→ “Chant I” includes “Aria da Capo” by Johann Sebastian Bach recorded in Barcelona (2013)
Piano: Lluïsa Espigolé.
→ “Chant I” includes field recordings made in Myanmar, Malaysia and Spain during (2017 – 2019)
→ “Chant II” was made with a selection of sound extracts from ISIS mass media communications.
→ “Chant III” & “Chant IV” were recorded in 2013 in a church. No effect was used, only natural reflections.
→ “Chant I” should be listened as background music.
→ “Chant II” & “Chant III” should be mixed randomly during listening. Don’t listen to them separately.
→ “Chant IV” should never be heard. Play it in an empty space.
Thank you for your listening.
God bless you.
In French, "La petite mort" is an expression which means "the brief loss or weakening of consciousness" and in modern usage refers specifically to "the sensation of post orgasm as likened to death". Mexicans use the same expression, but in plural "las muertes chiquitas", which could be translated as "the small deaths". Both refer to the refractory period that occurs after orgasm.
In 2014 I had an unexpected encounter with a person with whom I had intercourse only once. After some days, she asked me to make a HIV/AIDS test, just in case. I proposed to her to do it, both test, at the same time. Just to share the same waiting process for the results. There is no wait without hope. Meanwhile test's results were appearing, we waited and recorded the moment. The refractory period sometimes takes more time than expected and some contingencies may happen during wait.
The venue owner told me before that they stopped doing concerts because there was a neighbor complaining about the sounds and noises during them. So he asked me not be loud that night, trying to avoid more problems with the neighbor and the police.
Then I proposed to him to use recordings that I collected during years of many empty houses that I lived in. In all of those recordings there is silence, but also neighbor's sounds. Somehow we were able to listen to this loud concert because its sound source belong to them: to our neighbors.
Sounds do not understand walls. Our ears do not have eyelashes, so we are obliged to hear sounds that we do not invite them. Loneliness does not know how to be mute and listening to the sounds of loneliness is to amplify other small presences. Our private space becomes an auditorium and our neighbors are our best listeners.
Many thanks to Xabier Erkizia, Juan Aizpitarte, audience and neighbors.
This work was commissioned by Miguel A. García (Xedh) to be part of one-night concerts with other artists such as: Jean-Luc Guionnet, Seijiro Murayama, Jorge Nuñez, Loty Negarti and Ibon RG at "Club Le Larraskito" in Bilbao (Spain) in 2010.
My concert was done with recordings that I made previously in the venue when the main room was empty. The goal was to record the sounds that remain in the concert space without people, searching for a kind of quiet memories of the space as hauntology sonic action.
In the venue, there is another little room in which I played a selection of recordings of those concerts that happened during years. Both resulting audios were listened together and is suggested to play them in the same way: together. The present haunted by the past.
This publication was made as a result of the "Aguas Menores" workshop (2018) This workshop was focused on the act of peeing. Urination as a source of sounds for a common listening.
Recorded on a golden CD-R (Golden Compact Disc) 24 carat gold reflection layer coating. Extremely high file life of up to 300 years! Only 5 copies released with all the recordings of all the urinations.
Raw recordings of me standing in front of the microphones with different feelings. Recordings were made in a windy terrace during COVID-19's confinement (April, 2020) without any mic protector (Wind Shield) and with the gain option set up to max.
14 tracks published as one copy of a red mini-cd by Я – Archives (2020)
A Silent Self *
* "ein ins Stumme entglittenes Ich" – Walter Benjamin in “Critique of Violence”
Ludwig Wittgenstein concluded his "Tractatus logico-philosophicus" (1921) saying that "Whereof one cannot speak, thereof one must be silent". Years after, Jacques Derrida, in his book called “How not to speak. Denials” (1989), replied this sentence arguing that "What matters here is the nature of that “must be silent”, it inscribes the mandate of silence in the order or the promise of “we must speak”, “we must not avoid speaking” or rather “there needs to be a trace.” No, "it is necessary that there has been a trace", a phrase that must be simultaneously turned towards a past and a future both still unpresentable: it really is necessary (now) that there has been a trace."
José Luis Pardo in his book called "Intimacy" (1996) remind us that "the being feels his emotions, hears them sound in that interior fold in which he harbors himself, let's not forget that "hearing" is one of the meanings of "feeling", he feels the fold or curvature by which his "upright walk” is always in an unstable balance. Knowing yourself mortal is feeling (hearing yourself) alive."
The last chapter of the book "The Expulsion of the Other" (2018) by Byung-Chul Han is dedicated to the listening act. He said: "Listening can be enough to heal. The art of listening is developed as a respiratory art. The listener empties himself. The ego is not able to listen. Listening helps others to speak. Listening has a political dimension: it is an action, an active participation in the existence of others, and also in their sufferings. Today, somehow, we are alone with our own sufferings and fears. Suffering is privatized and individualized, thus becoming the object of therapy that tries to heal the self. Listening gives each one his own. Listening reconciles, heals and redeems. The noisy society of tiredness is deaf."
