./mediateletipos))) http://www.mediateletipos.net Tue, 22 Sep 2020 08:12:25 +0000 en-US hourly 1 Machine Listening, a curriculum http://www.mediateletipos.net/archives/42501 http://www.mediateletipos.net/archives/42501#respond Tue, 22 Sep 2020 08:12:03 +0000 http://www.mediateletipos.net/?p=42501

Machine Listening, a curriculum is a new investigation and experiment in collective learning instigated by artist Sean Dockray, legal scholar James Parker and curator Joel Stern for Liquid Architecture and launched at Unsound 2020: Intermission.

Our devices are listening to us. Previous generations of audio-technology transmitted, recorded or manipulated sound. Today our digital voice assistants, smart speakers and a growing range of related technologies are increasingly able to analyse and respond to it as well. Scientists and engineers increasingly refer to this as ‘machine listening’, though the first widespread use of the term was in computer music. Machine listening is much more than just a new scientific discipline or vein of technical innovation however. It is also an emergent field of knowledge-power, of data extraction and colonialism, of capital accumulation, automation and control. It demands critical and artistic attention.


Angie Abdilla (Old Ways New), Lawrence Abu Hamdan, Alex Ahmed (Project Spectra), Mark Andrejevic, Andrew Brooks, DeForrest Brown Jr. (Speaker Music), Kate Crawford (AI Now), André Dao, Debris Facility, Mat Dryhurst (Interdependence), Jenny Kennedy, Vladan Joler, Karolina Iwa?ska (Panoptykon Foundation), Jules LaPlace, Halcyon Lawrence, Jùnchéng Billy Lì, Stefan Maier, Shannon Mattern, Lauren McCarthy, Yeshimabeit Milner (Data for Black Lives), Jazz Money, Thao Phan, Kathy Reid (Mozilla), Joel Spring, Tom Smith, Yolande Stengers, Hito Steyerl, Jennifer Walshe.


Across three days at the start of October, we will come together to investigate the implications of the coming world of listening machines in both its dystopian and utopian dimensions. Comprising a montage of presentations, performance, sound, video, music and experiments in listening featuring contributors from around the world, the online gatherings are divided into three sections, open to all:

Fri, 02. October
9–11pm AEST

Sat, 03. October
9–11pm AEST

Sun, 04. October
10–12pm AEDT


Machine Listening, a curriculum is an evolving resource, comprising existing and newly commissioned writing, interviews, music and artworks. As the project grows, the curriculum will too. The curriculum can be accessed here: https://machinelistening.exposed/

Amidst oppressive and extractive forms of state and corporate listening, practices of collaborative study, experimentation and resistance will, we hope, enable us to develop strategies for recalibrating our relationships to machine listening, whether through technological interventions, alternative infrastructures, new behaviors, or political demands. With so many cultural producers – whose work and research is crucial for this kind of project – thrown into deeper precarity and an uncertain future by the unfolding pandemic, we also hope that this curriculum will operate as a quasi-institution: a site of collective learning about and mobilisation against the coming world of listening machines.

A curriculum is also a technology, a tool for supporting and activating learning. This one is open source. It has been built on a platform developed by Pirate Care for their own experiments in open pedagogy. We encourage everyone to freely use it to learn and organise processes of learning and to freely adapt, rewrite and expand it to reflect their own experience and serve their own pedagogies.

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Acción a fin de mes http://www.mediateletipos.net/archives/42493 http://www.mediateletipos.net/archives/42493#respond Wed, 16 Sep 2020 13:23:36 +0000 http://www.mediateletipos.net/?p=42493 > Acción a fin de mes >

Sábados 26 de septiembre, 31 de octubre y 19 de diciembre de 2020 a las 19.30 h.
Atrio y salas del museo MACBA. Actividad gratuita.

El programa de los sábados de fin de mes está dedicado al arte de acción. A partir de septiembre, el museo ha organizado una serie de actividades en paralelo a la exposición Acción. Una historia provisional de los 90, que traza un recorrido por la escena de la performance en el Estado español de esa década. El programa va a cargo de artistas incluidos en la exposición y otros que, por cuestiones generacionales, no participaron activamente en la escena, pero que en cierta medida estuvieron presentes.

Sábado 26 de septiembre

Una sesión dedicada a la recuperación de piezas de música de acción de artistas de la década de los 90 y en el marco del proyecto ARTefACTe.

  • Pere Lluís Pla BuxóCanción – Performance
  • Jordi MitjàArtificial. 1996.
  • Pedro Bericat. Psicopompo Pontificex
  • Quim Tarrida. Em sap molt greu. 1996.
  • Oscar Abril AscasoLow-Tech Music núm. 5 (pieza de plástico de polietileno alveolar). 1995.

ARTefACTe es un laboratorio performativo de nueva institucionalidad cultural desarrollado desde el fomento de las prácticas performáticas y los estudios de la performatividad. Entre sus objetivos, ARTefACTe organiza un encuentro anual en cooperación con el ecosistema metropolitano de las artes visuales de Barcelona.

¿MÚSICA DE ACCIÓN? Entre septiembre y octubre de 2020, ARTefACTe coordina un programa piloto de su proyecto ARTefACTe0 en torno a la música de acción.
¿MÚSICA DE ACCIÓN? es un programa de actividades, de articulación cooperativa y escala metropolitana que recupera, reivindica y actualiza el concepto de música de acción, y reflexiona sobre él, como espacio de osmosis entre el gesto y el sonido.

ARTefACTe es una iniciativa de Club9 y Trànsit Projectes.

Sábado 31 de octubre
Una sesión protagonizada por la acción poética y el azar

  • Bartolomé FerrandoSintaxis, 1996/2020, y Gritos, 2002/2020
  • Xavier Theros recita Accidents Polipoètics, 2020

Sábado 19 de diciembre

Tres estilos distintos que ponen de manifiesto la pervivencia de la performance, la acción musical y la acción. Acciones de Luz Broto, Jaume Ferrete y Marc Vives.

En enero y febrero el programa se completa con Blackout, de Tres, y La función, de Circo Interior Bruto.

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Sonic, Social, Distance and Soundtracks for Strange Days http://www.mediateletipos.net/archives/42489 http://www.mediateletipos.net/archives/42489#respond Sat, 22 Aug 2020 18:36:05 +0000 http://www.mediateletipos.net/?p=42489 Copio y pego aquí esta Open Call desde SonicField.

In an interview with Digicult, Salomé Voegelin describes, “I understand sound, exactly because of its formless in-between nature”.[1] As more than a third of the planet’s human population has gone into some sort of social restriction…self-isolation, social isolation, physical distancing, quarantine…since those who have the luxury of walls have gone behind them–time has not so much stood still, but became fragmented and blurred. Our schedule markers have gone virtual, or gone away, or are far away. Time shifts, feels like a pause, gets interrupted by children home, or emergency texts going off, our Zooms and Skypes ringing, hourly checks of creeping data maps where loved ones live. The luxurious and real stress of shifting online, a vast chunk of the world becomes framed. That other chunk of the world, out our windows, also framed. Behind our walls, safe and surreal, sound connecting all. As artists of various media attempt to capture some essence of this time, it may be found that fragments, notes, moments, and blurs, are what express better our experience.

When Covid-19 hit, I began to write again in pencil. I felt anxious until I could accept a fragmented interior with a hundred variations and versions, everything in process…process over progress. Text, audio, visual-both moving and still, compilations, complications, towards combobulations, if that is what comes. This is a time-capsule archive of finished works, and of fragments, reflecting a fragmented time. Fragments that feel frozen or appropriate as they are, and would then be placed with other fragments to create an unanticipated whole.

Sonic, Social, Distance, is calling for works on listening and sound, and thinking about listening and sound, in the time of social distance…alone together, together apart. We are calling for full texts, as well as text with media, or fragments and notes that will be curated and compiled together. This call is on-going, until it no longer makes sense. Please feel free to send any inquires and submissions to: maile@sonicfield.org

Subseries call: Soundtracks for Strange Days

I look at framed pictures on my walls, what a luxury to have things hanging on walls, to have walls. What a luxury to have borders and frames, giving us the impression of divide and containment, of safety, of form. We have relied on these divisions and compartments for a long time. We perceive the world through them. It’s a skewed perception, warped to serve, and made to feel easy. We lose some in not accepting the complexity, the “formless in-between nature”. I am listening and thinking about listening in the time of social distance and frames – windows and screens.

