Year: 2006

 Alkaline is a sound composition partly based upon the rhetorical clichés of pop music, partly placed into the milieu of ‘contemporary music’. A strong relation to punk attitude could be sensed through the energetic level as well as the D.I.Y (do-it-yourself). Sometimes software and hardware is constructed by myself to maximize the possibilities for manipulation and to research a new sonic milieu. Spatial condition has a big influence to the concept of the work, both in the virtual and illusive domain, as in the environment of the listener.The sounds are produced with custom made virtual generators, home made electronics and effects, toys and field-recordings. 

ABOUT PAUL DEVENS´ SOUNDWORKThe work of Paul Devens (Maastricht, 1965) oscillates in between installation, video, sound, performance and architecture.

"The main focus of my work is generally a questioning of seemingly naturalized conceptions of the reality surrounding us. My attempt is to offer alternative models in opposition to the preconstructed models of understanding originating from commercial interests. In all my work the feeling of uncertainty and surprise provided by the unexpectedness of the situation is always a central element.Relocating and reinterpreting objects from popular culture (see for instance Moped 2) or minimal, almost invisible gestures (see Sunday or Coffee), I try to focus on an everyday reality that surrounds us at all times and that we tend to take for granted. I am especially interested in how this reality is communicated and in the codes contained in the structures through which it is communicated. This same interest is at the basis of my sound art, which can roughly be divided into installations and performances. The performances are live acts or concerts made from computer generated sounds, recordings and improvisations. I base these compositions upon musical figures taken from commercial pop music. By reinventing the sounds and the aesthetics we are used to, my attempt is, once again, to remove them from the symbolical and rhetorical clichés they are normally associated with. Varying in expression from dance to pure noise, my music freely moves from one aesthetical expression to another. The installations are architectonical constructions especially designed for the physical experience of sound (see for example Serials or Stena). Each installation has a specific soundtrack or composition, and the presence of the audience is integrated as part of the work."

07sotc1451, 07sotb1436, 07sose1482

The Passer-by Museum uses a didactic text and cassette to inform the potential donators of its philosophy and how it offers its services.

The Passerby Museum is an itinerant institution dedicated to presenting temporary exhibitions in different locations throughout the city. The museum draws its collection from donations from people like you, those who visit, work or live where it is in operation at any given time. The Passerby Museum serves as a physical marker, recording the presence of its collaborators in the neighborhood.

The museum is currently accepting donations for this site. We therefore encourage you to contribute to this in-progress exhibition with an object of your own. Anonymity of the donor will be preserved upon request. For inquiries and assistance, please see one of the members of our curatorial department. All of the objects donated will become the property of The Passerby Museum.

We thank you for your interest.

******

05intc3664, 05insc3663

Year: 2006 / Format: CD Audio Stereo / MURCIÉLAGO’s studio production in Bogotá, Colombia

 Interwoven sonorous images between Madrid and Bogota, between Spain and Columbia: sonorous features of both cities: bells, sirens, voices, murmurs; the Madrid metro and the anachronistic and nostalgic train that crosses Bogota, the Retiro park and the Simón Bolívar park, the markets of El Rastro and El Pasaje La Macarena; urban music, Galician bagpipes played in Madrid and coastal papayera bands on Bogota’s seventh street; the ocean that joins us, the Atlantic Ocean in Cadiz and the plane journey to Europe; the water fountain in Plaza Colon and the Andine downpours and thunder in  Bogota, urban waters and wild waters; cattle bells of sheep crossing Madrid and a  combination of music for voice and régale organ played in the El Retiro’s metro station with Amazonian fauna, leaf hoppers, cicadas, frogs, parrots, spider monkeys and the song of the native birds of Madrid.

Madrid - Bogota is a hybrid sonorous landscape, interwoven and set in the radial scene, freed from its geography and causal events. Acousmatic and radiophonic listening of sonorous cultural images, of common geophonies. This phonographic and radiophonic piece conjures reflections on La Radia of the futurist poet Tomasso Marinetti, as a brief homage to the Drama of Distances.

07sotb1435, 07sotc1449, 07sose1481

CREDITS AND TECHNICAL DATASoundwork by: DAVID W. HALSELLTitle: FunkenspielFormat: stereoLength: 3:57, 3:41, 2:02 min Year: 1995

SOUNDWORK

DESCRIPTIONFunkenspiel is a noise/music composition consisting entirely of recordings of shortwave radio, spacecraft transmissions, and atmospheric phenomena. At times both ethereal and unsettling, Funkenspiel includes repetitive rhythms, bursts of noise, and undulating radio static. A prominent feature in the source material is the use of “number stations”– repetitious coded vocal messages of unidentified origin, transmitted via shortwave bands (see the Conet Project at http://www.irdial.com/conet.htm) These broadcasts are supposed covert transmissions by various state intelligence agencies to field operatives.

Natural and man-made radio waves envelope us constantly, generating variable definitions and meaning of what is signal and what is noise. Funkenspiel thematically considers the politics of control in information transmission, the interplay and significance of noise in a sonic environment, and the metaphorical implications of the body/voice being awash in a constant flow of encoded information in radio signals.

The title of the work is a variation on “funkspiel” (radio-play), a technique used in WWII by both German and Russian forces in which foreign agents and transmitters were manipulated into treasonous activities; “funkenspiel” can be translated literally as transmitter-play or spark-play.

07sotb1431, 07sotc1441, 07sose1475

07disb1612

Accompanying voices: Amaury Pacheco and David Escalona

Sonorous poem dedicated to Clara Gari, multidisciplinary artist and scholar of contemporary visual and sonorous art, established in Barcelona.

According to the different critics, it is a poem that falls within the tradition of Spanish, South American and Cuban Experimental Sonorous Poetry. It also merges the vocal interpretation of jazz with Cuban percussion and other rhythms. Beyond this, it is a poem that has been warmly accepted both inside and outside the circle of experts. It holds an international language and has been interpreted on stages with up to 3.000 spectators of different languages, always with much interaction from the public.

Jazz Poem is part of the experimental poetic-sonorous CD Alamar Express created by OMNI-ZONAFRANCA, of the Alamar City, Cuba and, financed by the Spanish Agency for International Co-operation.

Poema jazz (transcription)

Clara tacapuru tucuturu tacapazClara tacapuru tucuturu tacapazClaratacapurutucuturutacapaz                                           Claratacapuru-tucuturutacapazClaratacupuru-tu-cu-tu-ru-tacapazClaratacapurutucuturutacapazTacatatapusTacatatapusTaca ta ta pusTa ca ta ta pus pus pusssPuspurutucuturu         puspurutucuturuClaratacapus      claracatapusClaracatapus      claratacapus  pus  pus  pusPús/purutucuturu         pús/pusrutucutúPúspuru  púspuru   púspuru-tucuturuPuspurutucuturuPúspuru/tucuturuPúspuru/tucuturuPúspuru/tucuturu-tacapazPúspuru/tucuturu-tacapazTacapaz     catapazCatapaz      tacapaz-tacapuru                   Tacapaz-tacapuru                   Tacapaz-tacapuru                   Tacapaz-tacapuru                    Tacapaz-tacapuru-tacapazzzzzzz                    tacapurutacapaz                     taca-ta-ta-pus                    táca/tatátacapaz   tacapaz   tacapaz-tacapurutacapuru  tucuturu  tacapazta ca pu ru tu cu tu ru ta ca pazta ca pu rutucurutacapaztacapurutucuturutacapaz

clara tacapuru        clara tucaparuclara tacapuru        clara tucaparuclara tacapuru         tucuturutacapaz                                              tucuturutacapaz                                                            tucuturutacapaz

¡Clara!