In "Silence" (1994) by John Cage, the musical equivalent of “empty space”, an “empty music”, is – regardless of its metaphysical attributes – an experience, not the the absence of one. As Michel Chion in his book "L’audio-vision" (1994) said: "Silence is never a neutral emptiness. It’s negative of sound we’ve heard beforehand or imagined; it’s the product of contrast."
The wind is the only thing that maintains a relationship with the voice. The breath of the living voice is dissipation in the wind. The scream, the howl are drowned in that breath. For this reason one should speak in a low voice, because of this outburst. A speech, in its definition, requires the constellation of its otherness. It has no voice, no say, no sense of its own. Speech does not remain.
"He who has suffered a loss joins the lost within his laments: he abandons his body and decomposes himself in the atmosphere of the world." - Georg Wilhelm Friedrich Hegel
In 2016 I went into psychoanalysis to understand from the Lacanian perspective how we listen to ourselves and to the Other. Lacanians suggest an alternative mode of listening directed at the deeper layer of the unconscious. This mode of listening invites the individual in therapy to engage in a process of coming to know his or her own unconscious in its singularity. In listening, we become. We share the experience of being listening. The analyst as listener is not a master.
In the last session I propose to my psychoanalyst to stay quiet for a while, in silence in the room, both together and listen. I recorded this moment and also the previous moment in the waiting room. To listen is to wait, to be suspended for as long as possible in the virtuality of the analytic relation. The third ear can hear voices from within the self that are otherwise not audible because they are drowned out by the noise of our conscious thought-processes.
Two raw recordings, not modified, not mastered, just recordings of waiting and listening moments in a lacanian psychoanalysis session. Two tracks with 8 minutes and 28 seconds published as three copies of red mini-cds (2016) by Я – Archives.
The essence of psychoanalytic understanding is the third ear. The third ear is the unconscious capacity to decipher the psychological clues that inspire psychoanalytic conjectures. The clue is inked to unpleasant psychodynamic material that has been repressed and thereby placed in what Reik calls “a zone of silence” in the dynamic unconscious. Reik claims that the third ear decodes clues through an indirect process of understanding necessitated by the fact that we cannot directly know ourselves or others.
What the sensitive therapist hears is the musical rhythm of the patient’s discourse. When the therapist lets go of preconceived, systematic ideas, on the other hand, the “emotional undertones” of the patient’s associations “become clearly audible and distinct as if amplified by a microphone” and the patient’s singular personality emerges. It is telling that Theodor Reik borrowed the term “the third ear” from a passage in Nietzsche’s "Beyond Good and Evil" that discusses the ability to appreciate the musicality of language.
Being silent, dynamically unconscious material is “concealed” by the patient’s speech, but “revealed” by her silences. “The (patient) speaks or is silent, and accompanies his speech or silence with ‘speaking’ gestures. We see the play of his features, the variety of his movements”. Essentially, Reik is claiming that the unconscious has a built-in system designed to intuit the other’s unconscious by decoding interpersonal signals. It is this system which Reik calls the third ear. The therapist’s subjectivity is therefore not so much an impediment to listening as it is the “root” of psychoanalytic listening itself. Psychoanalytic listening is unconscious. The ability to listen with the third ear “is not teachable”. Otherwise, Listening with the third ear should be exclusively of scientific interest and have no practical relevance.
"Ex nihilo nihil fit" – Parmenides of Elea
(Or nobody is perfect)
"For nothing is hidden that will not be made manifest, nor is anything secret that will not be known and come to light." – Luke 8:17
From 2005 to 2020 I have accumulated secrets recordings with secrets in them. Some of these recordings contain confessions of secrets. Other recordings were made during secrets production. The archive has approximately 200 recordings.
No one has ever listen to these recordings, except me. The complete recordings archive has been listened only once and by me. Then I deleted the whole archive of secrets with no possibility of ever recovering these files. The only way to know about these secrets is to remember this listening.
"Having a soul means having a secret. (…) Few people have souls." – Pascal Quignard - "Vie secrète"
RECORDINGS ERASE PROCESS
"A secret is powerful when it is empty." – Umberto Eco
A collective reading of several testimonies by refugee survivors from Mediterranean Sea.
A raw non-perfomative situation which was done in a friend’s home in Ustaritz (France) (May, 2019)
Used materials: One microphone, one speaker and a selection of the testimonies of the survivors collected by SOS MEDITERRANEE and read by the public attending the event.
Download pdf → Selected testimonies
Produced by Luis Alberto Rodríguez Martínez. Photographies Photography by Fabian Mondl and Waldemar.
Many thanks to the audience who read and listen to the testimonies. Dedicated to every refugee who died in the Mediterranean Sea.
Recorded in Madrid (Spain) during "Green Symphony" workshop. Produced and mastered in "H Studios" in Paris (France) (2019)
Many thanks to all participants of this workshop (plants included)
A hot soundscape recordings of the biggest european brothel (2018)
This track contains interludes from a sexual service and also featuring songs and artists like “Somebody to love”, “Para la bailar la bamba”, “Blue moon”, one football match on TV at the bar, two songs by The Beach Boys and more songs & more artists!
