l'identité sonore des lieux, de ses esthétiques, mais aussi de l' équilibre fragile, voire du déséquilibre acoustique, liés à une saturation ou à une paupérisation sonore tout aussi sclérosante. Ces dysfonctionnements chroniques se réfèrent et font écho aux concepts de l' écologie sonore, développés depuis les année 70 par le compositeur et chercheur Canadien Raymond Murray Schafer. Et avec ta ville, ton quartier, tes lieux de vie, d'activité, comment tu t' entends ? la question est posée ! Entre musique(s) des lieux et questions environnementales, sont convoquées des approches esthétiques, tout autant que des problématiques liées au confort ou inconfort d' écoute, jusqu'au niveau de l'insupportable, de l'intolérable. En contrepartie, sont aussi abordées les questions des aménités paysagères, du plaisir d' entendre, de s' entendre, voire de bien s' entendre, réflexions primordiales entre toutes ici. Suite à cette action/installation, les séquences sonores demeureront en ligne, traces visitables et écoutables à l' envi sur la cartographie participative et Open Source Aporee. Ce travail, dans ses différentes phases d' élaboration ou dans sa globalité, peut faire l' objet d'ate-liers partagés, outdoor/indoor, avec et pour différents publics. Il peut également être complété par l'inauguration officielle d'un point d' ouïe.

The paper deals with strategies and techniques for building and using “residual orchestras”, that is, ensembles of low cost music instruments that can be controlled by the computer. First, the notion of “residual” is discussed as a keyword for the project. Then, the physical computing scenario is introduced, as it is the main reference for all the discussed projects. The inspiring “punk” philosophy is presented, and basic values and principles for design and implementation are discussed, in particular “refabrication”, softening, flexibility. A design/production pipeline is presented that takes into account the three different layers in residual orchestras: physical, physical computing, computation. Finally, some projects that have been realized are shortly discussed.

[Eng]
The rapid mutation of especially attractive terms imposes the local fixation of stable reference frames when we need to operate consistently with them. This is the case with soundscape, commonly translated into Spanish as paisaje sonoro, a term initially introduced in urban theory and quickly reinterpreted in the musical domains. In the conception, production and realization of my sound installations, I take into account different formal aspects of the sound environment. For this reason, it is urgent for me to reflect on the relationships between sound environment, soundscape, multifocality and sound installation as an alternative option to the concert form, which, bearing ancestral cultural structures difficult to assume, I perceive as exhausted.

[Cas]
La mutación rápida de los términos especialmente atractivos impone la fijación local de marcos de referencia estables cuando necesitamos operar consistentemente con ellos. Así ocurre con soundscape, traducido comúnmente al castellano como paisaje sonoro, término introducido inicialmente en la teoría urbanística y rápidamente reinterpretado en el dominio musical. En la concepción, la producción y la realización de mis instalaciones sonoras, tengo en cuenta distintos aspectos formales propios del entorno sonoro. Por ello se me hace urgente una reflexión acerca de las relaciones entre el entorno sonoro, el paisaje sonoro, la multifocalidad y la instalación sonora como opción alternativa a la forma de concierto, que, portadora de estructuras culturales ancestrales difíciles de asumir, percibo agotada.

A European tale of migration and integration, a quintessential cultural, social and economic success story: to mark the 250th anniversary of his birth, the Museum Giersch der Goethe-Universität and Villa Vigoni are focusing on the notable and largely still unknown German-Italian figure, Enrico Mylius, holding an exhibition in his hometown Frankfurt for the very first time.
The exhibition will explore this multifaceted and highly relevant personality, an enlightened citizen who was free from prejudices and socially oriented action who sought to bring about collective solidarity, putting him forward as a valid model for twenty-first-century European society. It will cover Mylius's entrepreneurial and charitable activities and Villa Vigoni, the great legacy he left to Lake Como.
The relationship between Mylius, music and its meaning is unexplored territory. A sound installation based on the latest research and produced as part of a university project will provide a better understanding of the role assigned to music by the Mylius family in the context of mourning.