07sotb1434, 07sotc1446, 07sose1480

07disb1611

Format: 2-channel binaural audio

A sound work made in the city-spaces of Melbourne, Australia. We follow a series of Africans who are now living in Melbourne, inhabiting their listening perspectives as they sing and move about the city. Our starting point is Elizabeth Street, a major transport node.

Reiterations was commissioned as part of +Plus Factors, a series of exhibitions curated by Australian Centre for Contemporary Art for the Melbourne 2006 Commonwealth Games.

Reiterations are things that are said or done again - but not always in the same way, in the same place. A reiteration can be a repetition with difference.

Voices: Mmapelo Malatji (Botswana), Habib Chanzi (Tanzania), Zweli Tlhabane (Swaziland), Carlos Panguana (Mozambique), Francess Kalon (Sierra Leone), Valanga Khoza (South Africa), Prisca Cradick (Kenya)

The following is an extract from Juliana Engberg, Artistic Director, ACCA.

'My chicken is missing', essay for the +Plus Factors exhibition catalogue, Australian Centre for Contemporary Art, 2006 (www.accaonline.org.au/plusfactors)

'Certain sounds are unique to places. However, world cities have increasingly become a medley of sounds. A sort of acoustic mélange of everywhere and nowhere: the ambient equivalent of Marc Agué’s non-places. The same hip-hop songs hurl themselves out at you from the same chain stores, whether you are in London or LA, Changi or Moscow. The same bing-bongs announce security alerts, hot specials and transit information...

Sonia Leber and David Chesworth use this urban polyphony of sounds as a membrane through which the singular sound of the embodied voice must push and pass its way; as a kind of landscape of the generic, surrounding the story of the specific.

Leber and Chesworth’s Reiterations (Elizabeth Street) is a sampled, then produced sound-space of recorded sounds that are unmistakably urban and general: loud speakers, train horns, guitar riffs, squeaky sounds, walking, hubbub, chatter (school girls, shop keepers…), voices, car horns, throaty motorbikes...

Leber and Chesworth’s sounds are grabbed from the urban bustle of Elizabeth Street, Melbourne, a typical ‘transit’ zone of the city, with its convenience stores and Chem-marts, take-outs and mobile outlets, luggage shops and bookstores, sports retailers, pubs and hair salons. Elizabeth Street is a place of particular intersection for inter-urban travellers who use the Western, and North Western tram lines that stretch out to, and bring people in from, the suburbs of Maribyrnong, Essendon, Coburg, and Airport West. Places which, over the past few years have become the cluster suburbs for immigrants, mostly refugees, from the African countries of Zambia, Nigeria, Botswana, Tanzania, Swaziland, Mozambique, Kenya, South Africa and Sierra Leone.

Into this hub of urban noise Leber and Chesworth have sent their individual travellers to walk and sing their way through the city. Songs that once described the pulverising of corn, or the happy return of mothers from the field, or the disappearance of a chicken from the village; lullabies, love songs and laments; songs of marriage and loss enter into the urban village of Melbourne through the power of voice and breath made round and cogent in the drum of the body.

Unlike the city’s urban sounds with their artificial veneer, these African voices seem authentic and exuberant – resonant and strong. The rhythm of the voice is matched to the tempo of the walking along the street, which makes the respiration of the singer seem percussive and urgent. This sense of urgency perhaps represents the larger struggle that accompanies the condition of those caught up in the diaspora, and the reserve of strength it takes to enter a new place and space while keeping a cultural memory and life intact...

These are grounded, earthy voices with feet and legs, and arms and bodies, and chests with air pumping. These are private voices made public. For most people music is generally internalised, either in their memory repertoire, or from their iPods, to assist them to individuate amidst the generalised, conglomerated experience of life in the fast lane.'

07sotb1437, 07sitc1452, 07sose1484

07disb1610

07disb1609

YEAR: 2007

 Reflexión Estética is a joint project between the hip hop artist Dano and the plastic artist Avelino Sala. It is a reflection on the world of contemporary art in the shape of a hip hop song – an association of two realities that coexist in the city-. The discourse is based on certain truths about the art establishment. The lyrics were written by both artists and Dano subsequently added the music. The structure of the song follows a classic hip hop theme. The lyrics are: Reflexión Estética¿Qué es el arte? ¿Alma e inspiración fluyendo por un río……en el jardín de un rico que parte y reparte?¿Y para el artista “(h)el-arte” es morirse de frío……y a veces de hambre?Pero espera, ¿qué es “artista”? ¿Lo sabes? Por supuesto…Cualquiera crea un “-ismo” de sí mismo y ya te ha expuesto,y se esconde tras su puesto para obviar lo pre-supuesto,dime qué queda de tu arte si le quito el presupuesto…Nada… No dispara tu Minolta,concepto negativo, sin luz, “gris” como Travolta…A la cola como miles de patéticos serviles,de esos mercenarios viles seudo-artistas son escoltas…Su alma por un precio módico;“revelación” por felación a crítico en periódico,y dime ¿duermes tranquilo? ¿Es puro el aire que respiras?Si eres reo de un museo que comercia con mentiras…

“Menos es más”, lo dijo Van Der Rohey no vemos la paz, el oro les corroey yo vengo de atrás a mantener la guardia;ricos neo-rebeldes no equivalen a vanguardias…Citas innecesarias, aluden a lo sacropara hacer de la nada un macro, es un simulacrode un mundo en tonos ocres: ¿”político de turnoe intelectual mediocre”? No me trago ese teatro…Fotos, fiestas y cócteles, ¿y tú crees que el importe lesimporta lo más mínimo si mínimo caen dos de tres?Vamos, haz las cuentas, socio,y dime si montar una bienal no es un negocio…Vampiros del sentido, actúan en sinestesia;al bolsillo por el ojo solo con “arte-anestesia”y la galería es su iglesia... Preguntas ¿por qué siguen?Si las putas que ahí exponen lloran, tragan y sonríen…

Dano… Avelino Sala… ¿Esto es Arte o no es Arte?

08sotb2069, 08sotc2081, 08sose2129

07disb1607

Visualizamos la obra de John Daley, hablamos del proyecto artitsico de Susanne Bosch, presentamos el colectivo Mano de Santo, mostramos un dosier sonoro sobre Israel y nos introducimos en el DA2 de Salamanca. (03/01/10)

09-10disb3151

FORMAT: AIFFYEAR: 2007

 Using the city as the generation source of noises, I use contact microphones to record and document different sonorous surfaces and objects in the city. The sounds presented are recordings of different, ordinary urban objects – water fountains, pipes, sand, water and glass windows – where specific frequencies have been eliminated or intensified, emphasising those that would otherwise be hardly detectable.

This work offers the listener a different experience of the city and its everyday noises, as an auditory chaotic space, creating sounds that generate a space for greater contemplation.

08sotb2070, 08sotc2083, 08sose2130

Nos acercaremos a conocer la obra del fotógrafo francés Antoine D'agata. Entraremos en el Espacio Emergente creado por Unicaja en Málaga. Hablaremos con la artista Gloria Martín. En Rotterdam nos encontraremos con Lara Almarcegui. Exploramos las de Redes de Arte. En páginas centrales realizaremos un primer acercamiento a la realidad de la Electrónica Suramericana y en portada escuchamos lo nuevo de Komatsu (28/02/10).

09-10disb3150

FORMAT: MONO LENGTH: 7:25 MIN

 Exploring the myth of the Goddess Durga and the festival of Durga Puja, the most important Hindu festival for Bengalis, the 16 offerings are made makes use of the structure of the myth as recorded in the Hindu scriptures and the Hindu puja (prayer) ceremony to explore the nature of my heritage as a Bengali Canadian.