Everything was recorded at Pascha in Köln (Germany). Edited and mixed in the air between Köln (Germany) & Paris (France) (2018)
Recording and listening process →
Both processes are made in collaboration with one of the sexual workers:
→ She recorded (secretly) one orgasm / service with one of her customers.
→ The complete recordings will be listened in her room with her. Only available on 11th November 2018! Pre-order is mandatory.
Prices and pre-order
Prices for erotic services:
– All prices are negotiable with the girls.
– Naturally, arrangements can be made with one or more girls.
– Simply ask the girl of your choice about your individual requirements.
Many thanks to workers at Pascha!
Photos by Patric Fouad.
HOPELESSNESS was made for "Legítimo / Rezo", a dance piece conceived by Jone San Martín, Josh Johnson & William Forsythe.
In 2004 Jone San Martín was invited with other choreographers and dancers to make a lecture about choreographic notation at Théâtre de la Ville in Paris (France). Her answer to the question of how to use notation in William Forsythe dance works was to dance her explanation. In this moment, she released the best way to communicate and explain dance is to dance it. Also, during the lecture, Jone San Martin talks about the choreographic material which is vanishing with the dancers who dance the choreography. Once the choreographic material is danced, it disappears.
Chant I – Prelude
1 - Buddhist Version
2 - Islamic Version
3 - Catholic Version
Chant II – Entr'acte
4 - First Overture
5 - Second Overture
6 - Third Overture
7 - Fourth Overture
8 - Fifth Overture
9 - Sixth Overture
10 - Seventh Overture
11 - Eighth Overture
12 - Ninth Overture
13 - Tenth Overture
Chant III – Interlude
14 - Alma Redemptoris Mater
15 - Untitled
16 - Untitled
Chant IV – Bonus Track
17 - Gure Aita
This recording was made in a secret place at Tiputini Biodiversity Station located in the Ecuadorian Amazon rainforest. The place is used by different animals to get some minerals and then other animals use it to hunt them. The location is very special because it's full of animals and activity. In the recording there are some frogs, crickets, a lot of insects, included two or three flying insects or unidentified animals surrounding the microphones very close.
One raw recording made in the Amazon rainforest (Ecuador) recorded the night of 24th September, 2014. Mastered at “H Studio” in Berlin during winter 2018.
Dedicated to Manuel Calurano.
Many thanks to Diego Mosquera.
(Or I'm Waiting for the Man)
One raw recording with the whole process of buying cocaine: call to the dealer with the delivery address, the waiting process and the purchase process inside the dealer's car.
Recorded in Berlin during the summer of 2017. Not edited. Not mastered. Just pure!
This special edition consists in a plastic capsule (Eppendorf) with traces of cocaine. Limited copies!
→ Purchase 50 € (Shipping included)
Only available in Berlin.
Legal notes →
"Possession of cocaine without a medical prescription is illegal. Small amounts for personal consumption may go unpunished for first-time or non-regular offenders, however this varies by state. Usually revocation of a driving license will follow from confiscation of any drug except marijuana, since drug users are considered a road hazard."
Source: Legal Status of cocaine in Germany.
"Along with the criminal penalties listed above, an individual who is found in possession of a small amount of cocaine may be subject to civil penalties. A fine of up to $10,000 per violation may be imposed. In deciding the level of the fine, the court may consider the individual's income and assets."
Source: The Good Drugs Guide
Source: "European Drug Report 2019: Trends and Developments" [download pdf] by European Monitoring Centre for Drugs and Drug Addiction.
The listening process (2) will be exactly the same as it occurs during the recording (1).1 – Recording process →
Buying drugs in Berlin is very easy and comfortable. Usually, the process consists in sending an SMS (not WhatsApp!) with the delivery address to the dealer. The dealer then confirms with a new SMS that he is on his way to the indicated address. The waiting time depends on the day of the week, time of the day and the amount of work he is in encumbered with, as well as the distance to the delivery address. Once the dealer arrives at the indicated address, he sends from his car an SMS saying: "Come out". Ultimately the customer, alone, accesses the dealer's car and they drive away slowly around the block of the delivery address. The transaction is made inside the car and after it, the dealer stops his car so that the customer can get off. The purchase process inside the car takes between 1 and 5 minutes.
In order to listen to this work, please send me an email or buy it directly via PayPal here. The listening process should be done in a car that will pick you up at your house and drop you off at the same point. Upon listening to this raw recording you will receive a copy of the plastic capsules or bullets with traces of cocaine. All the capsules have been acquired in Berlin.
A single piece made with fifty different versions of "Je t'aime... moi non plus " (1967 – 2017) All of them start together at the same time from the beginning.