in collaboration with the Hochschule für Musik FRANZ LISZT Weimar
concept: Viola Usselmann, Villa Vigoni
director: Claudio Novati, Como

exhibition
"Enrico Mylius (1769-1854): a European citizen between Frankfurt and Milan", Museum Giersch der Goethe-Universität, Frankfurt a.M., 08/08 - 08/09/2019

patronage
Deutsche Botschaft, Rom
Ambasciata d’Italia, Berlino

https://www.villavigoni.eu/event/sounds-at-an-exhibition/?lang=en

Resumo: Este artigo trata do processo criativo entre o compositor eletroacústico Cláudio Bezz e a artista visual Isabela Espíndola durante a produção de instalação sonora em 2018, no Rio de Janeiro. Abordamos com especial atenção a criação musical eletroacústica envolvida na obra, que constituiu na abstração dos sentidos do ritmo, movimento e forma fixados na imagem, transportados para o campo musical eletroacústico a partir de processos cognitivos incorporados (JOHNSON, 1987), do discurso musical eletroacústico (EMMERSON, 1986) e da substituição gestual (SMALLEY, 1986, 1997)

Palavras-chave: Instalação sonora. Discurso musical eletroacústico. Gesto musical. Cognição musical. Light painting.
Audiofotos: Poetics of the embodied electroacoustic compositions

Abstract: This paper deals with the creative process between composer Cláudio Bezz and visual artist Isabela Espíndola during the production of sound installation in Rio de Janeiro, 2018. We focused on the electroacoustic music composition involved in the work, which consisted of the abstraction of the rhythm, movement and musical form, fixed in the image, translated to the electroacoustic music field from embodied cognitive processes (JOHNSON, 1987), from electroacoustic musical discourse (EMMERSON, 1986) and gesture surrogacy (SMALLEY, 1986, 1997)

Keywords: Sound installation. Electroacoustic musical discourse. Musical gesture. Musical cognition. Light painting.

In the theoretical part of the thesis I apply the framework of the philosophical movement known as Speculative Realism to Sound Art. This experience informs the practical part of the thesis. The research project makes sense in relation to a collaborative methodology of work, where family, friends, colleagues, advisers, music, objects, machines, circuits, feedback, conversations, Internet, emails, phones, micro-controllers, wiring cables, electric fans, huge plants, passionate specialists, old art and sonic fictional futures, among a very large, although finite list of actors, agents and sentient entities, shapes something that I did not do: inventing a sound installation entitled Aristotle’s Jungle.

The title of this thesis operates in two different ways that lead to a collision in a sort of sonic feedback system1, a forced sound collaboration between several entities, objects, concepts, theory and practice. Two chosen directions; on the title: a hint on the problem of authenticity in creativity productions of knowledge, and on the subtitle: an interdisciplinary research project drawing from contemporary philosophies and Sound Art practices searching to increase the qualities of perception.

This paper explores the relationship between sound installation art and the appropriation of urban public spaces in Latin America. Latin America is a continent full of contrasts, and in various places throughout the countries, space refl ects the history of each nation through its architecture. We fi nd pre-Hispanic pyramids coexisting with colonial churches and modern buildings. In the last two decades, these sites have been used for purposes other than those for which they were created. On the one hand, these spaces have been used to provide cultural experiences for people in areas that cannot access traditional venues such as concert halls. On the other hand, political manifestations have adopted such places as icons of social change, and sound has been used to provide a social/cultural meaning, using the space as a medium. These activities have changed the ways in which audiences and creators relate to sound and space. This research paper explores how sound art and technology ha...

ecbatan is a 6-channel sound (speakers and transducers) and material (plywood) installation. It was exhibited as a 4-channel sound installation at TADAEX 2018 in Tehran, Iran.


