Episode 179 of Futurónica, a broadcast in Rádio Manobras (91.5 MHz in Porto, 18h30) and Rádio Zero (21h GMT, repeating on Tuesday at 01h) airs tomorrow, November 11th.
The playlist of Futurónica 179 is:
You can follow Rádio Zero’s broadcasts at radiozero.pt/ouvir and Rádio Manobras at radiomanobras.pt.
Becoming- from Miguel Carvalhais on Vimeo.
“Becoming-†is a site-specific installation exploring the interplay between architecture, space, flora and the garden’s visual and acoustic fields. The installation makes this interplay explicit, through a montage of planes and reflective surfaces within the cistern. “Becoming-†was created for the Cistern of the Casa de Frescos at the Tapada das Necessidades garden in Lisboa, where it was presented from September 1 to 4, 2016. Commissioned by Lisboa Soa.
This is the tenth release in the series Corollaries, that compiles works resulting from Active Crossover: Mooste, a cross-cultural collaborative residency curated by Simon Whetham and hosted by MoKS, in April and May 2015. All works are composed from material compiled in a collective archive during the project.
Arlene Tucker and Guy Dowsett approached the Active Crossover: Mooste field recordings as a palette for exploring physical as well as psychological space. Layers of unlikely sound combinations were woven into textures and squeezed in and out of different environments. It became an exploration of sound’s relationship to outside and inside space, as well as psychological headspace. Hypnomatic is a sonic interplay between foreground and background, the conscious and unconscious. Sound is encouraged to fluctuate between focus and blur.
Arlene Tucker is interested in adding play elements to daily life through her art. Inspired by translation studies, she explores how communication can be transposed and transformed, paving the way for unforeseen dialogue to develop. In her works, attention is given to the process of meaning making as she finds ways of connecting and understanding our shared environments. During Active Crossover: Mooste she, along with Simon Whetham, Fernando Godoy, and John Grzinich, put their ears to the ground and eyes towards the sky to try and capture the space between.
Guy Dowsett’s music fuses aural intricacies with colourful atmospheres. His compositions have been performed in concert halls as well as tiny rooms, up trees and in caves. They have pushed acrobats off ropes, perked up puppets and brought out the worst in onscreen psychopaths. Recent collaborations with physical and multi-channel public art installations have taken his sounds outside, sometimes into noisy environments. In such a setting the already existing sounds form an integral part of the sonic expression.
Just as Active Crossover: Mooste has paved possibilities for more works to happen Hypnomatic has also morphed into a platform for other forms of creativity. Andrew Steinmetz, Arlene Tucker, and Nathan Williams collaborated on a series of collages, which are a translation of Hypnomatic. From sounds to cut up images, the piece scored a way for stories to multiply.
Hypnomatic was implemented into IMPLANTS, a sound installation made by Guy Dowsett for Zodiak Centre of New Dance, with support from Aalto University, situated at Antinniitty, Kannelmäki, Helsinki. Elements of Hypnomatic were used in Puutarhatanssit, choreographed by Jenni Koistinen and in the dance performance, Sounds of Terra, performed and choreographed by Hanna Pajala-Assefa. The dancer wore sensors and actively manipulated Dowsett’s sound design with her body movements. Active Crossover: Mooste’s sound archive was integral to this innovative performance.
“Hypnomatic†is a free download from Crónica or Bandcamp.
Episode 178 of Futurónica, a broadcast in Rádio Manobras (91.5 MHz in Porto, 18h30) and Rádio Zero (21h GMT, repeating on Tuesday at 01h) airs tomorrow, October 28th.
The playlist of Futurónica 178 is:
You can follow Rádio Zero’s broadcasts at radiozero.pt/ouvir and Rádio Manobras at radiomanobras.pt.
É um cliché dizer que uma determinada música parece ter sido feita a pensar num filme, seja esse filme real ou imaginário. No seu 11º álbum, o israelita Ran Slavin deu um pouco a volta a esta boutade; Bittersweet Melodies soa não a longa-metragem, mas a uma colecção de vignettes com pontos em comum entre si, que acabam por valer não só por si mas também como um todo. Influências do seu trabalho na área do cinema? Talvez.