Featuring Serge Gainsbourg, Brigitte Bardot, Jane Birkin, Giorgio Albertazzi, Anna Proclemer, Sounds Nice, Tim Mycroft, Bourvil and Jacqueline Maillan, Frankie Howerd, June Whitfield, Hot Butter, Abigail, Judge Dread, Saint Tropez, Giorgio Moroder, Donna Summer, Einstürzende Neubauten, Psychic TV, René & Yvette, Chayanne & Natalie, Barry Adamson, Anita Lane, Malcolm McLaren, Cibo Matto, Sean Lennon, Nick Cave, Pet Shop Boys, Sam Taylor-Wood, Bob Downe, Julian Clary, Koffi Olomide, Nayanka Bell, Sven Väth, Miss Kittin, Böhse Onkelz, Brian Molko, Asia Argento, The Ukulele Orchestra of Great Britain, Cat Power, Karen Elson, Baggalútur, Vicious Pink Phenomena, Paul Mauriat, Nitin Bali, Ruby Bhatia, The Electronic Concept Orchestra, Jamaica Soundsystem, Fausto Papetti, Los Bichos, Trash Palace, Těžkej Pokondr, Serge Fontane, Seitsemän Seinähullua Veljestä, Brigitte, Helmut Zacharias, The Holydrug Couple, Wolfgang Gruner, Edeltraut Elsner, Ombretta Colli, Ilona Csáková, Sexteto Electrónico Moderno, Werner Müller and Noćna Mora.
Dedicated to Jone San Martin.
(Or when we're sleeping, we're still listening)
"Insomnia is not defined as a simple negation of the natural phenomenon of sleep. The dream is always on the edge of awakening, it communicates with the vigil while trying to escape it. The dream listens to the vigil that threatens him and calls him with request." – Emmanuel Lévinas in "God, Death, and Time"
Sleeplessness refers to the recording machine which has not slept during the process of recording of all recordings used in this work. Sleeplessness only contains recordings made in intimacy, mainly during the dream process.
Some recordings have been made only with my presence, other recordings with the company of another person and other ones with the company of two or more people with or without my presence. Some nights have been recorded during the whole sleeping process and other nights all sounds, except silence, have been recorded.
All recordings have been ultra-processed in different phases and in different ways to preserve their identity. Only us we know who we are.
14 nights were recorded between 2008 and 2020 in different beds, rooms, houses, cities, countries and people. 14 tracks with at almost 30 hours for an ethereal listening during sleeping-time. Designed for high quality speakers, not for headphones. Edited and mastered at “H Studio” and published as 14 copies of SD-Cards by Я – Archives (2020).
1st Night – 2008 in Madrid with E. & M.
2nd Night – 2009 in Madrid with R.
3rd Night – 2010 in San Sebastián with L.
4th Night – 2011 in Madrid with L.
5th Night – 2012 in Leitza with P. & C. & D.
6th Night – 2013 in San Sebastián with I. & U.
7th Night – 2014 in San Sebastián with R.
8th Night – 2015 in Barcelona with S.
9th Night – 2016 in San Sebastián with R.
10th Night – 2016 in San Sebastián with R.
11th Night – 2017 in San Sebastián with R.
12th Night – 2018 in Vitoria with R. & more people.
13th Night – 2019 in Paris with A.
14th Night – 2020 in Barcelona with A.
"All the sleepers fall into the same, identical, uniform dream. This dream consists precisely in not differentiating. That is why the night, with the darkness and, also, the silence suits him." – Jean-Luc Nancy in "Tombe de sommeil"
I remember the first time that I heard a Pierre Henry’s sound piece. A friend of mine gave me this DVD about his work: "The Art Of Sounds". I remember that DVD was corrupted and it was full of glitches! I recorded some of them and made three tracks. I never published them, but after his death I just decided to release it as a tribute.
Three tracks published in a black mini-cd. Produced in San Sebastián (Spain) (2004) Mastered in "H Studio" in Berlin (Germany) (2017)
Dedicated to the memory of Pierre Henry.
Note: All possible distortions are intentional.
Since the introduction of digital formats has installed the widespread notion that digital technology is infinite, immediate and clean. In the area of field recordings might think that digital recorders offer a format where the self-noise produced by the recorder itself is minimal or nonexistent. In comparison with the noise produced by the analog formats, the self-noise (hiss) has just changed, it's no longer the same. Whatever, this noise exists in digital recorders. This work contains seven recordings per se made with different digital recorders without any input or microphone. We are listening to the (digital) recorder & recording themselves.
Conceived, edited and produced between 2009 and 2012. Mastered at “H Studio” in Berlin during the autumn of 2017. Seventy minutes in seven tracks published in just one black CD by Я – Archives in 2018.
Notes: This audio file contains only the first minute of each track.
Warning! It’s completely inaudible through laptop.
Quality speakers or headphones are highly recommended. Play it loud!
This cassette contains my last will. Since 2009 I’ve been recording each year my last wishes and last will in the same cassette. That means every year is deleting the previous year message. This cassette will be listened just by an executor after my death. Right after the cassette will be destroyed. However, the act of listening to this cassette must be public and be performed only once. The executor will listen to it with headphones and in front of the audience.
Many thanks to my family, colleagues and friends.
→ Not available meanwhile I am still alive.
A single piece with hundreds of Summertime song covers (2010) All of them start together at the same time from the beginning.
Many thanks to Cibeles Bello and the most of the musicians who played this aria.
