ARTES SONORAS

Espaço de participação multimodal H. Lefebvre 1991 “The Production of Space”

Toda a sensação é sinestética A isolação dos sentidos é secondária e pertence a modelos analíticos e não experiênciais ou fenomenológicos

A escuta implica presença Se uma àrvore cai na floresta e não houver ninguém a ouvir, ela faz um som?

O som é um dos elementos de uma experiência entre corpo e espaço !

A escuta não tem uma posição privilegiada em relação a outras sensações

Som - Espaço - Lugar

Privilegiando dinâmicas de participação e não de “controlo” galeria vs concerto duração aberta vs narrativa temporalizada

Wassily Kandinsky

Exploração de relações som/musica/imagem e da experiência sinestética. Música como experiência superior devido à sua abstração e referencial próprio.

"The violins, the deep tones of the basses, and especially the wind instruments at that time embodied for me all the power of that pre-nocturnal hour. I saw all my colors in my mind; they stood before my eyes. Wild, almost crazy lines were sketched in front of me. I did not dare use the expression that Wagner had painted 'my hour' musically." (Kandinsky, after a performance of Lohengrin)

Composition 8 (Komposition 8), July 1923. Oil on canvas, 55 1/8 x 79 1/8 inches. Solomon R. Guggenheim Museum, Gift, Solomon R. Guggenheim. 37.262. Vasily Kandinsky © 2003 Artists Rights Society (ARS), New York/ADAGP, Paris.

The Phillips PavilionIannis Xenakis/ Le Corbusier / Edgard Varèse

The Phillips PavilionIannis Xenakis/ Le Corbusier / Edgard Varèse

Edgard Varèse: Poeme Electronique

EDGAR VARÈSE !

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Pavillion encomendado pela Philips !

Varèse criou a obra “Poème électronique” !

Foi projetada através de 400 altifalantes dentro da estrutura !

Uma instalação espaço-som explorando ambientes, trajetórias e geometrias multisensoriais, incluindo

imagens por Le Corbusier !!

IANNIS XENAKIS !

EDGAR VARÈSE !

!Xenakis: Musica e Arquitectura Philips Pavillion, Expo, 1958, Brussels, Le Corbusier

(1922 - 2001), Grécia

(1883 - 1965), França

IANNIS XENAKIS !

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Metastaseis (1953–4): independent parts for 6 musicians !

http://wag.myzen.co.uk/thepolytechnic/wp-content/files/2009/03/metastasis.jpg

http://www.auto-assembly.com/blog/wp-content/uploads/2006/12/meta.jpg

Iannis Xenakis: DiatopesLa légend d’eer (1978)

Exploração de paralelos entre trajetórias arquitectónicas (forma/geometrias) e o espectro sonoro

O som e a luz como duas estruturas independentes mas simultâneas

Max Neuhaus

Uma textura harmonica que emerge de uma grelha numa area de pedestres na Broadway entre as ruas 45 e 46, NYC !Instalada originalmente de 1977 a 1992, foi re-instalada em 2002.

Times Square

http://www.max-neuhaus.info/timessquare.htm

Max NeuhausLISTEN

The first performance was for a small group of invited friends. I asked them to meet me on the corner of Avenue D and West 14th Street in Manhattan. I rubber-stamped LISTEN on each person's hand and began

walking with them down 14th Street towards the East River. At that point the street bisects a power plant and, as I had noticed previously,

!one hears some spectacularly massive rumbling. We continued, crossing the highway and walking along the sound of its tire wash, down river for a few blocks, re-crossing over a pedestrian bridge, passing through the Puerto Rican street life of the lower east side to my studio, where I

performed some percussion pieces for them.

Network Music

Max Neuhaus’s radio projects (1966-1977) - “Broadcast Works” !Using telecommunications networks for artistic purposes !Public Supply I (1966), radio listeners were asked to phone a radio station and produce any sounds they wanted. Neuhaus then mixed the incoming signals to produce the musical results. !“...it seems that what these works are really about is proposing to reinstate a kind of music which we have forgotten about and which is perhaps the original impulse for music in man: not making a musical product to be listened to, but forming a dialogue, a dialogue without language, a sound dialogue.” (Neuhaus, 2007) !Radio Net (1977) Listeners from across the Eastern United States were asked to call in and whistle a single pitch for as long as they were able. Unlike Public Supply I, in this work Neuhaus did not mix the responses live but rather, devised an automated mixing system in which the output switched between various input signals based on the pitch of the input sounds. The input whistles were also subject to electronic transformation as the sounds looped from one broadcast station to another. While Radio Net’s realization was perhaps of more interest to its participants than a passive audience, and despite the fact that some thousands of listeners participated in the realization of the work, the result as realized in its only 1977 performance was coherent, subtle, and at times quite beautiful (Neuhaus, 1977). !!

http://www.max-neuhaus.info/audio-video/

David Tudor

RAINFOREST David Tudor – Rainforest 1968!Sounds electronically derived from the resonant characteristics of physical materials. !First version (1968), a sound-score for Merce Cunningham's dance work of the same name, established a means of sound transformations without the use of electronic modulation: the source sounds, when transmitted through the physical materials, will be modified by the resonant nodes of those materials. !Fourth version (1973): A collaborative environmental work, spatially mixing the live sounds of suspended sculptures and found objects, with their transformed reflections in an audio system. !

https://www.youtube.com/watch?v=1RwQ9nbSFCs

Photograph of George Brecht performing his Solo for Violin, taken April 25, 1964 at 359 Canal Street, New York City during Flux Fest at Fluxhall. !Photograph by George Maciunas.