With the call for self-isolation observed came a quieting and change in many soundscapes. Less traffic, on roads and in air, bars, restaurants, cafés closed, for a little while even construction ceased. Many took photos of the sky outside their windows, brighter and sharper each week passing. Many recorded the changed sound of their changed environments outside windows, the soundscape revealing a diversity and distance different than before. Sometimes the interior is caught…a reflection of the photo taker, a phantom of anxious eyes in those framed clouds. That birdsong chorus with the addition of stir-crazy screaming children in the other room. Could we also find a way to sound the interior of the person recording in these moments, their thoughts and feelings in all of the complication?

Soundtracks for Strange Days is looking to publish audio-visual works with this form:

  1. A static moving-image shot out a window or door that includes its frame
  2. The recorded sound out that window or door at that moment
  3. The sound outside and behind the frame, what we cannot see…this has no rules, find a way sonically to express your interior: design, layer, process, use canned sound, use archival sounds, use the actual chaos that may be happening at that time, or another time

These works will be collected and published here periodically as part of this series, as well as put together in its own accessible archive in the future.

[1] http://digicult.it/articles/the-political-possibility-of-sound-interview-with-salome-voegelin/

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This Feeling is You http://www.mediateletipos.net/archives/42479 http://www.mediateletipos.net/archives/42479#respond Fri, 24 Jul 2020 10:45:59 +0000 http://www.mediateletipos.net/?p=42479 Mañana, Sábado 25 de julio de 2020 a las 19.30 h., Jessica Boston & Desert harán “un experimento de meditación colectiva a partir de la puesta en escena, física y virtual, del trabajo de la artista londinense y el dúo de electrónica barcelonés.” Aquí os dejo el enlace a su trabajo “This Feeling Is You” y la información del evento dentro de “Distancias a fin de mes” organizado por el MACBA.

Jessica Boston & Desert
Distancias a fin de mes
This Feeling Is You

Lanzado durante el confinamiento, This Feeling Is You (Passat Continu, 2020) es el disco fruto de la colaboración de la artista residente en Londres Jessica Boston y el dúo barcelonés Desert. Una red en la que las palabras de Boston se entrelazan con la sutil electrónica ambient, en un ejercicio de hipnosis estructurada a lo largo de siete canciones que recuerda a los trabajos de Laurie Anderson o Holly Herndon. Un camino metafórico en el que se trabajan diferentes estados de la mente y la meditación y una pieza única en la que distintas prácticas espirituales se dan la mano con el spoken word o los fundamentos del rap. Una experiencia más allá de las distancias, capaz de unir en un estado de meditación a sus oyentes.

Desert es el proyecto artístico de Cristina Checa (productora, compositora, vocalista e ingeniera) y Eloi Caballé (productor, compositor y diseñador de sonido). Cuando se juntan dos talentos y universos como los suyos suele surgir algo nuevo y difícil de etiquetar y, al mismo tiempo (o precisamente por ello), algo permeable a multitud de géneros. Melancolía, pop sintetizado, beats exactos, arreglos hipnóticos y melodías arrebatadoras recorren sus trabajos Envalira (Buenritmo, 2014), Sense Likes (Cascine, 2017) o Sense (La Castanya, 2018). En This Feeling Is You, no obstante, ambos se colocan en segundo plano, dejando que su música abrace los salmos de la artista Jessica Boston, a quien conocieron durante la estancia de ésta en Barcelona. Un trabajo de conexión a otro nivel, sintético pero natural, fruto de una perfecta sincronización entre música, palabras y personalidades.

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Clamor Populi Clamans http://www.mediateletipos.net/archives/42466 http://www.mediateletipos.net/archives/42466#respond Wed, 01 Jul 2020 08:01:02 +0000 http://www.mediateletipos.net/?p=42466 Este post que publiqué sobre el trabajo de Xoán-Xil con reclamos precede a este que publico hoy como otro reclamo, como un reclamo para la recolecta de gritos que estamos llevando a cabo en colaboración con “The Institute for Screamscape Studies”.

Clamor Populi Clamans” estudia el grito como un desbordamiento y una contingencia del habla, del diálogo y del lenguaje, y de la comunicación hablada, a través de tres estados afectivos y de afección:

1. El grito como expresión de afecto.
2. El grito como afección.
3. El grito en sí mismo.

Si quieres participar: graba tu grito y envíanoslo directamente desde esta misma página. Recuerda: antes de gritar, dinos tu nombre y después grita ¡Quédate a gusto! Muchas gracias.

Si gritamos, siempre somos víctimas de fuerzas invisibles e insensibles que revuelven cada espectáculo y que incluso están más allá del dolor y el sentimiento.” – Gilles Deleuze

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Paisaxe Esporádica http://www.mediateletipos.net/archives/42450 http://www.mediateletipos.net/archives/42450#respond Sun, 28 Jun 2020 09:02:43 +0000 http://www.mediateletipos.net/?p=42450

Esta mañana he descubierto este trabajo de nuestro querido Xoan Xil y no me resistido a escribir un par de líneas. Y es que el reclamo da para mucho. El reclamo, como el caminar es la primera forma de anotación musical. De hecho, el reclamo, ese doble clamar, es la primera forma musical en la historia, la primera música, apuntaba en uno de los libros de Pascal Quignard. Sus palabras siempre resultan muy certeras: “la primera forma de anotación musical es el caminar”, así como la primera forma de lectura musical.

Cuando caminamos dejamos atrás las huellas del ritmo hacia la supervivencia, las partituras del tiempo. Hemos caminado acechando a nuestras víctimas, a nuestros alimentos. Imitamos sus sonidos, su lengua madre, sus gritos, para darles caza, para que sus cuerpos nos sirvan de alimento. Ellos, víctimas del reclamo, han acudido a ese doble clamar. Gritos de muerte en el tiempo y en el espacio. Música para nuestros oídos, engaño y muerte para los suyos. No olvidemos, pues, que la música deriva del reclamo de muerte, es siempre anterior al lenguaje.

Etimológicamente la palabra “reclamo” quiere decir literalmente una reiteración, hacia atrás, en voz alta. Esta voz está ligada al otro mundo. La voz musical, como la escucha, se fundan sobre la obediencia y derivan del reclamo de muerte. Recordemos que la palabra “obediencia” viene de obaudire que significa escuchar y someterse a lo dicho hasta obedecer. La palabra latina obaudientia originó en el francés “obéissance” y en el español “obediencia”. Quien escucha, entonces, obedece. Y escuchar es obedecer, sin remedio. La definición de la palabra “reclamo” contempla al ave dominada por una voz. Esta voz que a modo de llave, llama a otra del mismo genero. El reclamo es esa herramienta que se emplea para llamar a las aves en la cacería imitando su voz, ese sonido del mismo canto o llamada para su caza.

Al mismo tiempo, un reclamo puede ser un grito o voz que se hace a alguien, la acción de manifestar oposición, inconformidad o contradicción frente a algo que se considera injusto o con lo que no se está de acuerdo.

Me pregunto qué significado puede tener el uso del reclamo durante el tiempo del confinamiento al que hemos estado sometidos, cuando el cazador encerrado no puede sino esperar que su canto le haga menos inmóvil, acercando la pieza hasta su ventana. Sin lugar a dudas, si hay un canto que nos confina, este es el reclamo. Y si hay un buen cazador, éste es el cazador confinado.

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Alex Mendizabal: oro:orð ópera en 12 actos http://www.mediateletipos.net/archives/42441 http://www.mediateletipos.net/archives/42441#respond Tue, 23 Jun 2020 14:12:58 +0000 http://www.mediateletipos.net/?p=42441 Oro:orð

El artista Alex Mendizabal y Oier Etxeberria, jefe de área de arte contemporáneo de Tabakalera nos presentan oro:orð 12 ekitaldiko opera / Ópera í 12 lögum / An opera in 12 Acts.

Oro:orð es un instrumento de comunicación simplificado que adopta diferentes formas: libretto, música, agua, burbujas e imágenes en 12 actos. Se puede adaptar a diferentes formas como instalaciones, radionovelas, internet, emanaciones de ópera y publicaciones subacuáticas.

La ópera es hablada y cantada en islandés y euskera y escrita en inglés. Basada en cuadros pintados en 1616, que reflejan la larga ola de la situación actual de la globalización.

Coproducido con el proyecto islandés FLURRR.