“It is important not to know for the sake of knowledge.” – Jacques Lacan
"The Unknown" (2020) is a 12 hours sound work made with 200 unknown recordings archive (2002 – 2020). All of them were repeatedly modified in different levels. The goal is unknowing every source in every recording during the listening. All recordings included were made in unknown circunstancies, unknown places and unknown dates.
One copy of one sound archive with 12 hours stored in a micro-SD card of 2 Gb. Published by Я – Archives (2020)
There is no purchase option.
This work contains several excerpts from different musical idols from my childhood and adolescence. Only one copy was published as a red 12" vinyl of 150 grams with one track per side. This vinyl was played just once and then it was destroyed.
Edited and produced between 2002 and 2006 in Madrid. Mastered at "H Studio" during the summer of 2017 and destroyed in Berlin in winter of 2018.
→ Aria (for Carl Stone)
→ Aria (Or nothing is the same)
Two copies of red color mini-cds (2015)
→ Aria (Or something like that)
Absolute première at Mixtur Festival – Barcelona (Spain) (2013)
Many thanks to Lluïsa Espigolé, Blanca Rego and Phonos.
Troddin is a free improvisation of free sounds created by free people while the silence becomes the reference. All kind of ways are possible, find your own way. All you have to do is listen to the silence and begin to play! A wrapping atmosphere is necesary to have a good conception of ourselves and feel immersed in the spellbound of Troddin’s sounds.
Untitled 01 (Or the first take is always the best take)
Unlimited release published by SD Records (2007) [download zip]
Troddin of troddins
Unlimited release published by modisti netlabel (2009) [download zip]
Troddin of troddins is a collection of 20 improvisations (or more) in just one release. Over the two years of life Troddin have made multiple improvisations, most of which we have recorded. This material now serves as a sound source to work on to make the final Troddin of troddins.
Sound check as a concert
Live at Acción Es León Festival, León (Spain) (2009).
This raw underwater recording was made with hydrophones on the beach of the Txingudi Natural Park in Fuenterrabia – Hondarribi close to the Airport of Donostia – San Sebastián. In the moment of the recording a plane was approaching to the airport and it’s possible to listen the radio conversation between the control tower and the plane’s pilot.
One raw underwater recording (2011) Published by FIBRR Records.
Many thanks to Slavek Kwi, Xabier Erkizia, Illart Alkorta and Asier Gogortza.
One is a sound work made from just one sound of one second of duration. The sampler is an error and I decided to make a sound piece just with it. All sounds included in One came from this one second error sound.
One copy of blue color mini-cd (2004)
44 (Or my name forty-four times in José Iges's mouth) is a short piece with a looped track of my name repeated forty-four times by José Iges. His voice is one of the most recognizable voices in Spanish Sound Art. The used original audio archive came from the catalog of the exhibition "Listening with the eyes - Sound art in Spain 1961 - 2016" which contains a small white fake cassette with a selection of sound works from the exhibition. Each track is preceded by the voice of José Iges indicating the track number, the name of the artist and the name of the piece, just before the sound work itself. The number 44 corresponds to an excerpt from "Machine Pattern # 01".
Produced in Madrid and San Sebastián (2017)
Many thanks to José Luis Maire & José Iges.
Note: All sounds are intentional.
Early Works is a compilation of sound works done between 2004 and 2009 with No Input Mixing Board Digital (NIMBD) system.
Sound is generated in an autonomous way from different configurations of the same pattern: the audio output returns to the audio input generating an internal digital feedback which in many cases is nonlinear and difficult to control or impossible. The results are autonomous digital sounds specific to digital equipment. Machine music for machines.
Published by Arto Artian (2015)
One raw recording of the last machine in operation of the J. Trepat Factory Museum in Tàrrega (Spain) (2015) The recording process was conceived as a continuum concert.
Many thanks to Natalia Lloreta and Jesús Vilamajó.
Since I have memories, the flat next to my home has been empty, no one has ever lived there. Once a week my non-neighbor comes to his house to clean it and inhabit it for a few minutes, exactly 14 minutes on average. On the night of Sunday September 20, 2015, we reproduced raw recordings of myself while I slept, alone or accompanied, during the past 8 years.
Many thanks to my non-neighbor and to all who have accompanied me during my dreams.
Dedicated to Count Hermann Karl von Keyserling.
→ To listen to this work, you should put your ear on the door, but the door will not be opened!
→ To know the specific location just send me an email.
Note: This site-specific sound installation was only available to listen to during the night of Sunday September 20, 2015.
Ten compositions for one listener published in a vacuum packaging (2012)
Two patterns from the field (15:31 min)
Printing Pattern (09:39 min)
Frog Pattern (for the Third Ear) (14:47 min)
Cricket Pattern (08:19 min)
TranScape (09:26 min)
Espais naturals del Delta del Llobregat (07:40 min)
Untitled (for Marina) (08:36 min)
Montjuïc Cementery (14:44 min)
Send ahead, leave behind (11:15 min)
Send behind, leave ahead (09:28 min)
This work is based on Alvin Lucier's "I am sitting on a room". rrroom plays with the resonance of the room where is played. The process consists in record the space, in a quiet situation, with hydrophones used as a contact microphones. This first recording will be played in the same place after and it will be recorded as the same time. This process will be repeated again and again to get the resonance of the space.
