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POWERS OF SOUND
ARTISTIC PERFORMANCES /
Drifting sound – Boitatá Incandescent
The Project “À Deriva Sonora” by Sound Designer Rodrigo Ramos proposes a sound intervention using the sculpture “Boitatá Incandescent” by artist Laércio Luiz, located in the lake at UFSC.
“À Deriva Sonora” seeks an interaction with the urban/natural public space, using the situationist practice of drift in order to get to know and be affected by the city, this interaction seeks to immerse and create with the soundscape of public spaces and listen urban objects as sound interfaces.
Boitatá will be the sound interface for this performance. The idea is to compose a live musical/soundscape using the materiality of the sculpture (iron beams from the Hercílio Luz bridge captured with contact and directional microphones), with the sound of the lake captured with a hydrophone and with the surrounding sound. So I intend to produce a soundscape of the character Boitatá, who in Azorean culture represents the fears and beliefs of the popular imagination.
musical poetic listening
FELIPE GUE MARTINI
FSG University Center
An intervention that aims to produce reflection on the act of listening and on the acoustic ecology of cities. What right and control do we have over what we hear? It is a street musical performance that is based on the doctoral thesis “Platinum: radical transmethodology and musical poetic listening between Porto Alegre and Montevideo”. By researching the repertoire and talking to musicians who produce almost exclusively for the internet, the author gathered a mosaic of musicalities and dialogues that allow him to reflect on listening, on the right to public space in cities and on platinum and Latin American music. The thesis consists of text and six songs. This intervention is a live version of scientific research, which opens up into new inquiry and learning.
Federal University of the State of Rio de Janeiro - UNIRIO
In this sound performance, a composition is presented in layers that interfere with each other: feedback superimposed on the vital sounds of human beings such as voice, heartbeat, uterus and breathing. Feedback happens when the microphone captures the sound of the device that emits the sound, causing a sound feedback and a high-pitched sound usually rejected by those who listen. In this work, feedback is exposed, intervening in life, in vital actions. The performance is a mixture of electronic sound with breathing sounds made acoustically by the performer, the sound that comes out of our body and the sound that comes out of the electronic device meet and generate an organic and technological sound. This research began at the ASA sound art residency, offered by the British Council Institute and the Oi Futuro Cultural Center between 2018 and 2019, in Rio de Janeiro.
Fernanda Paixão is a master's student at the Federal University of the State of Rio de Janeiro and is part of the Contemporary Performative Practices research group. The performance has the collaboration of Bianca Tossato and Natália Carrera.
Epilepsy: Micropause Abuse
Noise and light music show where a dense wall of sounds, reminiscent of abstract black metal, is pierced by imperceptible pauses, at the threshold of perception, or just above it, tracing perceived or subliminal absences. To this are added flashes to complement, initially in synchrony, the micro pauses, indicating them and breaking the concentration in the darkness of the enclosure. First part of a set in which the second part would relate to the idea of artificial death, which would arise from the abuse of micro pauses. Both notions are drawn from the writings of the Ccru (Cybernetic Culture Research Unit), an interdisciplinary collective at the University of Warwick, 1997-2003.
Epilepsia is an experimental electronic music / noise / sound art duo formed in late 2012 by MC Mangusto (Henrique Iwao - laptop and light system) and Reverendo Lontra (J.-P. Caron - DX100, laptop, cymbals). Focused on exploring and integrating noise and light. Poetically allied with neo-gothic / cyberpunk / abstract black metal. Repertoire includes Death Raving (“delirious deaths”) – released on two albums, live (Toc Label, 2013) and studio (Seminal Records, 2018) – and the recent Micropause Abuse.
He performed in São Paulo (Ibrasotope, Hotel Galeria), Rio de Janeiro (Plano-B, Audio Rebel, apparatus) and Belo Horizonte (Georgette Zona Muda, Nelson Bordello, Titanic Cultural, Ponto 4) and participated in the festivals BHNoise 2013 and ExTre May 2018.
Mental Burnout n.1
“Mental Burnout No. 1” is a 15-minute sound performance, featuring an electric violin, voice with pedals and samples from field recordings. “Estafa” is made up of sampled sound territories that are deterritorialized and reconfigured at all times. This voice, speechless and sometimes adulterated (by the pedals), urges/roars its exhaustion. The violin is made like these human bodies that live, fail and resist until the last noise.
"Mental Stress n.1" presents how the sounds of our daily life invade our body, our mind, how they cross us and influence our gestures, our rhythm of life, our self-(lack of) control. “Mental Exhaustion n.1” emerged on intense days, when sounds, when entering my ears, amplified, gaining power over me. I tried to beat them, but they persisted. He took a deep breath amidst the tumult of noise. But they didn't give up on me.
Tera in trance
MARCELO B. CONTER & MARIO ARRUDA
IFRS / UFRGS
Tera em Transe is an electronic music performance that mixes in a single sound event beats and drones generated by state-of-the-art audio software with beats and drones generated by a Gatorra connected to a series of effects pedals. The tension between the extreme control of the digital coding and Gatorra's total lack of control with its analogue buttons develops an anxious and uncomfortable sound experience, representing the present time, a time of conflicts, of extremisms and radicalisms faced openly through precariousness. The effect is a disjunctive synthesis in which the future and the past meet, producing a dystopian and precarious-futuristic trance.
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