Alejandro Cornejo

Alejandro Cornejo (Peru) – website

Piece: Bitmetismo, 5.1ch soundscape composition made with sound material from different places. It aims to show how machines, in an imaginary context, try to mimic nature by imitating its noises (or trying to), questioning the extinction of natural soundscapes and the way that man adapts to the environment, showing drastic changes in the structure of the sound environment.

“Man learned everything he knows by observing nature. / Man learned everything he says by listening to nature. / Man adapted himself to the environment. / Man blended with the soundscape. / The machine learned everything it knows listening to nature. / The machine learned everything it knows by observing nature. / The machine learned everything it says by listening to nature. / The machine adapted itself to the environment. / The machine blended with its soundscape.”


Budhaditya ChattopadhyayBudhaditya Chattopadhyay (India) – website

Piece: A Day in the Life of a Listener, 6.1ch piece made of raw field recordings.

“The installation creates a contingent environment to study seemingly mundane and ineffable auditory situations helping to perceive their spatial, temporal and quasi-musical developments. The work utilizes spatial practice with uninterrupted, unedited and unprocessed field recording in search of the traces of a story or evolving narrative that may take shape or spatio-temporally unfold in time.

The work examines phenomenological developments of sonic experience at apparently locative but in essence unsitely, itinerant and uncertain auditory situations that appear and evaporate keeping probable chronicles in the field recordings. Being in open-ended situations and allowing listening to augment innately are the primary drives for the project, thus rendering the likely interpretation of the work ‘susceptible to divine influences’ as Indian musician Gita Sarabhai explained to John Cage in 1946. Following this, the work does not ascribe to the documentary approach inherent in field recording, by preferring to navigate around the epistemic immediate meaning-making of sound.”


prensa2David Vélez (Colombia) – website

Piece: 12571, 6.1ch piece which refers to how memory may seems to be imprinted on objects and matter when we reencounter with a place that we thought was forgotten.

“The material was captured during a a sonic exploration at Red Hook port in New York, a place recurrent for me years back, and which I revisited again in november, 2015. Red Hook is a place sonically interesting to me because is near to the sea and has a presence of industry and abandoned and old zones, recurrent elements in my work. Textures, volumes and spaces which arise from the waves; the oxidate objects, machines and the birds combine for producing images where memory and experience were juxtaposed.”

For this piece, David used a shotgun microphone, an hydrophone and contact mics. Some recordings were manipulated and other were leaved raw, thus exploring personal memories intertwined with the reencounter.

12571 is the postal code of Red Hook.


Edu ComellesEdu Comelles (Spain) – website

Piece: Requiem, stereo composition based on field recordings and interviews with miners at Pozo Sotón and Maria Luisa in Nalón Valley, Asturies in August 2013. The piece aims to summarise the experiences, stories and sounds captured on four consecutive days at the mine shafts, hence portraying the ending times of coal mining industry in the north of Spain.

“Requiem aims to portray sounds on the verge of extinction, acoustic environments of a slow death, an uncertain and hazy horizon; Requiem comes to this time of uncertainty, doubt and fear in a life that is extinguished. Requiem, if I may, is an ode, a tribute, a last waltz for the coal mining life in Asturias. This piece is dedicated to miners at Maria Luisa and Sotón who opened the doors of their world and accompanied me on this descent into the bowels of Coal Mining.”

Perletta_Takayama

Fabio Perletta (Italy) – website

Piece: 4.0ch version of Interstitial Spaces, inspired by the atomic theories of physics, looking for the creation of a quiet space that aims to bring awareness to the listener about his/her own presence in it.

“I have recently performed both in an open space (on a sunny afternoon) and in a very dark room with a bar service. In both places I played with very low volume, using some moments of pure silence, and I was really impressed by how people interacted with the performance. I saw different emotional states when I tried to take a look at the audience: fear, solitude, alienation yet contemplation, concentration, sense of beauty. Silence creates a unique sense of introspection and a sort of respect for what is happening. Ambience noise, like the spill out from the bar or nature’s textures – as well as other everyday mundane noise – becomes really different and interesting in its detail, which I find quite fascinating.”


France JobinFrance Jobin (Canada) – website

Piece: 6.1ch version of P Orbital, a sound composition/sculpture originally released on LINE imprint in 2012, as part of the album Valence.

It is inspired by both the valence bond (VB) and molecular orbital (MO) theories. An atomic orbital is a mathematical function that describes the wave-like behaviour of either one electron or a pair of electrons in an atom. This function can be used to calculate the probability of finding any electron of an atom in any specific region around the atom’s nucleus. The term may also refer to the physical region defined by the function where the electron is likely to be.