→ Cullera, Valencia (2011)
→ Festival Reformance, CA2M, Madrid (2011)
→ Convent de Sant Agustí, Barcelona (2012)
One underwater recording from the Amazon river (Brasil) in 2011. The pulses are made by several unknown underwater insects. To listen to these pulses the recording is slowed down one hundred times. All sounds and possible distortions are intentional. The result of the reproduction depends of the sound equipment.
One copy of blue mini-cd self-published (2015)
Many thanks to Slavek Kwi, Francisco López, Xabier Erkizia, Eric Miller and Arteleku.
233 hours of listening (Or when I'm sleeping, I'm still listening) is a sound work made with several recordings from the same spot. The recordings were made during one month artist-in-residence at The Landscape Observatory in Olot (Spain). During my residence I recorded the sound of my sleeping time each night, every night. All these sounds of my (ethereal) listening during this month residence were recorded. Afterwards, I used them to make this sound piece with ultra-altered recordings.
1 looped track with 2 hours and 33 min. (2015) Ultra-limited edition of an engraved Apple iPod shuffle Silver (3rd Generation) Ethereal way of listening is recommended.
Many thanks to Raquel Rivera, Julieta Benito, Silo, Montse Vila, Gemma Bretcha and everybody at The Landscape Observatory.
Duration es una serie de tres publicaciones pensada para ser publicada en distintas plataformas online con el objetivo de tantear los límites de los distintos formatos digitales, así como de la escucha y de la atención que depositamos en éstos. Todo lo que se escucha en la serie Duration son field recordings per se, es decir, grabaciones de campo tal cual, sin efectos. Las grabaciones fueron realizadas en la fábrica AE Harris de Birmingham – UK con motivo del proyecto de colaboración realizado entre Security Device y Be Festival en 2012. La selección de las grabaciones utilizadas responde a la búsqueda de patrones de comportamiento sonoros que se pueden encontrar en las máquinas grabadas de la fábrica. Cada patrón y cada grabación utilizada en toda la serie tiene una duración diferente, desde un segundo hasta sesenta segundos, es decir, un minuto. Por lo que en total se han utilizado sesenta grabaciones con distintos patrones y duraciones en cada una de las tres ediciones de Duration.
En la primera edición de esta serie llamada One month, Óscar Martin creó ex profeso un patch con el cual mezclar los archivos sonoros seleccionados, sesenta en total, con el objetivo de que durante un mes se emitieran las grabaciones a través de la radio online sin que el resultado sonoro se repitiera. Este ejercicio se planteó, desde el principio, como una labor de programación y de composición al mismo tiempo. Esta primera edición fue publicada en la radio online de streaming continuo llamada metamina FNR durante todo el mes de Noviembre de 2012.
Publicado por desetxea (2013)
De este streaming efímero de un mes de duración se extrajeron aleatoriamente 24 horas de audio. Estas 24 horas se han convertido en la segunda edición One day. El hecho de publicar un extracto de las 24 horas emitidas por radio en streaming evidencia la posibilidad de hacerlo y al mismo tiempo la cuestiona. Ciertas herramientas tecnológicas nos permiten re-crear (crear nuevamente) un nuevo cuerpo o publicación a partir de un evento efímero que ya ocurrió. La pregunta que surge es si realmente es necesario hacerlo porque la tecnología lo permita o cómo podemos interpretarlo posteriormente o más bien cómo re-interpretarlo adecuadamente. ¿Podríamos justificar esta segunda edición de la serie de 24 horas de duración como una documentación de la primera? o ¿esta segunda edición de 24 horas de duración cobra una nueva entidad al ser publicada como disco y por lo tanto no puede concebirse como una documentación?. Las preguntas surgen entorno al acto de publicación y de documentación de una emisión sonora efímera. ¿Qué sentido tiene fijar un extracto de un evento sonoro que ha sido creado para ser efímero?. Y casi más importante: ¿el hecho de que sea posible tecnológicamente implica que sea necesario?. Seguramente sea necesario, al menos, para tantear los límites de las publicaciones, aunque actualmente la pregunta sería: ¿por qué no publicar lo que está en nuestras manos si tenemos herramientas para hacerlo?. El problema venga o tal vez devenga en cómo usamos ciertas herramientas y en cómo estas herramientas pueden incitar a ciertos usos sin un cuestionamiento previo sobre la necesidad (o no) de hacerlo. En este sentido, el formato digital nos posibilita publicar inmediatamente lo que otros formatos físicos no nos lo permiten, especialmente en cuestiones de duración. De ahí el nombre de la serie, Duration, y que tanto la primera publicación, One month, como esta segunda, One day, sean inabarcables en formatos físicos destinados para acoger publicaciones de música como son los cassettes, vinilos o CDs. Las 24 horas, One day, pretende cuestionar el formato de publicación en plataformas online dedicadas a la publicación de trabajos sonoros, como son los netlabels, herencia, en parte, de los sellos discográficos físicos. Así pues esta segunda publicación de la serie Duration fue publicada en el netlabel desetxea en Diciembre de 2013.