Texto e imágenes: Erin Honeycutt
Cámara y edición: François Pisapia
Música y espuma: Alex Mendizabal
Más información

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Louder Whisper http://www.mediateletipos.net/archives/42437 http://www.mediateletipos.net/archives/42437#respond Mon, 22 Jun 2020 10:19:44 +0000 http://www.mediateletipos.net/?p=42437 Louder Whisper
Coded sounds in connecting ‘Spokes’
Curated by Meena Vari

A collection of sound narratives that identifies with Michel de Certeau’s idea that orality is everywhere. Orality has an extraordinary capacity to extend its reach beyond words and languages, and this compilation is an exploration of this rich, varied and intangible territory. Certeau brilliantly says that there is life when places of speech exist in any form and it continues to do so in various forms and function. This collection is an attempt to highlight the fact that conversations somehow or the other will make its way into each and every aspect of life, situations and without being noticed contribute to a change/reform and/or revolution. Nine artists practicing and living in India, through the medium of sound present their interpretations; it ranges from coded sounds, dialogues, conflicting messages, and intimate conversation.

Jasmeen Patheja – Moments of a Long Pause
Yashas Shetty – Notes from Utopia
Murali Cheeroth – A Sound State and the State of Sound
diF (Ish S + Konrad Bayer) – diFuSed beats
Indu Antony – It Is A Beautiful World “Outside”
Prayas Abhinav – Xini’s First Revelation
Abhishek Hazra – The SprachPlug Perambulations
Ayisha Abraham – Between the Sky and the World Under the Ground

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Tinnitus and disability studies http://www.mediateletipos.net/archives/42425 http://www.mediateletipos.net/archives/42425#respond Tue, 16 Jun 2020 14:06:14 +0000 http://www.mediateletipos.net/?p=42425 Posteo este interesante artículo firmado por Dr Marie Thompson llamado “Tinnitus and disability studies” dentro del proyecto “Tinnitus, Auditory Knowledge and the Arts“.

Disability studies is an important field of academic and activist work that has had a profound effect on how impairment, illness, debilitation and bodily difference are defined, conceptualised and understood. Since its emergence as a coherent discourse in the 1950s, disability studies has sought to challenge, critique and reconfigure medical approaches to disability and its depiction in media and popular culture. Consequently, disability studies has much to lend to this project addressing how tinnitus has been depicted in the arts, and how the arts may serve to reconfigure both popular and clinical understandings of the tinnitus. In this post, I want to highlight some of the ways that disability studies might be used to think about tinnitus, as well as some of the points of convergence and tension between tinnitus and disability studies.

It might seem strange or even inappropriate to think of tinnitus in terms of disability. Tinnitus can be temporary, even momentary, and unobtrusive, having little impact on day to day life. Unlike other forms of disability, those with tinnitus are unlikely to become ‘spectacles of otherness’ in an ‘economy of visual difference’ (Thomson-Garland, 1997: 8). Tinnitus tends not to be associated with political marginalisation or social oppression; those who experience it are rarely considered a disadvantaged constituency or minority group (Roulstone et al, 2013). Yet tinnitus names a spectrum of auditory experiences. While it may be an infrequent niggle or minor inconvenience, tinnitus can be a debilitating and life-changing condition that impacts upon, disrupts and prohibits participation in social life. Indeed, a failure to acknowledge its debilitating effects have often been a source of frustration: as Mack Hagood argues: ‘like its phantom sound, tinnitus’s phantom social status vis-à-vis disability can be maddening to its sufferers’ (Hagood, 2017: 315). Furthermore, as with other illnesses, conditions and symptoms, the extent to which tinnitus is debilitating may vary not only between different listeners but also for the same listener at different points in their life. As Rosemarie Thomson-Garland notes, bodily impairments that make someone ‘disabled’ are rarely static or absolute; ‘they are dynamic, contingent conditions affected by many external factors and usually fluctuating over time.’ (1997, 13-14). Tinnitus and its effects may be amplified or abated by different living and working conditions, access to support networks, or in relation to other bodily conditions and impairments. Indeed, tinnitus is closely associated with various conditions that are more instinctively understood in terms of disability, including deafness, depression and head injury.

One of the central tenets of disability studies is that disability is not simply an individual or medical ‘problem’: it is also a social ‘problem’. (Roulstone et al, 2013). The social model of disability, which is associated with sociologist Mike Oliver and the British disability movement, figures disability as an externally imposed restriction: certain groups of people are disabled by social norms and attitudes, economic forces and environmental barriers. (Oliver, 2013; Shakespeare, 2010) Likewise, other social accounts have sought to emphasise that disability concerns the relation between a body, its impairment and society. Yet some critics suggest that social explanations of disability do not sufficiently address individual and subjective dimensions of disability; those embodied experiences that are irreducible to social constructions (Ellcessor et al, 2017). Susan Wendell, for example, questions the extent to which physical and/or mental suffering are inherent to bodily differences, ‘that is, how much suffering that could not be eliminated by any social arrangements, no matter how supportive they might be to the lives of people with disabilities?’ (Wendell, 1996)

As a highly individualised and frequently subjective condition, tinnitus could seem resistant to social understandings of disability: its affective qualities would appear to have little to do with the ‘social arrangements’ Wendell refers to. Yet tinnitus is not simply a ‘fact’ of the body and its mind. The conditions through which a listener develops tinnitus—through exposure to high volume sounds in the workplace or war, for example—can point to wider questions about the geopolitics of risk, debility and disposability. (Puar, 2017) Likewise, tinnitus may disrupt or be mediated by social (and socio-economic) ideals of productivity, self-discipline and auditory self control; or it may be antagonised by the auditory norms of shared social spaces: the loud music in bars or even silence in libraries, for example. Thus, while it is no means reducible to them, tinnitus is imbricated with social relations. Drawing on social understandings of disability, we might ask for whom and in what contexts does tinnitus as an auditory impairment become disabling; and how this might relate to particular social norms, values and ideals.

Disability studies’ critique of what Rosemarie Garland-Thomson describes as ‘the normate’– a idealised subject position that is ‘unmarked’ by disability, as well as race and gender; and which underpins liberal democratic notions of personhood – is also pertinent for a reassessment of tinnitus. It is in relation to the normate that disability becomes perceptible (and functions) as such. Again, this is not to deny the lived experience of impairment nor its affective qualities. Rather, the normate is what informs and is reproduced by the social relations that make particular impairments ‘disabling’. It is around the normate that workplaces, the media, medical institutions and educational institutions are organised; and to which ‘overcoming’ narratives about disability are often attached. Critical accounts of disability and its social origins tend to focus on the visible relationship of the normate and the disabled, made apparent by their representation in images, film and television. Tinnitus, and its debilitating effects, however, serve to highlight how the normate is also an auditory construct. The normate is ‘auraltypical’ or ‘otologically normal’: it underpins and is reproduced by, amongst other things, acoustic regulations and hearing technologies. It is the auditory norm against which tinnitus, alongside other hearing conditions and impairments, is judged as deviation.

To adopt a straightforward binary of normate/disabled, however, risks concealing its historical specificity: the complex relations between different types and modes of injury and impairment; and disability’s co-constitution with race, gender, class and sexuality. Indeed, discussions of disability—including hearing impairment—have often been Eurocentric, focusing on the global North. (Grech and Soldatic, 2016; Steingo, 2019) Similarly, research into tinnitus has often centred on Western Europe and the United States of America. Furthermore, as has already been noted, tinnitus refers to a spectrum of auditory experiences; and these have various causes and origins. In light of this, we might ask what is the relationship between the tinnitus that is ‘gained’ with aging and the tinnitus ‘gained’ through a violent encounter? To what extent are apparent truisms about tinnitus and its effects a product of a particular geopolitical standpoint? Despite its tendency towards Eurocentrism, disability studies can provide useful frameworks for addressing these questions, insofar as it has sought to address the co-constitutions of embodiment and the social; and the relationship between situated, lived experience and wider cultural, historical, economic and political formations.

Tinnitus and disability studies, then, have a potentially productive relationship. Disability studies can help to address tinnitus’s imbrication with social relations: while tinnitus is often understood as a highly subjective and individualised auditory experience, social understandings of disability can help to highlight the ways in which tinnitus and its effects are also products of history, culture and economy. In other words, disability studies can help to situate tinnitus within a wider social context. Tinnitus, likewise, can help draw attention to the auditory dimensions of the normate and the prioritisation of the ‘unmarked’ ear. Where disability studies has often focused on visual representations of disability, a critical consideration of tinnitus can help encourage further reflection on how invisible (and, in the case of tinnitus, inaudible) forms of impairment and injury are depicted.