O material aqui presente é-nos apresentado como tendo já uma longa vida antes da sua apresentação ao mundo; os temas de Bittersweet Melodies andavam espalhados «por várias hard drives» e foram agora recauchutados, reinterpretados, renovados. O som, esse, espelha ainda alguma degradação – dos cliques, dos beats, dos sintetizadores em baixa fidelidade. A maquinaria em “Saturday’s Dress” vai pingando sobre drone na introdução ao mesmo, que é cortada pela aura noir presente em “Category: Murdered Entertainers”.
Depois disso, há que prestar atenção para não perder o fio à meada. A fita vai-se desfazendo aos bocados, impedindo a visualização exacta do que se passa, mas essa aqui é uma virtude. Os sons vão-se sucedendo, sejam os da música ou os do fogo que a incendeia, num crepitar downtempo que tem nos ecos glitch de “Sad But True”, na bossa nova de “Sinatra Was Here” e no ritmo quase hip-hop de “Fast Moving Circumstances” bons motivos para ver o filme até ao fim. Haja ou não pipocas. Paulo CecÃlio
via Bodyspace
VITOR JOAQUIM Geography (Crónica 117~2016): Waren “Flow” (2006) und “Filament” (2011) vom Blick auf die eigene Gefühlswelt bestimmt und einer egozentrischen Verfasstheit von Raum und Zeit und damit von der quasi vertikalen Verortung im Großen und Ganzen, ist Joaquims Perspektive nun horizontaler. Sein Bemühen, die Lage zu erkennen – Brenns großes Motto – ist spezifisch angeregt durch Jared Diamonds in “Guns, Germs and Steel” (dt. “Arm und “Reich” – Die Schicksale menschlicher Gesellschaften”) expliziertem geographischen Determinismus. Entwicklungen hängen demnach nicht von Genen oder Rassen ab, sondern von den Rahmenbedingungen: von Breitengraden, Klimazonen, Flora, Fauna und nicht zuletzt Keimen und den dagegen entwickelten Resistenzen. Das ‘Wo’ bestimmt das ‘So’. Die Wechselwirkung zwischen Umständen und Imagination führt zu technologischen Lösungen wie Stahl und Kanonen. Zuerst verhackstückt Joaquim Funkverkehr der Gemini 8 und richtet damit, zu flirrendem und pulsierendem Gitarrenklang, ein Fernerkundungsauge auf die Erde, so wie das Cover mit der “Mappa Selenographica” von Beer & Mädler den Blick auf den Mond richtet. Er tippt mit dem Stichwort ‘Cantino’ die Weltkarte an, die Alberto Cantino 1502 als Agent des Herzogs von Ferrara aus Portugal nach Italien schmuggelte, mit ‘Ganda’ weist er nach Angola, bis 1775 portugiesische Kolonie, mit ‘Cargo’ auf den Kult um ‘wundersames’ Frachtgut, mit ‘Technography’ auf die Interaktion zwischen Apparaten und Menschen. Stottrige, tickernde, sausende, knarrrig furzelnde und pixelnde Spuren oder klingelnde Pulsarsignale bilden verhuschte Muster. Joaquim kannibalisiert sich selber, in ‘Technography’ mischt er Vocodergesang, in den ‘Cargo’-Loop zu zischelnden und rieselnden Geräuschen noch Phantompfeifer und -bläser. Der vinyl-prickelige und dröhnende Philip Jeck-Verschnitt ‘Exodus’, der Singsang mit sich führt, spricht für sich selbst. ‘Domo Arigato’ heißt Danke auf Japanisch (und ein Album von Durutti Column), der klapprig kreisende Flow ist mit Samples von Geige (Carlos Zingaro), Posaune (Günter Heinz), Piano (Simon Fisher Turner), Waldhorn (Harald Sack Ziegler), Percussion, Cello, Music Box etc. orchestriert. Zuletzt häckselt Joaquim in ‘8’20”’ noch die Stimme von Laurie Anderson, nicht individuell kenntlich, sondern als kollektivierte Zutat.
Pareil pour les oeuvres de Martijn Tellinga, clairement un compositeur “contemporainâ€, qui écrit pour trombones, pour contrebasses, pour le public uniquement (bien un concept de musique contemporaine, ça). Mais puisqu’il écrit également pour le lieu où ces actions (et non pas interprétations) prennent place, puisque dans son écriture il privilégie d’abord le lieu, et que toutes les pièces de son CD, Positions, sont des placements de sons, ou plutôt des manières d’écouter un lieu donné (plus qu’une musique “dans†un lieu), ça fonctionne: la rigidité de l’écriture s’estompe et la curiosité ou l’intérêt reviennent.