La última parte de la serie Duration es One minute, que como indica su nombre es un archivo de sonido de un minuto de duración. El contenido de este minuto es el resultado de la superposición de las sesenta grabaciones con las que se inició la serie, One month. El proceso es relativamente sencillo: si colocamos las sesenta grabaciones una sobre otra y si todas ellas comienzan en el segundo cero, entre el segundo cero y el segundo podremos escuchar las sesenta grabaciones al mismo tiempo, y según transcurre el contador de tiempo, las grabaciones se van agotando de tal manera que entre el segundo 59 y 60 sólo escuchamos el último segundo de la grabación más larga de 60 segundos de duración. Con este ejercicio de unir todas las grabaciones, sesenta, en un sólo minuto se posibilita escuchar todo el material sonoro que ha sido usado en esta serie Duration. Por otro lado, la artista Blanca Rego ha realizado un trabajo visual en movimiento como portada de One minute y que sólo es posible en los formatos digitales, ya que es un archivo .gif. Este formato de archivo permite visualizar imágenes con transiciones de tiempo determinado que permiten generan la sensación de movimiento sin necesidad de que el archivo sea un video. Lo cual me resulta interesante y también apropiado para el formato digital por sus propias características: el resultado visual es imposible imprimirlo, es intangible y está diseñado para un entorno digital, rompiendo la relación con las tradicionales portadas de discos de los formatos físicos. Duration ha sido publicado por Mute Sound en un disco recopilatorio de piezas sonoras de un minuto de duración firmadas por 17 artistas y llamado 1 minute autohypnosis… 22nd CD.
Muchas gracias a Blanca Rego, Óscar Martín, Federico Sancho y a Álex Mendizabal por su “Servicio Ahorro de Tiempo“.
This site-specific sound installation is buried in the ashes of the smelting Trepat Cal in Tárrega (Spain). 844 is the result of the sum of all workers in the agricultural machinery Trepat Factory from 1915 to 2004. Each of these people has participated in the construction of agricultural machines that came out of the Factory. Their names are inscribed in some way in the history of the Factory and agricultural machinery built with his own hands. The sound installation appoints each of these workers, with their names, to give life back to these people who filled the space that remains empty today.
Many thanks to Rosa, Albert, Blanca Rego, Natàlia Lloreta, Jesús Vilamajó, Ràdio Tàrrega, Embarrat Festival, Intersecció, Trepat Museum and all workers.
Dedicated to Albert, who passed away months after making the recordings.
Interview → download pdf.
"The burden of identity" is about the limits of soundscape's identity. This proposal is a commitment to listen to a place to understand the social structures that are associated with many of the urban and natural sounds to which we are exposed, where the soundscape reflects on itself from sound recordings and field interviews carried out in Amposta.
The soundscape is becoming increasingly iconic and stereotypical, emphasizing the need to create our own identity in our listening by establishing the boundaries between global and local places. Therefore, the artist faces the challenge of elaborating a new reinterpretation of the landscape to reconstruct our own identity as listeners.
Many thanks to Vicent Fibla, Blanca Rego and Miguel Ayesa.
La Guerra is a commissioned work. The sound piece evokes the sites of the Spanish Civil War through ordinary sounds such as storms, airplanes, trains, roads, seagulls and refrigerators. All the sounds belong to recordings made specifically for this purpose in different places such as Madrid, Barcelona and Belchite, among others, in which the Civil War becomes present through the poetics of these empty, abandoned and often forgotten spaces.
The composition shows the changes that the settings of the Civil War have undergone, in terms of both sonority and functionality, uncovering traces of an active, day-to-day war that lead to a new interpretation of the meaning of those day-to-day sounds and a re-examination of the settings. Is it possible to think of history and the past through the sites and ruins left behind by that history? What are these spaces in which remnants of the Civil War are found?.
The podcast is accompanied by two collaborations co-ordinated by the same artist. One of them is a series of photographs taken where the recordings were made, which puts forward a formal question related to the fundamental differences between photography and phonography, and at the same time points to the commercial use, which becomes political use, of these territories. The other is a text by Jesús Carrillo that delves into the questions about war addressed in the podcast.
Podcast published by Radio Reina Sofía (2013)
Photos made by Jordi NN.
Many thanks to Cibeles Bello, Manuel Calurano, Jesús Carrillo, José Luis Espejo, Marcello Liberato, Blanca Rego and Zacarías.
Duration (2012 - 2014) is a series of three publications intended to be published in various online platforms with the aim of probing the limits of different digital formats, as well as listening and attention we put into them.
Time score → download pdf
Thanks to Blanca Rego, Óscar Martín, Federico Sancho and Álex Mendizabal's “Servicio Ahorro de Tiempo“ (Time Saving Service).
Two tracks in a yellow cassette.
Published by Security Device (2012)
In collaboration with BeFestival.