Ellcessor, Elizabeth, Hagood, Mack, and Kirkpatrick, Bill. (2017) ‘Introduction: toward a disability media studies’. In Elizabeth Ellcessor and Bill Kirkpatrick, ed. Disability Media Studies. New York: New York University Press.

Garland-Thomson, Rosemarie (1997). Extraordinary Bodies: Figuring Physical Disability in American Culture and Literature. New York: Columbia University Press.

Grech, Shaun and Soldatic, Karen (2016) Disability in the Global South: The Critical Handbook. New York: Springer.

Hagood, Mack (2017). ‘Disability and biomediation: tinnitus as phantom disability’. In Elizabeth Ellcessor and Bill Kirkpatrick, ed. Disability Media Studies. New York: New York University Press.

Oliver, Mike (2013). ‘The social model of disability: 30 years on’. Disability and Society. Vol. 28/7, pp. 1024-1026.

Puar, Jasbir K. (2017). The Right to Main: Debility, Capacity and Disability. Durham: Duke University Press.

Roulstone, Alan, Thomas, Carol and Watson, Nick (2013). ‘The changing terrain of disability studies’ in The Routledge Handbook of Disability Studies. New York: Routledge.

Shakespeare, Tom (2010). ‘The social model of disability’. Available at: http://thedigitalcommons.org/docs/shakespeare_social-model-of-disability.pdf

Steingo, Gavin (2019). ‘Another resonance: Africa and the study of sound.’ In Gavin Steingo and Jim Sykes, ed. Remapping Sound Studies. Durham: Duke University Press.

Wendell, Susan (1996). The Rejected Body: Feminist Philosophical Reflections on Disability. New York: Routledge.

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Urban Nostalgia http://www.mediateletipos.net/archives/42419 http://www.mediateletipos.net/archives/42419#respond Thu, 11 Jun 2020 07:53:42 +0000 http://www.mediateletipos.net/?p=42419

The Musical City in the 19th and 20th Centuries

Centre de Recherches sur les Arts et le Langage E?cole des Hautes E?tudes en Sciences Sociales 96 boulevard Raspail, Paris 5 – 7 July 202

This online conference organised by Lola San Martín Arbide (CRAL-EHESS) will take place from 5th to 7th of July 2020.

Scientific committeeEsteban Buch (CRAL / EHESS, Paris); Jonathan Hicks (University of Aberdeen); Gascia Ouzounian (University of Oxford); Lola San Martín Arbide (CRAL / EHESS, Paris); Christabel Sterling (University of Westminster); Justinien Tribillon (Theatrum Mundi).

Keynote : Richard Elliott (Newcastle University, UK)

The aim of this workshop is to explore space through music, approaching the history of the city via the notion of nostalgia. Often described as a form of homesickness, nostalgia is, by definition, the feeling that makes us wish to repossess or reoccupy a space. Such spaces appear to us as both near and distant, tangible and remote, and it seems that attempts at reclaiming them are frequently musical in nature. We know, for instance, that particular compositions have played important roles in helping people to navigate or mitigate a sense of displacement. In these circumstances, affective experiences may be bound up with trauma or joy, as is the case of song during wartime or musical imaginaries among migrants. Under other conditions, we might identify a ‘second-hand nostalgia’ in the guise of a musicallyinflected tourism that seeks to reactivate (for pleasure and/or profit) the historical aura of an urban site. What are we to make of the abundance of personal, interpersonal, and propositional episodes that posit music as some kind of a bridge to the urban past?

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SENSOLOGIES OF CONTACT RESTRICTIONS http://www.mediateletipos.net/archives/42410 http://www.mediateletipos.net/archives/42410#respond Tue, 09 Jun 2020 12:52:11 +0000 http://www.mediateletipos.net/?p=42410 Os re-posteo este artículo firmado por Holger Schulze. Que disfrutéis:


During this spring’s pandemic, a plentiful of artistic and research activities around sound and sensory studies were started by various researchers and artists: the relation of sound and music to the (mostly urban) environment seemed, apparently, especially intriguing to investigate in these weeks and months of contact restrictions in most and of lockdowns in some regions. Recently, Meri Kytö began collecting those projects. By now, May 27th of 2020, 55 items can be found in her list called »Pandemic+sound/music+environment«. In this list you can find more traditional soundmapping projects from a lot of nations and world regions, but also newspaper articles, blog posts, and scientific surveys focusing on the assumed transformations in the soundscape or the whole ecosystem, even viral videos and videostreams that document and archive the activities of sounding out, playing, singing, musicking in times of the pandemic.

To discuss the various aspects of these pandemic sensibilities (or »pandemisk sanselighed«, Anette Vandsø) we met in our regular Colloquium Sound & Senses. We were nine researchers and artists who scrutinized the various »frames, scales and categories« (Melissa van Drie) we could detect in this archive of projects exploring the sensory generativity of contact restrictions.


Our discussion started out with confessing a confusion: is it really a good thing – as many people assume – that public places seem to have gone silent or at least quiet these days, Merio Kytö asked herself and all of us? Maybe, Melissa van Drie added, it is more the case that our listening protocols (following Voegelin) are almost necessarily altered due to the contact restrictions? Van Drie stressed for instance the activity of listening behind oneself as a phenomenon of developing different habits and customs of listening when walking through a quieter and calmer urban environment. Aside from developing such new protocols also existing protocols seem to be reactivated and revitalized: for instance the old and fascinating idea of mediated telepresence – a strong attractor of media arts in the 1990s and 2000s – has now become an everyday practice and necessity. Up to the point where the decision to listen to the soundscape of a holiday region one wanted to visit can seem now, as Macon Holt pointed out, as a viable and handy alternative: he and his partner intended to visit Fukushima in April 2020 – which they now actually visited sonically, at least punctually, through soundscape recordings.


Related to the transformations through everyday auditory telepresence are then of course all the domestic soundscapes that everyone of us suddenly grants access to others joining in a videocall: Anette Vandsø pointed out that not only the visual self-presentation is different in videocalls, but also the auditory self-presentation, especially through all the non-intended sound sources maybe entering a job-related conversation – such as playing kids, cooking sounds, quarrels between siblings, chirping birds or activities of any dogs or cats present. The usual visual self-presentation in the public sphere is now almost coercively combined with an often involuntarily audible self-presentation that also manifests a conflict of social roles – or, ideally, a new amalgamation of those roles. What new sonic personae are emerging or developing here, I need to ask?

However, the options for listening to an environment or for strictly separating social roles point to one underlying, structural force in all these mapping activities of sensorial transformations: they rely on and are heavily driven by social stratification. This »partage du sensible« (Rancière), the distribution of sensibilities is a social effect. Social class and gender roles at least provide the economic and chronotopic dispositives for one’s options of listening to or sensing into the sonic effects of recent epidemiological recommendations for social interactions. People whose job-related activities are being considered essential (a noteworthy descriptor, as it is most often related to a lower or even the lowest range of salaries) will probably have a harder time scrutinizing sensorial transformations as their workload on every single day is either massively multiplied or even dropped radically to zero. Both developments tend to deplete a person of its energy to more freely explore and assess certain seemingly more marginal effects in their lives. The sometimes claimed slowdown of these days can definitely not be experienced by people with kids or working in one or more jobs, maybe with a necessitiy for stressful commuting. The so-called quietude of the pandemic presents itself here more often as a sort of vexatious hum if not overload of the pandemic.


So, should we instead consider these transformations of our social encounters not as a form of welcome (and somewhat decadent if not cynical) break – but more as a kind of syncopy, a stumble as Lars Graugaard called it: maybe these days need to be considered as a kind of, well, Freudian stumble (not a slip) of accelerated societies? The ongoing stream of meme music, for instance produced out of all the balcony concerts, home performances and superstar medleys in videoconferencing rectangles, surely can be regarded in this way, as Macon Holt and Meri Kytö pointed out: it is indeed that these circulating activities gained traction and even political resonance just because they were mediated, recorded, edited and memefied. When focusing in videos posted online – be they memes or videos leaked from a family group chat – one begins to wonder: what are the moments or rituals of singing or sounding out during the pandemic that are not videoed posted public? Emphasizing and accelerating the distribution of some of them is for sure highly selective. Which desire drives the protagonists of these memes to present themselves in these ways and what desire drives powerful distributors to accelerate the distribution of a particular sets of memes?