Laurie Anderson's Handphone Table (1978)

Physically, sound is acoustic vibration. Vibration is communication. !The vibration of the wooden table by two men, 2x 2 elbows. Phone by Hand. !THE HAND PHONE TABLE was the primeval installation developed by Laurie ANDERSON (NY) in the Projects Gallery at the Museum of Modem Art, New York City 1978.

Maryanne Amacher “City Links” (1967-81) !

In my first sound works I developed the idea of sonic telepresence, introducing the use of telecommunication in sound installations. In the telelink installations "CITY-LINKS" #1-22 (1967- ) the sounds from one or more remote environment (in a city, or in several cities) are transmitted “live” to the exhibition space, as an ongoing sonic environment. I produce the "CITY-LINKS" installations using real-time telelinks to transmit the sound from microphones I place in the selected environments, spatializing these works with many different sonic environments: harbors, steel mills, stone towers, flour mills, factories, silos, airports, rivers, open fields, utility companies, and with musicians "on location." The adventure is in receiving live sonic spaces from more than one location at the same time - the tower, the ocean, the abandoned mill. Remote sound environments enter our local spaces and become part of our rooms. ! 

http://www.thewire.co.uk/articles/3220/http://rhizome.org/editorial/2010/oct/19/maryanne-amachers-city-links-at-ludlow-38/

“I was particularly interested in the experience of ‘Synchronicity’, hearing spaces distant from each other at the same time, which we do not experience in our lives,”

Ed OsbornSound making objects as aesthetic artefacts

The Cline Series Sonorities 2005

PLACE Belfast, 28 April - 4th May

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BILL FONTANA - Harmonic Bridge, London 2006 !

“I began my artistic career as a composer.

What really began to interest me was not so much the music that I could write,

but the states of mind I would experience when I felt musical enough to compose.

In those moments, when I became musical,

all the sounds around me also became musical”.

http://echosounddesign.com/media/Harmonic_BridgeH.mov

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BILL FONTANA - Brooklyn Bridge !One World Trade Center, New York, 1983

This sound sculpture was realized for the 100th anniversary of the Brooklyn Bridge in 1983. At this time, the Bridge made the continuous sound of the oscillating drones of cars moving over a steel grid roadway, then becoming silent by being paved over by blacktop in the late 80's.

Eight microphones were mounted below this roadway and transmitted the live sounds of the Brooklyn Bridge to the facade of a building that also no longer exists, the facade of One World Trade Center. This sound was played from 8 loudspeakers embedded behind the vertical struts of the facade along a set-back high above the Austin J. Tobin Plaza below. The presence of the abstract droning sound floated above this plaza, becoming the sound of the building, being mistaken sometimes for wind.

This media clip, which is 46 minutes long, is a memorial to the memory of the World Trade Center. A real time recording of the live transmission from the Bridge plays continuously against slowly alternating images of either a black screen, the Brooklyn Bridge or the World Trade Center.

http://echosounddesign.com/media/WTCBR.mov

Oscillating Steel Grids along the Brooklyn Bridge

! A walk is an act of contemplation. For this walk the visitors were taken on a journey over a pastoral landscape where the battle between the Prussians and Napolean took place 200years ago. This is also a landscape where Russian tanks did military exercises and where Louise Seidler (the painter of Goethe from Jena) may have walked. Through excerpts from Seidler’s diary entries we unfold a layered narrative that deals with the physicality of memory. There are also sound effects from battle scenes: cannons, muskets and horses galloping by. Time slips from one century to another as the listener walks, aware of their feet on the earth and the wind on their face. They will be aware that they are walking on the site just as others have walked over the same earth the last two hundred years, their stories mixing with those in the past.

Audio WalksJanet Cardiff/George Bures Miller

Janet Cardiff/George Bures Miller Video Walks

http://www.cardiffmiller.com/artworks/walks/alterbahnhof_video.html

The Alter Bahnhof Video Walk was designed for the old train station in Kassel, Germany as part of dOCUMENTA (13). Participants are able to borrow an iPod and headphones from a check-out booth. They are then directed by Cardiff and

Miller through the station. An alternate world opens up where reality and fiction meld in a disturbing and uncanny way that has been referred to as "physical cinema". The participants watch things unfold on the small screen but feel the presence of those events deeply because of being situated in the exact location where the footage was shot. As they follow the moving

images (and try to frame them as if they were the camera operator) a strange confusion of realities occurs. In this confusion, the past and present conflate and Cardiff and Miller guide us through a meditation on memory and reveal the poignant

moments of being alive and present.

ALTER BAHNHOF VIDEO WALK | 2012

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Christina Kubisch - !http://www.youtube.com/watch?v=QGzDtgRYKAk

Christina Kubisch belongs to the first generation of sound artists. Trained as a composer, she has artistically developed such techniques as magnetic induction to realize her installations. Since 1986 she has added light as an artistic element to her work with sound. !Christina Kubisch's work displays an artistic development which is often described as the "synthesis of arts" - the discovery of acoustic space and the dimension of time in the visual arts on the one hand, and a redefinition of relationships between material and form on the other.

Exercícios de Escuta !

II. Descrever uma situação de acordo com dois planos auditivos: distante e próximo !!

Exercícios de Escuta !

II. Descrever uma situação de acordo com dois planos auditivos: distante e próximo !!Luc Ferrari: L’escalier Des Aveugles: Sans Savoir Pourquoi

Exercícios de Escuta !

III. Descrever uma situação em relação à característica de altura nas fontes sonóras: grave, médio e agudo

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Exercícios de Escuta !

III. Descrever uma situação em relação à característica de altura nas fontes sonóras: grave, médio e agudoIlusão auditiva: Shepard’s Tones !!