Machine Patterns # 01 is the result of a work of more than one year which wants to re-create the mechanical manufacturing processes that are experienced specifically in AE Harris & Co. The edition consists of a graphical part, by Federico Sancho, and the sound part with two musical compositions in the release of a yellow cassette, by Mikel R. Nieto. The sound work is made with field recordings of the AE Harris & Co. installations in 2011. The field recordings collected the sound material given off by the machines and the mechanical manufacturing processes.
The result is two ironic compositions that recreate the sound situation daily living by workers in order to preserve the memory space and people who works there, in some ways is a tribute to the hard work done by workers daily at AE Harris & Co. The edition in cassette responding to the need to recover a format that contains in itself characteristics that are related to the mechanical and physical aspects present in the factory. The color of the cassette, yellow, is also a reference to the commonly used colors in security systems, arousing the attention and sense of alarm before listening to the cassette. The graphic part is closely related to sound compositions. Federico Sancho has transcribed the sound in pictures through the use of typography as musical notation, giving the graphics an ironic play between the real and fictional representation. The release is the result of a long work which recognizes the reality of the factory workers at AE Harris & Co.
Many thanks to Federico Sancho, Maria Bobes, Isla Aguilar, Miguel Oyarzun, Mike Tweddle, Be Festival and all the workers.
One of the big differences between the 80s cassette movement and the current revivalists, is that these days there is hardly a weird package around, unlike the 80s with its pyramids, cans, pill boxes and bathing sponges. So in that respect this nice oversized styrofoam box needs a big applause – sufficiently different from the majority of tapes reviewed here. Inside the box we find a yellow tape with no print and a piece of paper with some sort of coded message, but puzzling is not my middle name, so I didn’t bother. I tried the website for more clues, and having films and pictures in stead of words is a nice idea, but they aren’t hardly informative. So, the nice graphic by one Federico Sancho and the sound by one Mikel R. Nieto, whose website is equally uninformative. Which is a pity since the music is actually quite nice. Here too I am reminded of the 80s with its drone like sounds, humming like a machine, and perhaps taking its source from a machine. When the drones end, there is, lo and behold, even a machine like sound, one of a primitive kind. Maybe a print place of some kind? With some letter press, hand operated device? I am not sure, but it adds to the conceptual nature of the whole package. What it is all about is a mystery, but it looks and sounds great. And that’s perhaps also a nice 80s touch, where you had zero information most of the times. (FdW)
In a Styrofoam box with a beautifull presentation comes sealed in recycled paper and highlight the title ‘Machine Patterns # 01′ and the names of Mikel Nieto (music) and Federico Sancho (graphic). Inside this box there is a yellow cassette accompanied by notes that seemed to be coded messages. This cassette was released on Security Device, a group of (apparently) Spanish artists. ’Machine Patterns # 01′ are field recordings made in the manufacture factory AE Harris & Co. in Birmingham, with mechanical processes that are tapped in some cases and not in others. You hear a lot of noise that could be inserted into the post-industrial line. Intense buzzing arise that become drones and a sultry wall of sound that reveal a certain melodic line. In addition, mechanical and repetitive movements come out. These are sounds that are the rhythm base of a track, to which are added various sound objects. It is possible that not all the sounds you hear are occurring at the same time, in any case, are carefully assembled. Interesting proposal showing how everyday noises that take place in a factory can deploy new sounds that conjure up images, colors and stories.
These three sound pieces (2011-2012) were made with a raw field recording in an abandoned house in the Amazon Rainforest during the Mamori Sound Project workshop by Francisco López. The recording was made with contact microphones to capture the sounds and vibrations through the house structure.
Empty Space # 01 (2011)
Empty Space # 02 (2012)
Empty Space # 03 (2012)
Many thanks to Francisco López, Slavek Kwi, Asier Gogortza, Michael Trommer and Eric Miller.
“This vinyl contains a field recording of me, in silence, standing in front to the microphones. This is the sound of the intimacy between my recorder and me, which is repeated many times in my recordings.”
Side A – Original raw recording published in only one copy transparent 12” vinyl (2009)
Side B – 10th Anniversary vinyl reissue with a new recording and mastered by Francisco López (2019)
This sound work is made only from silences extracted from speeches and conversations by and with the artist Christiane Löhr during her workshop at the Complutense University of Madrid in 2008. The recordings were made secretly to document the workshop, but only silences remained.
This piece was exhibited after as a sound installation (2008) in the collective exhibition at Fine Arts University – UCM, Madrid (Spain)
Many thanks to Christiane Löhr.
This work was created during the workshop "The World as Instrument" by Francisco López in La Casa Encendida in Madrid, Spain (2007). Each track belongs to each participant. The source of the sounds is digital feedback, called as "No Input Mixing Board Digital" (NIMBD). Every track is just a little variation from the same feedback set-up or patch. 14 tracks of 1 minute and 11 seconds each one. One copy of blue sky color mini-cd (2007)
Many thanks to Andrea, Andrés, Beatriz, Daniel, Daniel, Dela, Deneb, Francisco, Javier, José, José Luis, Juan Manuel, Luis Ángel, Marta and Manu.