This piece was created while artist in residence at Toronto's Deep Wireless Festival of Radio Art (http://naisa.ca).  It was co-commissioned by and premiered on CBC Radio's documentary radio program Outfront (http://cbc.ca/outfront) and produced by Laurence Stevenson.  The artist would like to thank these institutions and individuals for making the creation of this piece possible.

08sotc2085, 08sotb2071, 08soe2131

LaLiBéluLa contará con la presencia en esencia de Felipe Zapico autor del poemario Litros de versos... Jorge Díez cerrará el ciclo de Madrid Abierto con la pieza Madrid breathing, de la alemana Gloria Zein, y escuchará la palabra, las voces y el espíritu de Bertrand Russel, Gustavo Iglesias, José Manuel Sebastián, Gustavo Adolfo Bautista, Kike Babas... y Orlando Zapata. Y suenan: Backfire Band-Wise in time-The ballad of Den the Men,Sing when you're happy-Sunday Drivers-Tiny Telephone,I'm an alcoholic-Dent May & his magnificent ukelele-The Good Feeling Music of Dent May & his magnificent ukulele,Five Bottles Mambo-Yma Sumac-Mambo!,Ahora que veo salir el sol-Deicidas,Sara-Deicidas,¿Qué han hecho contigo?-Deicidas,Moderno de cartón piedra-Deicidas,No me gusta el rock-La Romántica Banda Local-Todas sus grabaciones, Nuestra jerga-Kike Suárez & La desbandada-Carta blanca (26/02/10).

09-10disb3149

 FORMAT: STEREO

 This piece is based on the situation of immigrants: how they feel when they arrive in a new country, their positive and/or negative experiences, their concerns, etc. There are references to emblematic places in Madrid where people of different nationalities coexist. The sound envelops different voices that appear and disappear, creating an atmosphere that reflects the rarefied atmosphere of cities, very often, mysterious and incomprehensible.

08sotb2072, 08sotc2087, 08sose2132

Hoy tenía intención de repasar con LaLiBéluLa de Radio3 una novedad discográfica que me ha dejado patidifuso... una producción de lujo, músicos excepcionales, unas canciones pegadizas y con mensaje, un sonido excepcional de una banda cuyo nombre no he conseguido retener, y no porque fuese extranjero, que yo juraría que no, sencillamente es que no se me ha quedado... además se me ha olvidado traer el disco, o sea que... bueno, pues escucharemos otras tonadas de... de otros artistas, leeremos algunos fragmentos seleccionados...y no sé si me dejo algo en el tintero...LaLiBéLuLa de Radio3 contará con las Memorias de un amnésico ( Memoirs of an amnesiac), una obra de arte sonoro que firma Mathew Verdon y que nos presentará desde Madrid Abierto Jorge Díez... Además contaremos con la palabra y las voces de Fermín Herrero, Pedro Guerra, Ángel González, Jorge Luis Borges, José Emilio Pacheco...(24/02/10).

09-10disb3147

El material que da origen a la composición son grabaciones históricas realizadas en cilindros de cera (en alemán, “Walze”) procedentes del archivo del Museo Etnológico de Berlín. La grabación original se realizó a principios del pasado siglo.

Procesé los sonidos y los ruidos del cilindro de cera utilizando un ordenador y combinándolos para formar una nueva composición. Me interesaba la interacción de la “memoria” grabada, la imaginación (¿quién cantaba/interpretaba el qué, dónde y por qué?) y la desintegración de la información a causa del material (ruido de fondo, fallos técnicos, descomposición), el desvanecimiento de los contextos semióticos, y, por último, mi proceso electrónico. Mi método consistía en contrastar e integrar el sonido de los cilindros de cera y el contenido de audio que soportaban.

La grabación y el almacenamiento de “información de audio” irrelevante me hizo sentir curiosidad y me inspiró para trabajar con el material. Al igual que la viejas fotografías que pierden claridad lentamente, la “información de audio” desaparece o cambia, bien por la descomposición del medio o, en el nivel semiótico, por la ignorancia del oyente que, cuanto más viejo se hace el material, sólo puede imaginar cómo pensó o vivió la persona cuya canción o música se interpretan póstumamente.

En su ensayo Die helle Kammer (título inglés: Camera Lucida) Roland Barthes describe la situación paradójica que se da en la coincidencia del pasado y el presente, y que tiene lugar cuando se contemplan fotos antiguas. Un efecto similar se consigue a través de la reproducción sonora renovada de voces grabadas procedentes del pasado. Naturalmente, esto es cierto de cualquier grabación, pero se intensifica por la antigüedad de las grabaciones realizadas en cilindros de cera. Después de todo, es probable que todas las personas que crearon la música estén muertas. La impresión de una época pasada se ve incrementada por rastros técnicos como crujidos, susurros, etc., comparables al cambio de colores, los pliegues, los arañazos y las manchas de las viejas fotografías.

Acerca de la colección del Museo Etnológico:A finales del siglo XIX, Thomas Alva Edison patentó el fonógrafo e hizo posible por primera vez la grabación y la reproducción de sonidos. Utilizando un embudo, las ondas sonoras se recogían y – como en los discos de vinilo – quedaban grabadas en un cilindro giratorio de cera por medio de una aguja que estaba fija en una membrana.La colección del Museo Etnológico de Berlín comprende treinta mil cilindros de cera que se almacenan en el sótano del museo. Aquí pueden hallarse de nuevo desde 1993 ya que permanecieron perdidos durante casi cincuenta años en la URSS y en la República Democrática Alemana.Muchos de los cilindros se rompieron durante el transcurso del tiempo o se deformaron o, por otros motivos, resultaron irreproducibles, y en su mayor parte el índice de contenidos brinda escasa información.El museo ha publicado – por desgracia sólo unos pocos – discos compactos que contienen las grabaciones fonográficas, en las que, sin embargo, el ruido de fondo de los ruidosos cilindros se redujo cuanto fue posible. En mi labor de proceso, sólo utilicé grabaciones directas con todos los ruidos técnicos, errores, susurros, etc.

08sotb2073, 08sotc2088, 08sose2133

Hoy los ojos multifacetados de nuestra anisóptera dirigen la mirada lejos, al último horizonte, porque le ha entrado una duda... ¿Qué habrá al otro lado de las montañas?... Supone LaLiBéLuLa que ese microcosmos intuido a modo de otro mundo mejor es posible, es algo más que una utopía, porque cualquier vida distinta a la nuestra nos enriquece, nos cubre de colores distintos y nos hace crecer... Por eso hoy nos acompañan Leticia Audibert, el mismísimo Alvaro Cunqueiro y ya en las Tierras Altas de la península Ibérica, con versos editados por Hiperión, el poeta castellano Fermín Herrero (19/02/10).

09-10disb3146

 The source material of the composition are historical recordings made on wax cylinders (German: “Walze”) from the archive of the Ethnologic Museum in Berlin. The original recording was made at the beginning of the last century.

I processed the sounds and noises of the wax cylinder using a computer and combining them to a new composition. I was interested in the interplay of recorded “memory”, imagination (who sang/played what where and why?) and the disintegration of the information by the material (background noise, technical faults, decay), the fading of semiotic contexts and lastly in my electronic processing. My method was to contrast and integrate the sound of the wax cylinders and the transported audio content.

The recording and storing of immaterial “audio information” made me curious and inspired me to work with the material. Like old photographs that slowly fade, the “audio information” disappears or changes either by decay of the medium or on the semiotic level by the ignorance of the listener who, the older the material becomes, only can imagine how the person whose song or music is played posthumously, thought or lived.

