The take II (done on March 17th, 2012) was to do the same 15-minute session in the same place but this time with strangers. I put the 4 sheets in 4 different benches as I did before, but I wasn’t there to attach the microphone to the people. The micro was itself in the introduction’s bench near the introduction’s sheet. I also gave more information by adding more text on that sheet, in order to explain how people could participate in the session.
I got no results because nobody picked up the microphone in first place.
Observations I noticed:
– most people stop to read the papers;
– people don’t touch the microphone even with the written instructions;
– the instructions should also be in english as Guimarães receives a lot of tourists during all year;
– they feel ridiculous while sitting and talking by themselves;
– 15 minutes is too much time;
– people prefer a person to explain to them what to do instead of exploring for themselves;
– maybe they want something in return for their contribution.
– more instructions on the papers pasted on the benches including the order – 1st the introduction, then the categories;
– a recorder in each bench, that way it could pick up all sounds made by the people sitting on a bench, people blending in;
– online and in person disclosure of the recording sessions (specific day and hour), preferably in advance;
– do the experiences at weekends, because most don’t work.
It was an experiment I did with some people I knew, in the park of Alameda de São Dâmaso also called “O Bosque” (The Woods) on May 14th of this year.
I pasted 4 sheets of paper in 4 different benches: the introduction, the past, the present and the future.
The person had to choose a bench (between the past, the present and the future) to sit. Then I attached them the microphone and I clocked 15 minutes. I started the recording in a coffee shop some moments ago.
Here are the results.
The masterclass started with the playing of the last excerpt of the portuguese movie called “Aquele Querido Mês de Agosto” (2008) by Miguel Gomes. Then Vasco Pimentel did a critics’ analysis of it.
Besides that, he explained the basics of the sound, and how important is to be as close as possible to the sound source when collecting sounds.
After the masterclass we talked on the grass about this project and Vasco gave me some advice ^^
The event took place at Escola Superior de Educação (Instituto Politécnico do Porto – IPP) on March 9th, 2012. Some photos can be found here by Rui Pinheiro.
The event took place on April 24th, 2012 in Fábrica Asa (Guimarães, Portugal).
It’s a sound and musical sculpture performed by Simão Costa and Yola Pinto and created by him.
After the performance Simão invited everyone to feel the vibrations in the structures. We did that and it was a brand new experience ^^
In this project Simão explores the sound using a different approach, sounds that awaken the senses, he builds a dialogue between the analogic and the digital. Can conversations also build them?
April 27th, 2012 | Performance in Fábrica ASA (Guimarães, Portugal) by Derek Holzer (USA)
“Tonewheels” is an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions. Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures. This all-analog set is performed entirely live without the use of computers, using only overhead projectors as light source, performance interface and audience display.
Do we need a visual support while listening to the sound?
April 27th, 2012 | Performance in Fábrica ASA (Guimarães, Portugal) by Hertzbeat Hotel (PT) & Julio Gomez (ES)
Damien Yates and Anton van Ringe, two former theology students, view themselves as microbes in a complex food chain, decomposing and releasing the energy contained in various sonic and symbolic sources; they are also deeply concerned by the use of memory and evocation in the transmutation of strata of meaning.
Herzbeat Hotel’s musical practice employs traditional instruments whose status as reservoirs of accumulated history is explored, with electronic, electric and magnetic manipulation, in an analogy of the alchemical process.
Ultimately, Herzbeat Hotel invoke illusive cultures, whose traditional and religious music they reconstitute, in a process akin to argentinian writer Jorge Luis Borges’ catalogue of parallel civilizations and possible heresies.
In this particular project, Yates and van Ringe will collaborate with spanish sound researcher Julio Gomez, a member of the SinsalAudio collective, on the recording and manipulation of audio material on way cylinders.
Is it important to maintain traditional practices? Or should we get rid of the analogic and stay digital as much as possible?