After almost three months, a quarter of a year, there is now a particular time structure firmly imprinted onto these weeks of contact restrictions and lockdowns: the excitement for new self-presentations, new memes, and altered states of everyday life soon degraded into a depression, and maybe has now reached the laconic and largely uninteresting boredom of the common and the habitual? Is there still a sort of resistance in these new sensibilities to be found, as Lars Graugaard insisted in our conversation? Will we indeed be able to maintain some of the transformations we consider important, for instance different ways of working from home and of arranging a sonic environment through streamed performances as Carla Maier reported? Will these new modes of listening of spring 2020, these emerging new listening protocols just vanish – or will they stick with us and live on with us?


After our discussion it seems to me that there are mainly three categories of how these coercively transformed sensibilities are being assessed, employed, or translated into various activities:

The first category is a paedagogical one that sees in these contact restrictions and their effects on social interactions a welcome occasion for personal optimization – be it in the personal lifestyle, the individual working style, styles of recreation, and even in regard to acquiring and training new work skills including digital media. Now seems the time, for many of us, to finally strive for the ultimate optimizing challenge.

This leads me to the second category, which is a psychological one: the ongoing stream of diaries, daily protocols, videos, podcasts, series of memes and tweets seems to represent for many of their authors and producers an apt coping stratgy of materializing and thus stabilizing the vibrant flux of daily, hourly, instantly observations, experiences, doubts and fears, hopes and pleasures these days: to keep track of everything serves a persona precisely this stabilizing function.

The third and last category I recognize here is political. Any person who experiences these weeks as states of emergency and reaches out for stabilizing coping mechanisms is obivously an object to contemporary political reflections: what is needed to achieve practices of successful governance in such a state in flux? It seems to me that the most recent races towards a state that is sometimes being called Back to Normal! or Opening Up [insert nation name] Again! result as direct additions of the tendency to optimizing plus the tendency to stabilizing.

In addition they produce new sensologies of reassuring their consumer citizens. They are sensologies (following Mario Perniola), because they embody governing regimes through sensory or sonic practices that result from the contact restrictions or that are fostered by or forced onto the epidemological recommendations of contact restrictions. This desire to provide reassurance for all citizens affected from the pandemic extends then of course to all the existing habits, values, structures, power regimes and systems of exploitation and oppression. Bluntly said: the state of emergency produces politically an overly stabilizing, optimizing and reassuring governance. And this tendency towards reassurance can then even go far beyond any of the usual affirmations of existing policies. It maybe even intensify and fortify all of the existing demarcations and power relations: the racism, the sexism, the nationalism, the social inequality, the excessive wealth and the poverty – but maybe it intensifies also some of the political decisions for more planetary connectivity, commerce, much tighter synchronized research, development, sales and consumption. In recent days we can even see substantial protest bringing millions of people on the streets, all over this planet in advance of social and democratic change under the sign of #BLACKLIVESMATTER. It is yet to be seen, if these protests can be punchy enough to pressurize the reactionary powers that be, in many nationstates, into lasting and antiracist policies. Such prognostics, however, can only be speculations at this point, educated ones, hopefully.

Whilst underneath all of our optimizing, stabilizing and reassuring (or even rebellious) activities on every single day, the intimidating hum of the pandemic is still and incessantly tangible. Where all of this might lead us, into what detour or to which anxiously seeked for homeground, is yet undefined.

(Participants of this colloquium were: Anette Vandsø, Carla Jana Maier, Jacob Eriksen, Jenny Gräf Shepard, Lars Graugaard, Macon Holt, Melissa van Drie, Meri Kytö & Holger Schulze)

Download PDF

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On memory, trauma, and imagining a new world http://www.mediateletipos.net/archives/42403 http://www.mediateletipos.net/archives/42403#respond Mon, 18 May 2020 17:46:17 +0000 http://www.mediateletipos.net/?p=42403 Os dejo aquí esta entrevista a Maria Chávez donde deja algunas reflexiones muy interesantes para todos aquellos que nos dedicamos a las grabaciones de campo y para los que no puede que también:

As you layer on field recordings, what you’re actually doing is creating a hyper-memory. Creating tiers of documentation of time and thereby creating an imagined new time.

With the climate change issues that were happening in Venice – the flooding and the regular weekly high tides – I felt that this was a really important time in history to rush back to Venice and go to every corner of every part and just record everything possible. Because we were never going to be able to hear this city again. It is literally Atlantis, sinking. There’s going to be stories in a thousand years about Venice and they’ll never know if it was real or not.

I always thought field recording was just an audio snapshot, really. Now, taking the audio snapshot and adapting it to our present moment – who knew our times [would] so drastically [change] in a matter of two weeks. And my god, all of these field recordings that we’ve all been doing for the past 20-30 years, especially as the hand-held recorders got more and more accessible for the general public – I used to think of it all as, What are we going to do with all this stuff? It’s just trash, everybody’s just recording field recordings. I’d always roll my eyes. Now I’m like, You’re such an idiot. Thank god everybody was recording our world because it’s gone.

Now that I’ve changed my mind about all of these ridiculous amounts of recording, I think somehow we all knew. That we were privileged in some way to live in this world. Everybody I knew that was really into field recordings was just frantic – once they got hooked on it, it was like a rabbit hole. Now I just feel like, My god, we’re so lucky. Now we need to make a library of everything that everyone has done and it’ll be audible postcards of our past that we’ll never be able to hear again.

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BRBA Irratia http://www.mediateletipos.net/archives/42391 http://www.mediateletipos.net/archives/42391#respond Thu, 07 May 2020 04:16:42 +0000 http://www.mediateletipos.net/?p=42391

BRBA es una galería. BRBA expone sonidos. BRBA no es una radio. BRBA no tiene programas. BRBA no tiene locutores, pero está comisariada. BRBA no precisa de antenas. BRBA caduca. BRBA abre y cierra. BRBA es un archivo fantasma. BRBA es una propuesta de la asociación audiolab. BRBA es un lugar.

BRBA es un proyecto ideado y desarrollado por la asociación AUDIOLAB.
Proyecto realizado con el apoyo del programa EREMUAK del Gobierno Vasco.

Dirección: Tamara García Iglesias, Xabier Erkizia
Programación web: Luca Rullo
Diseño gráfico: Gaby Wallace Studio

– BRBA#0: Mikel R. Nieto, Ramon Andrés, Elena Setién, Tres

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Forms – Visual Music Scoring Machine http://www.mediateletipos.net/archives/42386 http://www.mediateletipos.net/archives/42386#respond Thu, 23 Apr 2020 18:17:26 +0000 http://www.mediateletipos.net/?p=42386 Ver vídeo en directo de playmodes en www.twitch.tv

Forms – Visual Music Scoring Machine

Twitch Channel.April 2020

This project is a real-time audiovisual synthesis exercise.

From a set of rules of graphic generation, based on randomness and probability, a custom software proposes a series of visual compositions created in realtime and never repeating. It is permanently streaming at Playmodes’ Twitch channel at https://www.twitch.tv/playmodes

How likely do we define a square, triangle, line, or cloud of points to appear? What is the density of geometric figures on the canvas? And its size? How many different colors can we use? All these parameters end up shaping the final characteristics of the audiovisual composition.

Graphic results refer to the geometric abstraction of the avant-garde: from the Bauhaus school (Kandinsky, Klee, Mondrian) to the Russian suprematists and constructivists (Tatlin, Malevitch, Rodchenko).

These scores can be framed within the “tradition” of graphic musical notation that gained strength among twentieth-century composers (John Cage, Karlheinz Stockhausen, Mestres Quadreny, Gyorgi Ligetti …), and which allow music to be released from tone, bars and the rigidity of classic staves.

Thanks to a real-time “sonification” engine, the resulting graphics are transformed into sound using spectral synthesis algorithms. A header runs through the image from left to right, interpreting that small vertical fragment of the image. The luminance captured by this header is transformed into bass (if at the bottom of the image) and treble (if at the top of the image).