In his essay Die helle Kammer (English title: Camera Lucida) Roland Barthes describes the paradox situation in the coincidence of past and present which takes place when looking at old photos. A similar effect is achieved through the renewed sounding of recorded voices from the past. Of course this holds true with any recording, but is intensified by the old age of the wax cylinder recordings, after all it is likely that all the people that created the music are dead. The impression of times past is increased bytechnical traces crackling, rustling, etc. comparable to the changing of colours, folds, scratches and spots on old photographs.

About Ethnological Museum‘s collection:At the end of the 19th century Thomas Alva Edison patented the phonograph and for the first time, made it possible to record sounds and replay them. Using a funnel the sound waves were recorded and – like with vinyl records – engraved in a turning wax cylinder by a needle fastened on a membrane.The collection of the Ethnological Museum in Berlin encompasses 30 000 wax cylinders which are stored in the museum‘s cellar. They can be found here again since 1993 as they were lost for almost 50 years in the USSR and the German Democratic Republic.Many of the cylinders cracked during the course of time, or molded or became otherwise unplayable, and the table of contents mostly gives but sparse information.The museum released – unfortunately only few – CDs contains the phonograph recordings, on which however the background noise on loud cylinders was reduced as far as possible. For my processing I only used direct recordings with all the technical noises, mistakes, rustling, etc.

08sotb2073, 08sotc2089, 08sose2133

Hay quienes parecen señalados por el dedo de un destino infausto, quienes sufrieron la pesadilla en sus carnes y no pudieron ni elegir dejar de ver... pero hasta en esos casos, tras las penalidades, las miserias, tras el dolor que deja la derrota, queda siempre un resquicio para la esperanza, para un último aliento que nos lleve a hacerle una higa al Hado y al Estado, a poner los ideales a buen recaudo y firmar con orgullo la autoría de nuestra vida. LaLiBéLuLa de Radio3 contará con la presencia en esencia del escritor Antonio Altarriba, co-autor junto al dibujante Kim de El arte de volar. Además sonarán la palabra y las voces de Oliverio Girondo, Carlos Faraco y el diario sonoro de Hernani Villaseñor Ramírez que traerá Jorge Díez desde Madrid Abierto (18/02/10).

09-10disb3145

La libélula - Madrid Abierto: Jorge Díez - 04 Febrero 2010

La capacidad de evocación que posee el espectro sonoro es asombrosa... es, hasta que la realidad virtual imponga su hegemonía, el único ámbito en el cual, a ojos cerrados, podemos vivir cualquier situación. 'A ojos cerrados' he dicho, y no es casualidad porque precisamente hoy LaLiBéLuLa de Radio3 va a visitar la muestra Madrid Abierto, un festival internacional de arte público e intervenciones cuya programación de Arte Sonoro desentrañaremos con la ayuda de su director Jorge Díez... Así, a través del éter del sonido, llegaremos a lugares resonantes, a momentos de palpitante emoción, a vorágines ruidistas como las que azotan el páramo radioeléctrico... y esto sólo es el principio... Va a ser éste un febrero loco, abierto al foro desde la pequeña poza, desde este estanque tan indicado para disfrutar de un buen retiro. Para este planeo a ras de superficie LaLiBéLuLa de Radio3 contará con la presencia del citado Jorge Díez, y con la palabra...

09-10disb3144

FORMAT: : MULTI-CHANNEL SOUND INSTALLATION / NEW YORK (USA) YEAR: 2007 PARTICIPATING MUSICIANS: JOSHUA CAMP- ACCORDION, ANDY COTTON- UPRIGHT BASS KATHLEEN EDWARDS- VIOLIN BEN GERSTEIN- TROMBONE MICHAEL HEARST- THEREMIN, KURT HOFFMAN- CLARINET BEN HOLMES- TRUMPET, MEG REICHARDT- BANJO PEI-YAO WANG- PIANO

 Arnold Schoenberg famously quipped, "My music is not really modern, just badly played." My piece, The Broken Orchestra, metamorphoses his complaint into a guiding principle, imposing a musical procedure designed to reduce the proficiency of professional musicians to a primitive state, in the interests of effecting musical discoveries.

A group of musicians on various instruments are asked individually to recreate the sounds found on an old cassette recording of Bach's Ave Maria as performed by my brother on violin and me on piano when we were youngsters living in Taiwan.

The original recording is characterized by its youthful performers' wobbliness, and a significant about of extra-musical ambience: my 3 year-old sister's giggling, my scolding of her, and so on. The participating musicians' personal memories might be summoned by having to imitate the childish quality and recall the times where they were still fumbling the instruments and learning what music could possibly mean to them. Their musical sensibilities might be challenged by having to respond to this universally known tune in this imperfect and distorted form.  As each re-creation is made, the musical qualities translate through each participant's memories and their own interpretation of a form of musical simplicity.

The result of the experimentation was originally a multi-channel sound installation consisting of the original recording layered with each re-recreation in separate speakers played back in loop. For Madrid Abierto, I made a stereo mix from the original format.

08sotb2074,  08sotc2091, 08sose2134

08disb2248

08disb2247

FORMAT: CD / AIFFYEAR: 2003

Language is a stereophonic sound structure composed for seven vocalists (none of whom are using their vocal cords).

Josh Goldman is a composer / improviser / guitarist / educator who resides in the United States. He composes / improvises / performs music, using acoustic and electronic sources, for various ensembles and settings. Much of his music combines sound and visual elements (film / video / various installation spaces).

His compositions and performances have been heard and awarded internationally. Mr. Goldman holds degrees from New England Conservatory of Music (BM in music performance) and Brooklyn College, CUNY (MM in music composition). Currently, he is pursuing a doctoral degree in music composition at the University of Cincinnati College-Conservatory of Music (CCM).

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FORMAT: WAV 44.100 HZ. / 16 BITS

The timbre of the voice, its breaking, fragmentation, hidden melodies, internal life and, once again, the voice.

 Constructed using a recorded text, subsequently processed with proliferation and granular synthesis systems to obtain timbre textures and polyphonies.

All the sounds that intervene in the work have been obtained from processing the voice recording which, in turn, appears in the work as a linear discourse.

The tensions between the recited text and the manipulated text establish an agonising and direct relationship between the literary image, the verbal message and the timbre play that engulfs it. From a sonorous point of view, it is all destroyed and reconstructed, just as it happens in the textual message.

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YEAR: 2007

Those who fail to re-read are obliged to read the same story everywhere. Roland Barthes, S/Z.

Rethe is a sonorous piece based on re-reading (in English and Portuguese) different poems by Vito Acconci giving shape to an interlacing of sounds. The base of the structure of the work is the poem RE: a poem that causes the spacialisation of the words on the page as well as the location of different verbal positions. Between the parentheses of this poem, inserted in the spaces, sections of other poems come into play in the composition, changing the intensity and deconstruction of the original linearity of the poems in the position of the audio output. These sections have been removed from the poems Contented, Four pages, Twelve minutes and two untitled others. The name rethe already reveals the game of the work: rethe can be read as read and it is also the inversion of the re. Rethe is a litany that envelops the listener and, without being able to clearly distinguish all the words and numbers, moments of overlap are created through which the sonorous space becomes quite dense.

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The railway station of the city of Utrecht, Netherland, is the most busy and central in the Netherlands.  

The railwaystation has 20 platforms, from 16 of these, passengertrains stop and leave at fixed times.

We have set out these 16 platforms on a card, used for composing for music boxes. (The instrument is played by turning a wheel, that pulls through the card. Holes cut in the card make the instrument play corresponding pitched notes). So every platform has its own fixed note. Then we punched the departure times for each platform out of the paper; one bar representing one hour. So 24 bars for one day.

