Ricardo Arias, Johan van Kreij, Diana Medina, Matthew Ostrowski, Gabriel Paiuk, Michael Schumacher, Anne Wellmer

Ricardo Arias (Colombia)

Jardin Vertical I
Instalación sonora Multicanal
Buchla 200

Vertical Garden in Four Dimensions
The idea for Vertical Garden in Four Dimensions is a sound installation that was initially meant to be installed in a small cubicle (approximately 3x3x3 meters). It is essentially a small, portable, multi-channel diffusion system. The idea behind the piece is to create a system that can be installed in small spaces. (thinking about Rolf Julius’s Small Music)

Johan van Kreij (Holanda)

Sin título
Instalación sonora Multicanal
Buchla 200

With his compositions the Canons, Dick Raaijmakers explored the possibilities of creating masses of sound, that he called morphologies. My research into this subject has led to the development of software that allows working with such ideas. Morphology Study I is the first outcome of this work.

Diana Medina (Colombia)

Paisaje Sonoro en Martha
Instalación sonora multicanal

Me siento a escribir sobre mi propia voz interior.
Titila, va y viene.
Se corta, titubea, se repite, insiste.
Se contradice.
Si la busco, escapa.
Llega cuando quiere.
Si deseo alejarla, más se hace presente.
Es mía, y no.

Lo es todo.
No es nada.

You can hear us es una instalación multifocal que pretende recrear el espacio sonoro mental y darle vida a los pensamientos que naturalmente brotan sin ser escuchados. Captura un momento en específico y sus características espaciales y sonoras generando un paisaje sonoro mental.

Mathew Ostrowski (EE.UU)

Shiver & Cleave
Instalación sonora Multicanal

In English, ‘shiver’ can mean both ‘vibrate’ and ‘splinter into small pieces’; ‘cleave’ means both ‘to join together’ and ‘to split apart’. In this piece, no sounds actually move: the sound is comprised of many ‘chains’ of small musically related gestures. Each link in this chain is assigned to a particular location in space. Thus as the chains are laid out, link by link, the work creates the impression of spatial and timbral progression in a series of large-scale gestures. These chains can also fork and rejoin as they develop, and this larger-scale movement of separation and reconstitution is reflected in the work’s title.

Gabreil Paiuk (Argentina)

Instalación sonora Multicanal
15 min 18 seg

Affectio takes as its starting point a series of field recordings carried out at various locations with diverse recording technologies.

These source materials bear the marks of the spaces where they were recorded as well as those of the technologies used (ranging from old cassette recorders to state-of-the-art devices and through diverse microphone usage strategies). These materials are juxtaposed and organized in a way that enhances the ambiguity between what is perceived as a represented space and what is perceived as the qualities of a particular medium.

Through this strategy, it exposes and puts into question the way the conditions at play in its reception determine the way we apprehend each sound. The shifting focus problematizes the distinction between source and recording, emphasizing how these conditions determine the way we relate to it and how they are linked to the imprints of sound media technology, its history and its circulation within our shared aural memory.

Michael Schumacher (EE. UU)

Variations I-IV
Instalación sonora Multicanal
47 min

This set of pieces applies the classical idea of variation to spatialization techniques. Sounds – sonorities, motifs, phrases – are transformed through placement in a variety of sonorous spaces, which act somewhat like filters, emphasizing specific perceptual aspects. In contrast to the classical method, there are no clearly stated «themes», but rather a continual process of spatial redistribution.

Anne Wellmer (Alemania)

Don’t tickle my nipple
Instalación sonora Multicanal

Recorded in 2016 with an ARP 2500 – a large analog synthesizer which at the time was parked at WORM’s Klangendum Studio in Rotterdam – and mixed for 8 channels with only two loudspeakers in The Hague in 2018. the title is a long story.