“Often, my compositions start with a feeling or emotional state. There is a likelihood of finding a certain emotion in a piece, but it is not guaranteed, nor do I know exactly when or where I will find it. The act of looking for that emotion in of itself will distort it. Although one would think experimental music grants complete freedom, when composing, I feel constrained by both my mental state and the way in which I build the piece.

I find an unlikely parallel in quantum theory and composing. The electron that can exist on a different orbital plain can never have it’s velocity measured or even its exact location known, due to the intimate connection between particles and waves in the wacky world of subatomic dimensions.”

All sounds recorded at various locations in North America and Europe.


John GrzinichJohn Grzinich (United States) – website

Piece: Ethernal, 4.1ch composition conceived during the ECMA artist residency in Pizzo, Italy in October 2015 and is based on field recordings and cymbals.

“The majority of the source material was made in collaboration with Portuguese artist Diana Combo, who played cymbals while I made recordings based on the fields of resonances that I could capture while slowly shifting the microphones around with my hands. 

Additional material is comprised of ambiences and contact microphones  recordings made on site. Each recording was could be seen as an intervention in giving new life to an old space, in this case “Cinema Mele”, a once integral part of the city only to be abandoned for 20 years until the grandson of its builder returned two years ago. 

‘Ethernal’ is a tribute to those whose creative efforts give new life to forgotten spaces that emerge in and out of the folds of history. Special thanks to our host Giuseppe Mele and to Bruno Humberto for the invitation to participate in the “We Only Want the Intangible” residency.”


manrico monteroManrico Montero (Mexico) – website

Piece: Stereo composition titled Fonografía amazónica #19, stereo soundscape piece that aims to take the listeners into the night biophony of the Bolivian Amazon rainforest thanks to on-site recordings. In this work, Montero’s bioacoustic work is evident as it causes us to reflect upon the ecology of the soundscape and the documentation of insects, birds, amphibians, and Neotropical Latin American ecosystems.


02_bio_Curgenven_Venice_Biennale_2013_Polish_Pavilion_6878Robert Curgenven (Australia) – website

Piece: 6.1ch composition named The Internal Meta-Narrative of Turner’s Tempest As He Is Tied To The Mast in Order to Create the Direct Experience of the Drama Embodied Within a “Snow Storm – [wherein a] Steam-Boat off a Harbour’s Mouth making Signals in Shallow Water, and going by the Lead. [is rendered by virtue of the claim that] The Author was in this Storm on the Night the Ariel left Harwich”.

Did J.M.W Turner tie himself to the mast of a ship, emulating French painters such as Claude-Joseph Vernet and poetic mythology in the vein of Odysseus’ sailing past the Sirens? Turner’s painting “Snow Storm – Steam Boat off a Harbour’s mouth” is a story which in itself depicts a story. a projection onto canvas. In Curgenven’s piece experience the sound as weather, an unmediated experience through your embodiment. Cast aside Turner’s story, become the conscious body exposed to the elements on a boat which enters and passes through this Storm.


Simon WhethamSimon Whetham (UK) – website

Piece: Special edit of From the Mouths of Clay, stereo composition created in 2013 during an artistic residency in the Universidad de Antioquia Museum. In it, the artist used instruments and objects amplified in ancestral Prehispanic urns, reproduced and re-recorded several times to accumulate echoes and achieve different sound effects that result in a composition that combines the resonances of the space itself and the ancestral urns.


Yann NovakYann Novak (United States) – website

Piece: Relocation.Vacantm, which represents an extract from a previous installation, this time expanded to 6.1 channels. As its point of departure, Relocation.Vacant uses the sound of the empty loft Novak lived and worked in for over four years. Presented in an empty gallery with nothing to obscure or hide the equipment used to produce the piece, Relocation.Vacant exaggerates the cavernous feelings of the slow dismantling and eventual erasure of the dweller’s personality from a space.


Yannick DaubyYannick Dauby (France) – website

Piece: Special edit of the stereo Dauby’s piece tsi̍t lâu tsuí 一流水 (Tidal Cycle), a composition of on-site recordings made in the Peng-Hu archipelago located in the Taiwan Strait during several months in the first half of 2013.

His daily activities included beachcombing, study and documentation of the reef animals, field recording, some teaching and also composing musique concrète in a temporary and probably the first experimental music studio, settled in Penghu, in Shili, a narrow village just between the inner and outer seas. From this old building one could hear the seashores and announcements of the itinerant sellers as well as the rituals from the temple nearby. Immersed in this natural and cultural environment, Yannick created this sound piece, using the activities of the underwater fauna, the omnipresent waves, soundscapes of harbours, music played during funerals, shortwave radio broadcasts, in-site or indoor improvisations using old artefacts collected on the beaches and using analog electronic instruments.