The mp3-file attached is the result played by hand on the music box. Surprisingly, the squeeky sound of the instrument itself, and the resulting score, have very much the resemblance of a train leaving, accellerating, and stopping again.

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FORMAT: AIFF

Electroschotis is an electro-acoustic remake of a Schotis with Flamenco elements. It was conceived – among other acousmatic uses – for being amplified through loudspeakers in minaret style in strategic points of the city at dawn, nightfall and midday Fridays. It represents an alternative call (although not exclusive) to the religious call (traditionally in the form of a bell or Adhan) as an invocation to social and racial integration, as well as to civic mindedness and lost hope.

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 Inspired by being present in the moment, the sound around us and intrinsic sound within us, the essence of immateriality and reality is brought together to express that the immaterial is creation of reality and that reality is creation of the immaterial.

The titel expresses T’ai Chi: opposites come from unity and merge as one, something of the one is hidden in the other. Therefore the rotation symmetry and the dynamic interaction of polarities implies continuous cyclic movement and transformation.

The Soundscape composition is made by working with ‘real’ environmental sounds to create a new acoustic ‘virtual’ world. The concept of movement and transformation is expressed through the use of motion related and transit related sounds.

By taking environmental sounds from the natural and the mechanical world out of their context, a new unique space that exists only in sound is created. Immatereality is about the stages, motions and transformations in the realization of creation.

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 Madrid breathing is a pulsatile composition entirely based on the sound of her breath, which has been digitally modified and arranged like a piece of music.She has conceived of the project for the radio. Her aim is to have it played in as many cities worldwide as possible.

The 'breathing' project is the idea of a collective, large-scale happening, in which all inhabitants of Madrid can participate. Right before transmission, the radio-audience should be asked to open their windows and project the sound onto the street. Passing pedestrians will perceive the sound emerging from the surrounding buildings as if the architecture itself reflected the rhythm of life.

At night, acoustic signals seem louder than during daytime. Nocturnal temperature inversions make sound travel further as it is reflected off the upper inversion layer. Also, general noise emission decreases and single sounds can be more easily distinguished. Late at night, as traffic slows down and most birds hushed, we perceive the nightly-active animals and the human society with its nocturnal noises: a single car passing by, music pouring out of bars and clubs, dialogue-bits, sounds of radio and TV, someone snoring or the neighbours making love.At other times or places, there are detonations – flight-bombers tend to circulate by night. Windows are broken, books or religious centres burned. With the help of fire and electricity the humans have become horribly inventive concerning their nocturnal activities.

Sometimes, the air finally seems still – and the individual finds himself alone.Now imagine, you were walking through Madrid at night and the buildings started to breath softly.

The composition was created in collaboration with sound engineer Eric B. Barr.

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Format: Acusmática

 This piece was created in 2008 by field recordings made in the cities of Morelia and Mexico DF, recordings that took place in the sonic environment of the composer and that, at the same time, were registered in a logbook with the date and place of each recording. In a similar process to that of using a diary but instead of writing down the events, here they appear in a sound format.

Diario Sonoro recollects sounds from open and intimate spaces that the composer inhabits, listening situations that submerge us in different environments through fragments of sound, natural and processed, in a discourse that does not have a determined order. It simply opens up small windows of sound mixed in such a way that they offer a structure in which the piece is moving from one atmosphere to another. From calm to tense, in which metallic sounds mixed together offer a new dimension and color to the textures of sound.

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 This piece is made of two individual sounds .The squeaking sound of the hinge of a door when closing slowly and the metallic sound of a Phillip Stark lemon squeezer being hit with a spoon. Thanks to possibilities enabled by software (fundamentally by Ableton Live 6.0) these two sounds have been processed with effects, loops, editions and partitions, until musical elements have been extracted: rhythms, melodies, bass lines, cushions, etc.

The inspiration for this piece is inevitably provided by the two Pierres, pioneers of concrete music: Schaeffer and Henry, but also keepers of this musical legacy such as Luc Ferrari or Francisco López, from these saviours of concrete music to more hedonistic results such as Matmos or Herbert and, of course, masters of modern electronic as Autreche or Pan sonic. The final aspiration of this piece is the sublimation of concrete music towards a more enjoyable result from a musical and melodious point of view, without having to bear in mind the conceptual element of the work, this is, the concrete origin of sounds.

To sum up; this piece may be enjoyed in two different ways: praising its essence as concrete music (lets not forget that the only sources of sound are a door and a squeezer) or, passing this by and concentrating only on the final result, enjoying what is heard by the ear and, not as much, what is suggested to the informed intellect, this is, a musical piece which is constructed with shocking textures, having an electronic aroma and with a relevant danceable element to it.

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 The sounds of a tramway, the calls of the night watchman, the sound of music in the public space, bells, cars, these are some of the sounds that build up the aural memory of the Lavapiés neighborhood. A series of interviews arranged with people that were born or have lived in the neighborhood for a long period of time where the stepping stone to develop Lavapiés Chipén: Sonic memory of a neighborhood.

The field work that we have referred to above was intermingled with audio recordings, when possible, of the concrete sounds, events and/or places mentioned by those interviewed as well as others which were detected by the composers themselves (to these recordings, others, belonging to the www.madridsoundscape.org online project were added).

This current project was conceived while considering environmental sounds and the aural element as a highly valuable mode of representation and means to obtain knowledge.

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 The recording is based on a quote written by avant-garde composer Erik Satie, taken from his collection of writings titled Memoirs of an Amnesiac. The full quote describes a typical day in his somewhat eccentric lifestyle. The text, spoken by the artist, is repeated eight times with every second word removed from each reading. This applies a reductive strategy to the text, where it gets progressively shortened until eventually only the first sentence remains. A feeling of dissonance is created, where the logical expression of language is disrupted, resulting in a mixture of sense and nonsense, seriousness and humour. The seemingly disconnected words are read at a steady pace in a monotone voice, where they function like the beat of a metronome, a device used to regulate the pace of music.

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 This audio collage mixes printing press rhythms and spoken word with interview scraps that would usually be edited out of a journalistic radio segment, including material that draws attention to the technical and interpersonal machinations of reporting. It's a behind-the-scenes view of journalism, which is a process of editing and selecting, rather than transmitting a complete record to the public.

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Format: AIFF 16 bits

 In early July, the saxophonist Stéphan Rives came from his home in Beirut to record with the artists at his studio in Madrid. When they were about to listen to the result, a truck stopped in front of his window and its occupants started to open up the street with a pneumatic hammer. It was impossible to listen to the music, so he took his portable recording system and went out in the street to record the roar of something that has become distinctive of this town and court: the public works.

In one occasion, Leo Steinberg talked about Robert Rauschenberg saying that he had “invented, most of all… a pictorial landscape that opened up, once again, the doors of the world, not those of the Renaissance man that tries to find out the weather by peeping out the window, but the world of men who turn buttons around to listen to a recorded message, “ten per cent of probability of rainfall tonight”, an electronic transmission coming out of some cabin without windows”.

In this present piece, a product of so much peeping out the window and turning buttons around, the artist exclusively work with the sounds I recorded on that hot day of July in front of his studio, manipulating them, altering them, rearranging them, putting them out of their original context, and, in general, exposing them to a series of techniques to create a work made out of sounds of work. It is a “piece conceived as the image of an image”, as Steinberg said about Warhol’s work. Because the sounds assume their identity not only as the noises of public works, but as recorded sounds, used in a “manner that will assure it won’t just be the direct presentation of a world space, but will admit any experience as material for representation”.

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Format: WAV.-FILE (stereo, 44kHZ) / Year: 2005 / Place of audio recording: Ghent and BrusselsVoiceovers: Tourists: American, British, French, Spanish, Portuguese, Dutch (Belgium + Holland), Danish, Swedish, Russian, Slovenian, Japanese, Chinese, German, Italian, etc...