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Social Discipline http://www.mediateletipos.net/archives/42381 http://www.mediateletipos.net/archives/42381#respond Thu, 23 Apr 2020 12:03:03 +0000 http://www.mediateletipos.net/?p=42381 Miguel Prado & Mattin thinking aloud with invited guests about the current events regarding CODIV-19. They let the unconscious improvise in this absolutely unexpected present, trying to render actual a no longer distant future and events. – Social Discipline

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NO HAY PUNTO DE VISTA PARA EL OÍDO http://www.mediateletipos.net/archives/42376 http://www.mediateletipos.net/archives/42376#respond Mon, 20 Apr 2020 11:17:30 +0000 http://www.mediateletipos.net/?p=42376 NO HAY PUNTO DE VISTA PARA EL OÍDO por Xabier Erkizia.
Serie de podcasts realizado para la edición del año 2020 del Festival de cine PUNTO DE VISTA.

El lejano lamento de una bobina o el discreto ventilador de un proyector delatan que no existe silencio en el cine. Incluso tras la última sesión, una vez apagados todos los altavoces, en la sala más dormida, en la más remota, el cine sucede. Atraparlo es el reto.

Puede ocurrir que resulte inútil retratar de oídas un evento principalmente diseñado para dar placer a la vista. O quizás, puede resultar paradójicamente revelador. A fin de cuentas, ¿qué son las orejas sino dos pantallas? Un ensayo de radio en formato podcast realizado por la galería BRBA para el festival Punto de Vista. Una especie de diario del festival de cine, en sonidos.

podcast#1: Garbiñe Ortega (dtora del festival)
podcast#2: Oskar Alegria (dtor de cine)
podcast #3: Xavi Massó (proyeccionista)
podcast#4: Erika Balsom (comisaria)
podcast#5: Compendio
podcast#6: Carlos Casas (dtor de cine)
podcast #7: Pérdidas con Dani Sanchis (diseñador gráfico) y Tamara García (dtora de cine)

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Víctor Nubla † http://www.mediateletipos.net/archives/42370 http://www.mediateletipos.net/archives/42370#respond Wed, 01 Apr 2020 09:17:36 +0000 http://www.mediateletipos.net/?p=42370 Desde Mediateletipos lamentamos profundamente el fallecimiento de Victor Nubla quien ha producido innumerables obras escritas, sonoras, visuales durante innumerables años y que nos seguirán acompañando. Gracias y DEP.

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Ruido Vírico http://www.mediateletipos.net/archives/42363 http://www.mediateletipos.net/archives/42363#respond Sat, 21 Mar 2020 00:19:44 +0000 http://www.mediateletipos.net/?p=42363

Lo que empezó como una broma entre amigos por whatsapp a terminado, después de una semana en un festival online en el que participan más de 30 artistas sonoros, músicos y DJs de toda la Península Ibérica.

La iniciativa ha sido impulsada por el artista sonoro afincado en Valencia Edu Comelles, con el apoyo de los activistas Jaume Muntsant y Javier Melgar, quienes a su vez, participan en el festival como músicos y DJs.

Toda la programación arranca este viernes 20 en el canal del festival dentro de la plataforma de streaming Twitch y amparado por el sello discográfico Audiotalaia. El festival se desarrollará a lo largo de todo el fin de semana presentando propuestas musicales alejadas de convencionalismos, música experimental, electrónica y arte sonoro.

Este proyecto comunitario, colectivo y autogestionado reúne propuestas que oscilan entre varios campos de la experimentación sonora y las músicas de vanguardia. A su vez el festival adoptando un carácter abiertamente ecléctico da cavida a propuestas que rozan el Folk, la música étnica, el ambient, el techno más abstracto o incluso el documental sonoro o la performance.

Elenco de artistas va desde el estallido audiovisual de los sevillanos Los Voluble pasando por la ambient íntimista y planeador de propuestas como las de David Cordero, Combray o Pepo Galán, pasando por la electrónica de vanguardia de artistas como Paloma Peñarubia, Clara Brea o la catalana Nikka Bionikka. El festival cuenta también con la presencia de músicos que se alejan de lo electrónico, tales como el brillante pianista catalán Carles Viarnés, la propuesta del colectivo Duro Vino, el planteamiento instrumental de músicos como Xisco Rojo o Síria el nuevo proyecto de la portuguesa Diana Combo.

La electrónica más escorada al baile más oscuro y intenso vendrá de la mano de propuestas como Droneghost cerrando la noche del viernes o el directo arrollador del alcoiano Demian Abraxas (We Are Not Brothers). A todo ello se suma el prestigio de la electrónica de Pedro Pina o la propuesta de electrónica preciosista de D’Extrem Irromp, el más reciente proyecto del aclamado Ferran Fages.

El festival, de indudable raíz valenciana, completa el cartel con una buena representación de artistas de la Comunitat Valenciana, Martí Guillem, Víctor Trescolí el ya mencionado Demian Abraxas, Rafa Ramos o el mismo Edu Comelles son algunos de ellos.

En conjunto más de 20 horas de música en vivo a través de la pantalla del ordenador es la oferta de esta iniciativa que pretende hacer más llevadero el confinamiento pero a la vez quiere reivindicar la importancia de la cultura y las artes en la vida cotidiana y la necesidad de apoyar la labor de artistas y músicos. A tal efecto el festival ha habilitado la posibilidad de donar y contribuir a la inciciativa con aportaciones individuales en forma de micromecenazgo.

–> sulponticello

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Genesis P-Orridge † http://www.mediateletipos.net/archives/42359 http://www.mediateletipos.net/archives/42359#respond Sun, 15 Mar 2020 16:04:03 +0000 http://www.mediateletipos.net/?p=42359 Genesis P-Orridge falleció el pasado 14 de marzo de 2020 con 70 años de edad. Para muchos de nosotros su trabajo ha sido inspirador y seguirá siéndolo. Nuestras escuchas mantendrán con viva su memoria. EPD.

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The Maryanne Amacher Foundation http://www.mediateletipos.net/archives/42348 http://www.mediateletipos.net/archives/42348#respond Thu, 20 Feb 2020 09:13:46 +0000 http://www.mediateletipos.net/?p=42348 Blank Forms is pleased to announce the official formation of The Maryanne Amacher Foundation and the donation of her archival material to The New York Public Library for the Performing Arts at Lincoln Center.

Assembled shortly before her death in 2009, Maryanne Amacher’s archive contains a wealth of knowledge and research potential that promises to be a source of interest and inspiration for generations of artists and scholars to come. Much of the material was organized by Amacher herself, including for example, a critical collection of documents that she felt to be her most important works and writings representing various periods, as well as annotated drafts, project notes, performance materials, ephemera, audio versions dating to the early ’60s, and more. In addition to notebooks, scores, sketches, and other papers, the archive consists of over 1,000 reel-to-reel tapes, hundreds of cassettes, DATs, floppy disks, videos, and audio in other various formats. The collection also includes oversize papers such as original concert posters and drawings, a miscellany of personal artifacts, and a collection of electronic music tools, some rare and custom-made, which the Foundation will house and repair.

Blank Forms has been dedicated to preserving and thinking through Maryanne Amacher’s legacy since our inception. Our first events, in March of 2016, were the inaugural installments of Labyrinth Gives Way to Skin, a series of in-depth seminars and listening sessions centered around Amacher’s work and intended for the dedicated scholar and casual listener alike. Blank Forms has since hosted three additional pairs of these hybrid presentations in an effort to think through Amacher’s materials collectively and publicly—while offering participants different degrees of engagement with the material. In 2017, we presented the American premiere of Amacher’s 1991 piano piece Petra, the recordings of which we have since published as a CD and LP. Also in 2017, our revitalization of Adjacencies, Amacher’s 1965 piece for percussion and electronics, at The Kitchen marked the first time the work had been performed since 1966. Although the bulk of our Amacher events have occurred in the vicinity of New York, last year Adjacencies was also performed at CalArts’ REDCAT Theater and Philadelphia was home to Perceptual Geographies, a holistic four-day celebration of Amacher’s work that brought together performances of Petra and Adjacencies with a large-scale interpretive architectural installation by Supreme Connections, as well as an introduction to Amacher’s life and practice and a comprehensive seminar delving into the still unpublished theoretical underpinnings of her oeuvre.

“Bringing the Maryanne Amacher collection to the Library for the Performing Arts is hugely exciting,” said Jonathan Hiam, Curator of the Music & Recorded Sound Division at The New York Public Library for the Performing Arts. “Her collection provides a fascinating glimpse into the creative process of a truly unique artist. Making this collection available alongside our other holdings of Amacher’s peers and collaborators, like John Cage, also gives the public an understanding of the creative community she thrived in and influenced. We’re looking forward to seeing how researchers and artists use the collection to find inspiration and understand Amacher’s history and legacy.”

