Interstitial Space is a research project that focuses on the differences between the natural world and the urban world. This project captures the existing reality with sound recordings taken from the intersection between the two worlds, trying to highlight the existing topics in the field of field recordings and soundscapes. The aim is to make a sound archive of these areas that are in constant change and to produce sound and graphic documentation of these landscapes, which are, in many cases, zones with strong contrasts and a reflection of the changes that occur at the social, political and economic levels.
Thresholds and borders are impossible places, full of new possibilities, new landscapes, new blank pages in which to imagine new modes of listening. From this iconoclastic view of the Romantic, bucolic landscape, this project presents a series of recordings made in the natural spaces around the Llobregat Delta and Barcelona International Airport, both located in El Prat de Llobregat, which is unquestionably one of the areas with the greatest biological and urban contrasts in the vicinity of Barcelona.
The premiére was made as a blind film with eight channels set-up for audio at Phonos Foundation Auditorium, Barcelona (Spain) (2014) After it was published as a stereo podcast by Radio Web Macba (2017)
To play the media you will need to either update your browser to a recent version or update your Flash plugin.
Acknowledgments: Mª José Albaladejo, Marta Ardiaca, Elena Asensio, Miguel Ayesa, José Manuel Berenguer, Sonia Ciriza, Sonia Espí, Pau Estevan, María Fusté, Andrés Lewin, Lluís Nacenta, Rafa Milán, Albert Montori, Xavi Santaefuemia, Blanca Rego, Luca Rullo and Miguel Soria.
This project was possible with a Phonos Foundation grant (2012 – 2014)
"Sound is not “this” or “that”, the chair or the table, the political or the philosophical, the cultural or the social. Instead, it is what we hear between these things and institutions, where they meet in their interaction as formless forms. The imagination of things in their correleate formlessness can help us discuss not just what they are, inevitably evoking norms and habits, but what they do together, at an always contingent intersection, where as indivisible concepts they overlap and are dependent on each other in a present tense. And so it is exactly sound’s materiality as the ephemeral materiality of the in-between that allows us to rethink what we think we are and mean, our values and subjectivities. And from there it can help us rethink what things mean and what they do, beyond an established expectation and prejudice, based on their name and referential autonomy as separate things, but as generated contingently in the in-between. This focuses perception not on the material, on what meets, but the way it does so, its ephemeral constitution, and provides the ground for an imagination of how it could meet differently. (…) I understand sound, exactly because of its formless in-between nature, … to make an important contribution to how we can think about the world and ourselves in this world, away from a hierarchical and anthropocentric reality as a co-dependent cosmos instead"
─ The political possibility of sound. Interview with Salomé Voegelin