 These days, reflections on the future generally dwell on a commercial or global economic context. The extent to which various cities present themselves, on an innovative and globally competitive scale, on the Internet via PowerPoint presentations serves to illustrate this statement.

The starting point in Insert the name of the city (here) is the fact that each of these PowerPoint presentations consists of the same topics and structure (slogan + standard background + logo). The tourism and city marketing sector uses the same worn-out phrases all over the world to speak about the qualities and advantages of cities.

In the sound work the apparently naive and utmost dogmatic technique becomes even more dubious as the catch phrases of the compiled PowerPoint presentation are being read aloud by a series of tourists. As the pages of this compiled presentation stay behind, this sound work also focuses on the feeling of doubt and uncertainty that surrounds these ‘interpreting’ voices.

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 Year: 2005 / Format:  CD audio

My sonorous work is called Am I walking. The idea is simple. I took an md-player and a stereo microphone with me to have a walk. For about 45 minutes, I wandered around the city of Tampere and recorded everything. Afterwards, I listened to my trip and was amazed how many unidentifiable and obscure sounds there were. Removing a sound or an ambience from its context is revealing: even sounds that are perceived as routine or even banal have a surprising and an interesting side. When I listened to the recording, I noticed lots of interesting sounds, almost like drum beats and instruments playing, so I decided to make music with those sounds (cars, people, sliding doors etc.). The main idea was to create scenarios where everyday sounds begin to turn into music. Street beats. I came up with three beats and put them together. So every sound that you hear on Am I walking are from that 45 minute walkabout, from the moment I shut my door to the moment I came back.

I used a minidisc recorder and a stereo microphone to record the whole thing. After that I used Boss br-1180 ten track hard disc recorder and a Boss sp 505 sampler to bring the whole thing together. I tried to keep the sounds quite original and avoided unnecessary effects and processing. Am I walking is a very interesting description of everyday sounds when they start taking over your brains!

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FORMAT: LOOP/ CD I YEAR: 2005-2007

 ‘"The end result of complete cellular representation is cancer"William S. Burroughs Naked Lunch 134

hair+spit v1.0 is a war broadcast. It is first piece taken from over 17 hours of actual sound recordings of chemotherapy treatment. The sound of the drugs, blood transfusions, hydration treatments and food supplements entering the body.

In the summer of 2005, I sat beside my son, Piers, in Ward 10. He had cancer. These are moments of complete helplessness; you are not part of the rest of the world. You feel lonely in the realisation he is lonely; you are always alone in great pain wherever that pain originates and for nearly two months he hardly spoke or smiled. He has now fully recovered.

Chemotherapy is a form of warfare; a well planned and sustained war of attrition against any abnormal and uncontrolled cell division causing cancerous tumours. Like any successful battle plan it requires meticulous planning, execution and of course, luck. Like any war, there are many casualties suffered other than intended targets. Collateral damage within the body is widespread. Severely reduced is the hair and saliva production within the body due to the destruction of those dividing cells; it decimates the immune system.

In a small totally blacked out space, an immersive sonic environment, I want to put the audience somewhere in the position I was; in a children’s oncology ward in the dead of night with the faint sound of the infusion pump which had the unsettling psychological effect of slowly increasing in volume until it was all I could hear. This is, in media terms, within the realm of a war broadcast, a ‘scaling up’ as opposed to obvious ‘scaling down’ effect we normally experience.

hair+spit v1.0 is both a real document and an artistic corporeal investigation through a lonely virulent sound of mutation and war.

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Once, when I returned from… returned from Germany.. with… I got a cab in the airport with my then boyfriend, from Germany, we talked German all the time and the taxi driver thought we were foreigners and he took us on a tour around Madrid…

2 people speaking in German – man and woman (very low, in the backseat)

so, instead of taking us directly to the address that I had given in a direct manner, he drove around making outrages circles, no, because he thought that we were foreigners and couldn’t tell…

Taxi driver tells me the price of the trip in pesetas, very loud

When I return to Madrid I always… get goose bumps… (positive, thoughtful)

Most of all when I’m the area of Puerta del Sol.

Sound when entering the sol subway station – air vent? – lottery sellers

Puerta del Sol has a lot to do with me, most of all the subway station… each time, each time I come back to Madrid, the smell of the subway, which is something, that I think only exists in Madrid… that smell of paper… it’s a bit like the newspaper smell, the newspaper in Spain, El País, smells a lot like the subway (she laughs)

Rustle the newspaper – opening a page

(using a newsreader’s tone)…. the most horrible place in the world is Puerta del Sol or downtown Madrid, the old Madrid in Christmas…

The heat that comes out of the subway in winter when you’re walking around, or when you’re in font of the Mallorquina cake shop… And the smell of the subway comes out and I say, oh great, this is Madrid! (laughter)

Spanish music – song about Madrid (for example: caminando por la calle – ojos de brujo)

On Sunday mornings, in the morning, alter breakfast I went for a walk with my grandfather, I went to by the newspaper, sunbathe in the winter, so that the sun hit our faces, and he took me to the Café Central… in Bilbao… to have chocolate and strips of fried dough… and I remember these… it’s like a beautiful thing of mine, it’s something that remains in my heart.

Something that I also loved about Madrid that I buy every time I go, are Madrid’s violet flowers. In Sevilla there’s a shop, it’s called the violetera, I think, they sell violet flowers that are like pills, like sweets, with violet flavour…

Sound inside the shop, slowly crossfades into the post office in Cibeles

… I sent a package, no wait I take.. how was it, I don’t remember very well… I had a problem with a package and started to fight with a lady that was behind the counter… there was trouble, I shouted at her and she shouted at me

two dogs or two roosters fighting

in the end I went home without my package.. without paper.. with nothing – completely enraged.. but I remember, that the building is beautiful inside, but the customer service was terrible, awful, then, in the eighties, no

Love song 80’

Oh, yes, the botanic garden (laughs) I had a German friend, a German boyfriend, and he gave me a beautiful kiss (she laughs) under a palm tree.

Sound of garden, sitting on a bench, saying the following to someone

….it made me very envious that Mr Thyssen had that private collection in his home.. in his favourite villa in Switzerland… What a luck to be so rich and have those fabulous paintings..

(the park sound continues)

yes, had a lot, ähm ‘guter geschmack’,… how do you say it in Spanish? Good taste?

Well I left Madrid, because I fell in love with a man from Hamburg

Sound of a street at night, without much traffic, undistinguishable voices, maybe a dog barking (lavapies)

Maybe this is my city.

You never feel alone.. there are always voices.. you hear voices

Voices from afar, the garbage collectors approaching

…there’s something strange … the neighbours hear sounds, and… really, it was in the newspapers, they said there was a ghost inside.. and there’s something very strange, I must have heard about it somewhere, what’s happening with, I think it has to do with Casa de America… they say there are ghosts or zombies living inside..

sound of garbage collectors at night – leaving with their truck. 

...................................................................................Objects:DIE ZEIT: German newspaper (the taxi driver has to buy it every Thursday)Violets: the taxi driver offers it to the client when getting off the taxi

 Photo: Reading the newspaper – newspaper, jeans, Jesus type sandals

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Play the horn, caravan, paseo de la castellana

You see, I remember once, there was a lot of traffic, no.. like always… I was with… I always remember my brother with a mini… he had a tiny mini… and where there… they never respected him, because the car was so small, then the buses always got in front of him… or they through him out of the road for being so small.