The piece is formed around one guitar arpeggio. I had first used this arpeggio about fourteen years ago (in 2005), during a White Comedy recording at Kargadan studio in Tehran. It was discarded from the album’s final mix. For the purposes of ecbatan, I retrieved it from a recording that had been made during one of the bands’ jam sessions at Kargadan. Working with this material, recycled from an old archive of discarded recordings, I sought to somewhat reinstate a spatial and material connection with an environment to which I had lost physical access. Viewed in the context of broader trajectory of my practice during the course of this research, ecbatan is a pivotal piece as it marked the beginning of a transition between two different approaches to composition: a familiar one according to which pieces were carefully planned and written and an emerging one that tended towards more performativity and was open to accidents. In my earlier works one of the main concerns was to figure out ways of exercising precise control over sounds and their spatial manifestations within a piece, in order to make them subservient to my compositional needs and aims. In my later works, however, these concerns increasingly shifted towards finding creative ways of giving up the precise control through more spontaneous and performative approaches to composition that involved improvisation. In The Lived Experience of Improvisation (2017) Simon Rose notes: ‘The immediacy required for composing in the process of performing calls for a particular presence in time within engagement in the world, an intervolving.’ (161) Through a retrospective reflection I would note that composing in and through performing became a focus, perhaps because it increasingly felt relevant to the new conditions of my life as I transitioned between the two societies (Iran and UK). This change took place organically and through an ongoing exchange with the practice of my interlocutors and that of my colleagues and friends in the UK, especially in SARC, where I have been based since summer of 2014. In this context, ecbatan can be viewed as the sonic/musical articulation of such a transition as well; one that marked the flow of time and embodied an experience of place and a mode of becoming—transitioning between a state of being refugee to a state of becoming permanent resident (and then citizen); from a state of insecurity and float to a state of relative stability and ‘grounding’.

Este artigo tem como objetivo trazer à tona a apresentação de três softwares para interação e improvisação entre dança, sons e imagens. São eles: 1331; Desenhador_ tracker; Jazz_tracker. Tais programas começaram a ser desenvolvidos em 2011, a partir da proposição de projetos de dança e instalação da dançarina e coreógrafa Thembi Rosa, em parceria com o matemático e artista digital Manuel Guerra e com “O Grivo”, duo de música contemporânea de Belo Horizonte. Com o propósito de explorar outras relações entre dança e música, que não tivessem como premissa a dança e depois a música; ou a música e depois a dança; mas sim, uma simultaneidade entre essas áreas, foi implementado o desenvolvimento de softwares que viabilizassem novas relações compositivas entre dança e música. Compor com a utilização de interfaces digitais, com as imagens geradas pelos gráficos dos programas e suas interações implica em estabelecer outras interações entre movimentos, sons, espacialidade e composição. O principal intuito deste texto é refletir, apresentar aspectos relevantes implicados nestes processos de criação e demonstrar, a partir de registros, descrições e testemunhos, as diversas configurações que emergiram a partir destas criações. Assim, serão detalhadas algumas características das performances e instalações, a fim de que estejam registradas e possam, talvez, ser reapresentadas em diferentes contextos.
PALAVRAS-CHAVE:Dança contemporânea. Performance. Instalação interativa. Software.Pesquisa em preservação da arte moderna e contemporânea [recurso eletrônico] : coletânea 1 / organizadoras, Magali Melleu Sehn e Raquel Augustin. – Belo Horizonte : Escola de Belas Artes da UFMG, 2019.
ISBN 978-85-88587-24-3

Canciones de las Madres / Songs of the Mothers was created as an audio environment installation by artist Cherie Moses in collaboration with Paz Walton, Llanca Letelier, and Ida Montenegro de Letelier. These women – Paz, Llanca and Ida – are three generations of the same family of Chilean immigrants to Canada, residing in Edmonton.

In this 13 minute sound installation, each of these women addresses their children telling about their past experiences expressing their concerns and giving advise for their future. They debate their complex identities as women, as immigrants and as members of the same family who are, differently, moving back and forth between distinct cultural worlds brought together through a web of affects.

Ensayo conceptual donde se introducen algunas ideas sobre la instalación sonoro como problema de geografía humana. Teniendo como eje central de interés la obra de compositoras y performers.
Palabras clave: arte sonoro, paisaje sonoro, instalación sonora, poesía sonoro, arte vocal, geografía humana
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Conceptual essay that introduces some ideas about sound art as a problem of human geography. Taking as central the work of women composers and performers.
Key words: sound art, soundscape, sound installation, sound poetry, vocal art, human geography

This paper explores the relationship between sound installation art and the appropriation of urban public spaces in Latin America. Latin America is a continent full of contrasts, and in various places throughout the countries, space refl ects the history of each nation through its architecture. We fi nd pre-Hispanic pyramids coexisting with colonial churches and modern buildings. In the last two decades, these sites have been used for purposes other than those for which they were created. On the one hand, these spaces have been used to provide cultural experiences for people in areas that cannot access traditional venues such as concert halls. On the other hand, political manifestations have adopted such places as icons of social change, and sound has been used to provide a social/cultural meaning, using the space as a medium. These activities have changed the ways in which audiences and creators relate to sound and space. This research paper explores how sound art and technology ha...