“We are thrilled to collaborate with the The New York Public Library for the Performing Arts in ensuring the preservation and continuation of Maryanne Amachar’s singular work,” said Blank Forms Director Lawrence Kumpf. “Blank Forms was founded with the mission of establishing new frameworks to preserve and present the time-based and interdisciplinary practices of underrepresented experimental artists like Maryanne Amacher. Standard methodologies developed around painters or orchestral composers, for example, are insufficient to capture the more ephemeral practices now pervasive in a post-disciplinary production. Working with Amacher’s archive has represented a unique opportunity to explore these new models for archiving the composers of the future and may serve as a prototype for other composers and artists of her generation”

To celebrate the formation of The Maryanne Amacher Foundation and the donation of her archival material, Amy Cimini and Bill Dietz will lead a conversation about the archive and present highlights from the collection on Thursday, March 12th at the Library for the Performing Arts.

About Maryanne Amacher 
Maryanne Amacher (1938 – 2009) was a composer of large-scale fixed-duration sound installations and a highly original thinker in the areas of perception, sound spatialization, creative intelligence, and aural architecture. She is frequently cited as a pioneer of what has come to be called “sound art,” although her thought and creative practice consistently challenges key assumptions about the capacities and limitations of that genre. Often considered to be a part of a post-Cagean lineage, her work anticipates some of the most important developments in network culture, media arts, acoustic ecology, and sound studies.

About The New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
The New York Public Library for the Performing Arts houses one of the world’s most extensive combinations of circulating, reference, and rare archival collections in its field. These materials are available free of charge, along with a wide range of special programs, including exhibitions, seminars, and performances. An essential resource for everyone with an interest in the arts — whether professional or amateur — the Library is known particularly for its prodigious collections of non-book materials such as historic recordings, videotapes, autograph manuscripts, correspondence, sheet music, stage designs, press clippings, programs, posters and photographs. The Library is part of The New York Public Library system, which has 92 locations in the Bronx, Manhattan and Staten Island, and is a lead provider of free education for all.

About Blank Forms
Blank Forms is a non-profit organization dedicated to supporting emerging and underrepresented artists working in a range of time-based and interdisciplinary art practices, including experimental music, performance, dance, and sound art. We aim to establish new frameworks to preserve, nurture, and present to broad audiences the work of historic and emerging artists. Blank Forms provides artists with curatorial support, residencies, commissions, and publications to help document, disseminate, and advance their practices.

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Becas Master.LAV http://www.mediateletipos.net/archives/42342 http://www.mediateletipos.net/archives/42342#respond Mon, 17 Feb 2020 19:55:28 +0000 http://www.mediateletipos.net/?p=42342

LAV convoca anualmente un programa de becas cuyo objetivo es hacer accesible el Máster a artistas de talento y facilitar así el desarrollo de proyectos de calidad durante el transcurso del Máster.

La participación está abierta a cualquier persona mayor de edad, independientemente de su lugar de procedencia. Cineastas, artistas, licenciados en humanidades… Todxs aquellxs con ánimo de experimentar en el territorio audiovisual y sus espacios limítrofes.

Quienes deseen optar deben enviar una muestra de sus trabajos audiovisuales (máx 3 obras) ya sean cortometrajes, largometrajes, video-creaciones, instalaciones, performances, videoclips, etc. Sin limitaciones de medios, géneros o formatos.

También – o además-, se pueden presentar trabajos en marcha, o ideas para su próxima realización (convenientemente explicado y con los enlaces a materiales necesarios para ser juzgados).

El plazo de presentación se abre el 01 de febrero y finaliza el 10 de marzo de 2020. El fallo se hará público el 01 de abril en las redes sociales de LAV, así como en su web.

Se establecen 6 becas:
-Una beca del 100% – valorada en 5995 euros – que cubre la totalidad de los gastos del año académico.
– Y cinco accésit que tendrán un descuento del 25% sobre el importe del Máster.

Interesados enviar a becas@master-lav.com

LAV es un laboratorio audiovisual de creación y práctica contemporánea.
En LAV se desarrolla el MASTER.LAV, un programa único en sus propuestas de carácter experimental y en la necesidad de ensanchar los límites del lenguaje audiovisual.

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Radio Web Macba – Nueva Web http://www.mediateletipos.net/archives/42333 http://www.mediateletipos.net/archives/42333#respond Thu, 16 Jan 2020 09:52:58 +0000 http://www.mediateletipos.net/?p=42333 https://rwm.macba.cat/

Desde Mediateletipos celebramos la nueva web de Radio Web Macba con más escuchas! ;-)

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Radio Garden http://www.mediateletipos.net/archives/42329 http://www.mediateletipos.net/archives/42329#respond Thu, 16 Jan 2020 09:48:30 +0000 http://www.mediateletipos.net/?p=42329

By bringing distant voices close, radio connects people and places. From its very beginning, radio signals have crossed borders. Radio makers and listeners have imagined both connecting with distant cultures, as well as re-connecting with people from ‘home’ from thousands of miles away.

Radio Garden allows listeners to tune into live radio across the entire globe.


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Hrönir Radio http://www.mediateletipos.net/archives/42322 http://www.mediateletipos.net/archives/42322#respond Thu, 16 Jan 2020 09:43:34 +0000 http://www.mediateletipos.net/?p=42322
Bienvenidos a la estación robótica Hrönir Radio. Está concebida para reproducir aleatoriamente las músicas de Víctor Nubla, Macromassa y otros proyectos musicales en los que Nubla ha participado. Música que abarca desde 1976 a 2019. Hrönir Radio ha sido desarrollada por Nofre Móra y sus contenidos corresponden a los del canal bandcamp de Hrönir (Los archivos del sótano de la fábrica de hrönir), donde puedes consultar toda la información complementaria, créditos, portadas y descargar los archivos de sonido.


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br-ba http://www.mediateletipos.net/archives/42314 http://www.mediateletipos.net/archives/42314#respond Sat, 28 Dec 2019 09:10:37 +0000 http://www.mediateletipos.net/?p=42314 br-ba irratia


Por medio de la radio, las actividades de los artistas que se expresan con lápiz y pincel, así las de los que lo hacen con ideas, trasladarán inmediatamente a toda la humanidad por caminos desconocidos. La literatura conocerá una expansión extraordinaria convirtiendo cada radio en un libro abierto, la radio será una escuela portátil, un gran río educativo que tendrá la capacidad de hacer creer a sus oyentes que están bebiendo vino cuando en realidad están bebiendo agua, sin que nadie sea discriminado por razón de género, edad o clase social. Pero, ojo: una interrupción de la actividad radiofónica podría acarrear el peligro de extender por todo el país un gran apagón mental, una pérdida de consciencia transitoria.


Mediante esta mención, nos alejamos de la función clásica de la radio (informar, entretener y educar) para acercarnos a una propuesta idílica, a un encuentro centrado en la creatividad, a algo que, partiendo del silencio, nos hará sentir como una sacudida; y si esto no se logra, al menos a suscitar curiosidad; y si esto tampoco se da, pues a destruir el espacio entre el artista, su obra y el oyente.

En este proyecto entendemos y proponemos la radio como un lugar expositivo, como un escaparate de sonido, y no solo como un sistema de emisión.¿Cómo situar la composición o las piezas para poder exhibirlas?¿Cómo crear un espacio que desarrolle un itinerario «entre» las piezas?¿Cómo interpretar un archivo sonoro?¿Qué tipo de criterio comisarial hay que usar?¿Cambiaría esto el pensamiento sobre los conceptos expositivos y el modo de crearlos?


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Expanding Cinema http://www.mediateletipos.net/archives/42310 http://www.mediateletipos.net/archives/42310#respond Sat, 21 Dec 2019 20:21:12 +0000 http://www.mediateletipos.net/?p=42310

Sebastian Lütgert & Jan Gerber are two artists and programmers who developed the movie database 0xdb and its underlying software pan.do/ra.