We were close to the Corte Inglés of Castellana and a bomb exploded in one of the Ministries, I don’t remember which one, but…

I think one year they took off a lion’s head or something like that! And Cibeles.. was..

Silence

I would always want to go… with a tank around Madrid (laughter) to climb over all those cars that don’t respect me..

I don’t know, I escaped a bit from myself, maybe because I was half tormented due to my age.

Musical trip to the past – as if I were looking for something in the radio. First, back to the 60’s and later to – I think I finished in 81 with the song?

Annnnndddd… ah, I have something… now I’m in another time, sorry (she laughs)… I am in a previous era.

It happened in 81 or 82? Well, I do remember this, because they sent us to school, to our house… or, I don’t know if it was the same day, but my feeling was that there was a lot of police when I was getting out of school and beside the school in a little corner a military man must have lived or someone important… I remember having crossed the corner to get the bus and there were… policemen with machineguns, no… then, it was like passing over the corner and finding a machinegun pointing at your face.

School playground – Girls that laugh

…we waited… with some friends… I don’t know for what reason, but we have never been very… practicing, no – but it was like a great event, then we to watch how the pope passed by… ahh, the memory I have of an interminable wait, and we were three or four friends… hmmm… really waiting… and talking… and laughing and then the pope went by and it was a question of two seconds.. he passed by on a car with a, in its umit? And then (she laughs). That was all.

Fast sound of a car that goes from left to right…zzzzoooooommmmm

…I didn’t know what to do… with my life. I didn’t know, I didn’t plan to go to University, didn’t know what.. I was going to do.

(Then, to gain some time)… I left Madrid to study English in USA for six months, six months… and I stayed for seventeen years… (laughter)

The image is of… I don’t know if it’s an image that I have now more than anything, you know, like very dry… very hot and dry…

Crickets at night

Aannnnddd like dusty… I think that’s the image I now have, no, because where I now live is very green, very wet,

Crossfade to Castellana, to I was talking about in the beginning

 Then, my impression of Madrid is like.. there aren’t enough trees….

..........................................................................................................................................................................Objects:American Magazine with a psychologic test, Military style bag

 Photo:Filling the test (magazine – pen – my waterseablue sweater)

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 The studio was behind sepu (¿), in Desengaño street, and I saw the Telefonica building from, from the balcony because it was on the sixth floor.

Everyone thought, i would just stay there for ever.

< jazz music

When I was alone I put jazz.In the sculpture department, which was very small and pretty old teachers and with conservative ideas, they told me, that sculpture was not for women and that they didn’t recommend it, to study that, and that well, they didn’t help a lot and also, they, ah, encouraged me to leave the Faculty and working on sculpture on my own.

I always went up Gran Vía and… (?)… there, behind the Telefónica building to get to the studio. And as the surrounding buildings are very high (??), the street was always in the shade. Then I left the sun in Gran Vía to enter in this narrow and dark street, I went up the six floor on a very old lift, when it was working, if not I walked, to the studio, which was pretty sunny. This, I clearly remember. Apart from probably being my favourite spot in Madrid.

Twenty years already, you know. Then, what remains is like pictures, pictures engraved in my mind…

You hear a lift coming down, the door to the lift opens, street sounds, steps, stop

…cibeles, how the water splashed and the sun shined,

steps continue, stop

… and the post office and (?) covering the façade with smoke from the cars

steps continue, stop

the smell, of, of, of circulo de bellas artes, a very old building.

Sounds in the street >

… sidewalks are tough, and streets, …, I walked a lot, and…(?).. due to so much walking.I didn’t have many clothes, (…) I had a, like a vest, not a vest, like a coat, half coat, light, black, cotton made. Ahh that I put on a lot until it turned grey like chocolate in the sun. I had a grey skirt with little pink and yellow flowers and they same, I put it on until, I, I, I couldn’t put it on any more.

She laughs x people that laugh in a caféIt was in winter with one of those white suns that you see in winter and we went to the crystal palace, I don’t know if it’s still called that way, and it had the Cy Twombly exhibition and everything was white. That, with the sun, the glass, Cy Twombly’s white, that was, a dream (?). Ah later we went to have some Martinis in a square, there is, a café in (?) the retiro with friends and that day stayed with me. With the taste of Martini and, ah, crystal light. No. (lachen)

In the café, a toast with glasses, laughterTo someone else: So many memories, but most of all the literary circles with people, no. And the places, were people gathered. And as time seemed, the days were so long, and there was always time for everything. Ah, you didn’t need something to amuse oneself, the conversation, with conversation it was enough.I also speak English, yes, when ever you want.Ah, Ehm, i was really glad that you called, because, ehm, im still having trouble putting it away. Really. And, ehm and let him go. Because for me it was also,was also, when i was starting finding myself. And sometimes its hard to say, to let that go. You know you cant go back again. You cant go back to being 19 or 22. Or free like that. Ehm. (...) And i was very, very involved with the people (...) Putting it all away has been very difficult for me. And yea, i need to.

Silence

The subway arrives at the station, people come in and the subway leaves. Silence in the subway station.

Once I, I arrived at night, ah, I lived in the rastro, but then I was working for a lady as interpreter, and her hotel was around Recoletos (…) Then I returned to get in the subway, and ah, a youngster mugged me, a type of gypsy youth, ah, he had a knife and wanted to take my wallet. And I don’t quiet remember because the first that (?) it was a physical aggression, direct. And my reaction was to fight, not to run, but to defend myself. And he wasn’t expecting that. And I remember thinking, I’m friendly of (?) kid, no, and sure he’s my neighbour in the rastro and how ridiculous it was, that, for being, in a rich neighbourhood I become a victim, but when Im at home close to where he lives, he doesn’t even look at me.All of that crossed my mind while he was in front of me with the knife, and I fought with him, and in the end the wallet broke and things fell on the floor and he took the wallet (porse?) and he left, but I had nothing in my wallet, I had everything in my pockets, no, no I didn’t lose much (lachen) but yes, I laugh because I can (?) the things, that crossed my mind, iat, at that moment.

The next subway comes around, she gets on:In the subway (driving)

And the conversation with the taxi driver ah when, we were on way, and of course always when I speak in Spanish and was a foreigner and they spoke with me, yes, everybody talks to you, tell you things and tried to, and jabber (lachen) and all that stuff. Those conversations while going to the airport mixed will sadness, no, to, to, leave behind, my life, my world, no, for a while. And the coming back, when I returned to Madrid, got a taxi and, and, returned to the centre. The happiness of returning and finding those places. And I spoke happily to the taxi driver, very happy because I was coming back, no, returned. To a place where I felt very good.

Jazz music

And now if one returns twenty years later, ah, your not going to find what you’re looking for.

..........................................................................................................................................................................Objects: gallery guide, card of the retiro café

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Look for the station in the Radio, The Cure, Killing an Arab”, Liedansage – fade out

Just before turning eighteen I always wore black. And so, a bit punk. So I had a period – like in painting – a black period.

I don’t remember anything. I remember a lot of traffic jams. I remember lots of cars.

It’s funny. I’m attract/attracted to seeing it again, because I remember it like gloomy, sinister. Like they were on a dark place without windows… a room full of black paintings, and therefore, like, I remember them dark, but probably not.

Voice of a guide in El Prado (man), talking about the black paintings. In the background you can hear birds and traffic, as if the windows were open. 

I think of green in trees and, space.There was a place in Madrid, that before they finished the Almudena, the Cathedral, ah, it was half finished, it unfinished for a long time. It was like some ruins, and next to it there was a, nice square, and you could see all the, the, the, what is in front, the casa de campo and so a lot of green, very far away, and I don’t know, a place with a lot of, a lot of charm. The other day I went and there was no charm (laughs). Because the cathedral is finished and they have put some lines and they have closed it (?), but it’s a place I remember well, I don’t, nice. 

Birds - crossfade – crowd – saying demonstration slogans (of the 80’s) 

I lived around (?), Ciudad Lineal, my father was a diplomat. 

It’s funny.Oh god!I remember the demonstrations, but not in specific places. 

I remember when the Guernica was in the Casón de buen retiro…I know the Guernica was taken away, but I remember seeing it in a place, that was around, that only had the Guernica, which impressed a lot, because it was there alone. 

Notice in the airport for Barbara Sela

I was two years in, in, in Rome, and I returned, three years in England and then I returned, then I studied in Holland, from, well, from eighteen to twenty one, twenty two. 

Skid, brake, a car door opens, you can hear The Cure inside, voice of a taxi driver: to the airport? Inside a taxi with The Cure 

I remember one, that was very fast, that happens a lot, but I specially remember one, I was scared, no, with taxi drivers, for how fast they go. Once, when, when one was with a television on, running a lot (?). I was very scared. He, he came speeding and, I don’t know, he saw me and stopped. And, and when I got in, I saw he was watching TV and I thought to myself, we’re going to get killed. 

Sweet flute – baroque music of the black period 

Well, I left to study and then, when I came here, because I found work as flautist here in Sevilla. I am from Madrid. All my family is from Madrid. They’re all there, but I don’t have the feeling of being from Madrid. 

Sevillanas (ojos de brujo – no 9)

..........................................................................................................................................................................Objects:Ticket to el prado with a picture of a black paintingMusic sheets for sweet flute in the baroque, used

Photo: headphones – black sweater – punk style black scarf – music sheets for sweet flute in the baroque, used

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** PLAY THE TRAKS ALL TOGETHER

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HATE-SCRIPT (KIOSK)

I pity the young fascists,

and the old ones, whom I consider forms

of the most horrible evil, I oppose

only with the violence of reason.

I hate people removing the dust from houses. They make my world unbearable.

I hate translations from French, which notoriously loses its flavour in translation.

I hate people saying “I was meant to be a ballet dancer,” while running a pig farm.

I hate not knowing whether a non-smoker, not smoking is a smoker or a non smoker.

I hate those who always know where they are.

I hate people dying a natural death;  I paid to much for them.

I hate knowledge; it cherishes hope.

I hate Women; They get on my nerves.

I hate Men; They irritate me.

I hate Actresses; they get on my nerves.

I hate Relatives; They cramp my style.

I hate order; it cheats on the apokalypse.

I hate Slackers; They get on my nerves.

I hate Bohemians; They shatter my morale.

I hate the Office; It cuts in on my social life.

I hate Actors; They ruin my evenings.

I hate Bores; They take the joy out of my life.

I hate the Drama; It cuts in on my sleep.

I hate Parties; They bring out the worst in me.

I hate Movies; They lower my vitality.

I hate Books; They tire my eyes.

I hate fat corpses; they have no ghosts.

I hate rich people; they are in my way.

I hate the Younger Set; They harden my arteries.

I hate Summer Resorts; They ruin my vacation.

I hate wash; it’s the beginning of dictatorship, without wash no hitler.

I hate the tongues of  the slanderer, they poison my kitchen.

I hate Wives; Too many people have them.

I hate Husbands; They narrow my scope.

I hate College Boys; They get under my feet.

I hate praise; its brutal and an obligation.

I hate people without gardens; they water my weed.

I hate people who do not bath their frogs; they dry my politics.

I hate readers; they read so that a lot might stick in their minds.

I hate charts; they make me dissappear.

I hate fences, they all look the same.

I hate newspapers, they pretend to have a lot to say.

I hate interviewers, they always want to know what my opinion is.

I hate the internet, it brings out all the boredom in me.

I hate schools, they are full of children.

I hate security, it speaks all the time.

I hate professors, the all want to teach me something.

I hate cosmetic products, the oversize my luggage.

I hate illegal sellers, they get in my way.

I hate tourists, they narrow my scope.

I hate the future, it is too based on promises.

I hate investors, the constantly need new markets.

I hate the rain, it washes my make up away.

I hate militars, the move too constantly.

I hate diagrams, the insist on relationships.

I hate buses, they let me wait.

I hate exhibitions, they tyre my feet.

I hate restaurants, they smell like candles.

I hate buildings, they are too big.

I hate speculants, they want my interest.

I hate the suburbs, they miss the center.

I hate the subway, it darkness my perspectives.

I hate cakes, they enlarge my size.

I hate boutiques, they are not able to protect their maniquies.

I hate bars, they bring out my lust.

I hate dogs, their smell is too strong.

I hate the police, they insist on being in movies.

I hate cars, they make me look out of 6 windows.

I hate menus, they make me confused.

I hate graffities, they all look the same.

I hate politicians, they narrow my scope.

I hate growth; it’s too vulgar.

I hate wonders; they freeze my possibilities.

I hate chewinggum; it brings out my contempt for others.

I hate stars; they do not smell.

Inspiriert durch:

Dorothy Parker “Hate Verses”W.G. Sebald “Die Ausgewanderten”Virginia Woolf “Orlando”Albert Camus “Die Pest”Quentin Crisp “The Wit and Wisdom of Quentin Crisp”Karl ValentinJack Smith “Wait for me at the bottom of the pool”Pasolini “I work all day…”W.G. Sebald “Die Ringe des Saturn”Jeanne d’Arc “Der Prozess der Jeanne d’Arc”Drehbuch zu “Jeanne d’Arc” von Joseph Delteil und C.Th. DreyerMary Shelley “Frankenstein”Guy Debord, preface to “Jorn / Le jardin d’Albisola”Das Bilderbuch vom Karl ValentinIngeborg Bachmann “Malina”Ostermayer/Phettberg “Hermes Phettberg räumt seine Wohnung zamm”Franzobel “Phettberg”Gregg Bordowitz “The AIDS crisis is ridiculous and other writings”Avery F. Gordon “Ghostly Matters”Estrella de Diego “Travesias por la incertidumbre”Yvonne Rainer “Feelings are facts”

------------------------------------------------------------------------------------------------------ Zweite Wahl:

I hate those who apply the rules established by previous successes by others.

I hate women dressing like women while they are with men.

I hate destiny with its it little jokes. It makes me throw up with its stupid  cheerfullness.

I hate comfortableness; it produces recidivists.

I hate societies made by and for creatures who, when they are not grim and depressing are utter bores.

I hate computers, they tyre my wrists.

I  hate smiles, I do not bear to see all those teeth.

I hate risk, it makes me feel desea.

I hate cellphone ring tones, they get on my nerves.

I hate cities, they have too many windows.

I hate loneliness, it leaves me alone with myself.

I hate museums, they are too clean.

I hate speculants, they want my interest.

I hate the suburbs, they miss the center.

I hate menus, they make me confused.

I hate cancer, it attacks people I love.

I hate autobiographies, they are pretencious about the truth.

I hate wonders; they freeze my possibilities.

I hate people who cannot decide what makes them happy; they poison my blood.

I hate ambulances; they remind me of my fathers death.

I hate birds; they eat my crumbs.

I hate repetition; it kills.

I hate taxis; they all look the same.

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1 Feten2 Jimena y Dirk3 Adriana Tijeras4 Moakara5 Trisexual Band6 Smokes Pleasure7 Silnave & R. Positiva8 Bettina Semmer y Dirk Busch9 Bala10 Ea7_dmZ11 Santiago Caiced12 Los Guantalibanes13 Arbol14 Pepe Narvona y Pililly15 Francis Gomilla16 Pseudjo17 S.A.Y.18 Azucar Letal19 Claudia Sacher

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