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Radio Web Macba 2019 http://www.mediateletipos.net/archives/42303 http://www.mediateletipos.net/archives/42303#respond Sat, 21 Dec 2019 11:33:37 +0000 http://www.mediateletipos.net/?p=42303 Los 5 podcasts de 2019 imprescindibles para la familia expandida de Ràdio Web MACBA… y un recuerdo

1/ Aura Cumes:

“Somos mayas, no más indios. Tenemos idiomas y no dialectos. Tenemos cosmovisión y no pensamientos simples ni mágicos. Tenemos cultura y no tradiciones o costumbres o idiosincrasia. Tenemos espiritualidad, no brujería ni paganismo. Y somos naciones, no somos etnias ni razas”

En este podcast, la activista, investigadora y docente Aura Cumes traza un lúcido recorrido histórico a través de los procesos coloniales, analizando los mecanismos de sometimiento, violencia y usurpación con los que perversamente se ha ido modelando la identidad del indio-india-sirviente relegado al progreso y bienestar del hombre blanco, sus familias y su capital. Aura reflexiona también sobre la pluralidad ontológica que emana del “Popol Vuh”, el libro sagrado de los mayas y analiza las particularidades de las luchas de las mujeres indígenas que no pueden unir sus reivindicaciones a las del feminismo blanco reproductor de las lacras del racismo colonial.

2/ Zenaida Osorio:

“Me han interesado mucho más los movimientos antimemoria, los movimientos dispersos, los movimientos que no son regulares, los movimientos que hacen su propio archivo hasta donde el archivo llegue…”

En este podcast, Zenaida Osorio hace una lectura crítica de las representaciones del campesinado en el archivo y relato oficial de Radio Sutatenza. A partir de este caso de estudio, reflexiona sobre el contraste de las imágenes de país -Colombia para el caso- que las redes de funcionarios oficiales, productores visuales e investigadores académicos consideran legítimas. Zenaida habla de la diferencia entre imagen y memoria, de guerras contra el analfabetismo que pueden leerse también como guerras contra el comunismo, de archivos que gustan mucho, de imágenes que no gustan tanto, movimientos antimemoria, “exposicionitis” y derroche de entrecomillados, ruanas, mulas con transistores al lomo, la promesa de lo íntimo y otros dispositivos para construir vínculos con lo “real”.

3/ Diego Falconí:

“En el siglo XV hubo una gran cantidad de sodomitas valencianos que fueron juzgados, más que nunca antes en Europa. Pero para castigar a esos sodomitas no se podía quemar toda Valencia. Mientras tanto, en el Abya Yala, en lo que hoy llamamos América Latina, era muy fácil quemar estas ciudades. El mito bíblico se expresa y se hace posible en la crónica de Indias”

En la primera entrega de la serie de tres podcasts “ALTARES, AZÚCAR Y CENIZAS #1. Antirracismo y resistencia anticolonial desde la afrodescendencia”, la investigadora y comisaria Lucía Piedra Galarraga, la docente e investigadora Karo Moret y el docente e investigador Diego Falconí hablan sobre metodologías carroñeras y el devenir negro del mundo. Comparten historias sobre altares, ekekos, nefandos, Santa Bárbara y las Siamesas de Valdivia. Analizan las políticas del pelo, mencionan el azúcar como producto estrella surcando las rutas del Caribe, y reconocen la destreza de la ceniza para evidenciar el exterminio de las antiguas comunidades sodomitas andinas.

4/ José Luis Barrios Lara:

“La gran mentira de la filosofía y del pensamiento occidental es pensar que hay un origen. Básicamente, la humanidad se conforma por desplazamientos nómadas. Ahora, si asumimos que Occidente se define por la invención del otro, entonces sí, sí hay Occidente”

En este podcast, José Luis Barrios Lara reflexiona sobre el mito fundacional de Occidente, la modernidad y la invención del otro; piensa en las políticas de identidad como instrumento político y forma de administración de cuerpos en el espacio; cuestiona la efectividad de las epistemologías del sur e interpreta la crisis migratoria global como una forma de neoesclavismo. Parte del proyecto Re-Imagine Europe, cofinanciado por el programa Creative Europe programme de la Unión Europea.

5/ Olivia Plender:

“Creo que todos nosotros acabamos ajustándonos a la voz que mejor nos funciona, es decir, aquella por la que, de alguna manera, obtenemos alguna recompensa”

En este podcast, la artista Olivia Plender habla sobre productividad y cuidados, sufragistas y museos, adolescencia y escuelas, sobre colectivos sin líderes carismáticos, educación encarnada y la posibilidad de transformar los errores en discusiones sinceras. Hablamos también sobre la conquista de autoridad de las mujeres a través del entrenamiento de sus voces, la dimensión material del habla, y sobre cómo adoptamos, no siempre siendo conscientes, una voz por la cual nos sentimos socialmente recompensados..

rwm Abu Ali / Toni Serra
Entre mundos con Toni Serra/Abu Ali en el recuerdo.
…Toni Serra/Abu Ali:

“La realidad, esa enfermedad mental”

El artista y realizador Toni Serra/Abu Ali nos dejó el jueves 21 de noviembre, pero su recuerdo y su voz sigue con nosotros. Ojalá, entonaba Toni con frecuencia. En esta conversación de 2016, viajamos de su mano a los estados de trance, cambio, flujo, un camino epistemológico que precisa del no-saber y de ciertos estados mentales que el establishment médico occidental ha catalogado como alterados. DEP.

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On the Apparently Meaningless Texture of Noise http://www.mediateletipos.net/archives/42292 http://www.mediateletipos.net/archives/42292#respond Fri, 20 Dec 2019 19:30:44 +0000 http://www.mediateletipos.net/?p=42292 Interview]]> On the Apparently Meaningless Texture of Noise

by Pedro Oliveira.

> Interview

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02022020 http://www.mediateletipos.net/archives/42287 http://www.mediateletipos.net/archives/42287#respond Mon, 16 Dec 2019 17:22:34 +0000 http://www.mediateletipos.net/?p=42287 Os dejo la info para participar en este proyecto palíndromo:


// Who are we? //

We are a group of artists who are enthusiastic about the upcoming palindrome date, 02-02-2020. We build this platform aimed at connecting different artists and partners to give an artistic response to the once-in-a-lifetime date and discover its obscured absurdity in relation to our current world.

// Why 02022020.SPACE? //

This project combines the enthusiasm of humanity in connection to a once-in-a-lifetime event and the irreversible digitalised world where everything can be streamed. Our coming generation will be born into this environment where massive information in visual-time format can be accessed anytime, anywhere in both active and passive ways. We believe humans should be able to adapt to any new environment eventually. But where are we heading?

// What is 02022020.SPACE? //

02022020.SPACE is a collective art project in response to our next palindrome date, 02-02-2020. Artists that work with diverse artforms are invited to create works exploring the hidden meanings of the date in relation to our society, culture and our planet, not limited to the impact of the once-in-a-lifetime event, but also the attraction of highly repetitive and reversible numeric effects, and the global influence of timezones.

The most brilliant cultural highlights of recent times have involved people broadcasting ideas in innovative ways, with web-based technology becoming one of the major elements in our daily life. 02022020, also a 8-digit computer-friendly code, is ideally situated in the Internet culture, ushering in the new vision of information exchange in the nearest future. On 02-02-2020, a collective of artists will create a 26-hour programme of artworks and performances that will be streamed on the Internet for viewers in all timezones. The Live performances with local audience are presented in 10+ cities around the world. The audience will also see the streaming of the performances and artworks in other locations.

// How does it work? //

The whole project embraces the concept of time-zones. Each time-zone enters the day sequentially. Currently 38 time-zones are being used on our planet including all offsets of 30/45/60 minutes. Wherever you will be on the 2nd of February, there will be one art work or performance released at 20:20 in the evening in every time-zones. The works can take many forms including, live performances, installations, recorded works or artworks created in a web-based form. Audience can follow all the time-zone events on our website 02022020.space from the first one UTC+14 to the last UTC-12, experiencing total 26 hours of art events that unveil the maximum potential of the day.

Apart from sitting at home and watching the whole event on the Internet, the audience can also go to the venue where the Live performances are presented and watch the streaming programme with other audiences.

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Anòmia – ACC018 http://www.mediateletipos.net/archives/42231 http://www.mediateletipos.net/archives/42231#respond Tue, 10 Dec 2019 23:17:45 +0000 http://www.mediateletipos.net/?p=42231 —ACC018—
A conversation and workshop with Florian T M Zeisig and Arnau Sala Saez about

Florian T M Zeisig and Arnau Sala Saez get together to explore the idea of repetition. A widely used phenomenon in sound, music or art, but also in other fields since the beginning of existence. Both artists will show examples of their work based on repetition. We will not only speak about this phenomenon but will have an open conversation and a little workshop at the end where we will make and play loops while playing a little game of chance.

Monday December 16th. 7:30PM
Hangar.org — Emilia Coranty 16, BCN

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