Today, the 21st september 2014, the release of “Borgo Schirò, Churchscape” by VacuaMœnia, the duo composed by Fabio. R. Lattuca and Pietro Bonanno. Click on the image below to go to the release page.
BORGO SCHIRO', CHURCHSCAPE As part of the series of practices connected with sound geographies emerged in the milieu of post digital era, exploration of abandoned places is one of the most productive field of research for some sound artists. Though the listening prospective, those artists are able to project a new light on marginal spaces and architectures and to make them into fundamental elements of unexpected and fascinating landscape narrations.
This is the case of Fabio R. Lattuca e Pietro Bonanno and their project Vacuamœnia, which they have been working on for some years now and consist in a capillary sound study of several abandoned villages in the Sicilian hinterland, colonial outposts erected in rural areas during the Fascist era/period or evacuated due to calamities. The new episode of this polysemous and fragmented sonic narration is “Borgo Schirò Churchscape" and it is articulated in a long audio track and presented along with a critic text by the authors, which meditates on the meaning of acoustic exploration of the “Terzo Paesaggio”, based on their experience on the ground and focusing on the details of their meticulous process of continuous refinement of techniques and (trans)disciplinary approaches.
The result of Lattuca and Bonanno’s sonic declination of the explored places is suggestive tale of silences, ruins, oblivion and distance. A story unravelled through resonances of architectures and objects, which raises significant questions on the meaning of stories forgotten by mankind but still cherished in the archive that is the landscape memory.
So, Borgo Schirò’s Church becomes the stage of a “ghostly” performance, in which different sounds (materiality, reverberation, resonance) and space levels are entangled in a continuous flux of elements, opening up, during the listening process, several hermeneutic levels one after the other. Using the authors words, their track is “a lucid dream in which a symbolic introspection took place, guided by various meanings that the site intersected in time and space, until the circular dissolution climaxed with a return to reality”.
Notes “Borgo Schirò, Churchscape” has been composed with field recordings made beetwen the summer of 2013 and 2014. The composition can be divided in two parts, two different but complementary visions. Two ways of looking at the same place from different perspectives.
At first, the use of recorded materials (glass, soil, gravel, stones) creates, overlapping, delicate layers of sound, symbol of the static space. Later, however, sound characteristics of the materials are enhanced by the extrapolation of their grain, time values and resonances and proposed mixing them to a reconsideration of inner and outer diffusion space.
Special thanks to: Enrico Coniglio, Leandro Pisano, Jon Strandberg from Telinga Mics, Eng. Angelo Morello from the ESA office and who supports our research and who we met in this years.
info [at] vacuamoenia [dot] net
Borgo Schirò Churchscape by VacuaMœnia is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Permissions beyond the scope of this license may be available at www.galaverna.org.
The next release in Galaverna, set for the 21st of september, is credited to Fabio R. Lattuca and Pietro Bonanno, founders of Vacuamœnia project [http://vacuamoenia.net], whose work aims at explore the abandoned villages built to populate rural areas in Sicily (Italy) during the Fascist period.
The authors declare about their work, especially made for Galaverna: <<Starting from the church of Borgo Schirò, Vacuamoenia intends to create a soundscape composition as a representation of a landscape, that is at the same time of a non-real place, in which can converge the dynamic, morphological and physical characteristics of the site and the creative processes of the “digital world” and the perceptions of the listener / composer>>.
RE:BARSENTO It’s been almost two years since the last release “89”, the artistic duo, formed by Miguel Carvalhais and Pedro Tudela, aka @c, is back on Galaverna catalogue with a documentary work about the period the two of them spent together in summer 2013 in the Salento area (Puglia), near Alberobello and Gioia del Colle. They were working on the project Barsento Mediascape, curated by new arts festival Interferenze. Their contribution result in a distinct, long track divided in three parts, organized by levels of sonic exploration: starting from the surface of the out-landscape, sprinkled with mighty lithic construction (Trulli), to end up in the subsoil.There, first, it’s unveiled the stones and dirt mixture which regulate the ancestral relationship between local farmer and olive trees and vineyard cultivations, it then reach a chthonic dimension in the karsic caves scattered in the area. The artist will take you to one breathlessly journey from the outside to the depth of the Earth, from open spaces towards closed ones, towards internal structures, built by both nature and the patient and dedicated work of anthropization operated on the territory by locals. This release presented by Carvalhais and Tudela is a more meditated re-elaboration of their prior work on the subject, released almost raw and live-quality at the end of their staying, June 22nd 2013, at Teatro “G.Rossini” in Gioia del Colle. This work testify about a complex work the Porto’s duo did on the territory, mixing the multitude of voices present in the rural space they explored, and then managed to portrait on different levels (physical, sonic, spatial) through a micro-narration. This work is a discovery that opens new and unexpected visions and allows listeners to relate with profound, semantic and elaborated representations, which turn into narrations of rare beauty.: from the silence of the subsoil to the harmonic sounds of the rocks in the surface, like magnificent echoes and resonances of palpitations, pulses and breaths of (the) life of the territory itself.
Notes *107* was composed in Barsento during the artistic residency *Barsento Mediascape*, promoted by Interferenze, in June 2013 and was premiered at Teatro Rossini in Gioia del Colle on the 22nd. This version was mixed and mastered in Porto in 2014.*107* is inspired by the landscape and the geography of the Barsento region. Besides the incorporation of field recordings and other sounds captured on location, the structure of the piece echoes the features of the region as well as some of its particular social and cultural aspects. The three movements of the piece are organized in a earthbound succession, starting at the ground level, where rocks are found and used for agriculture, masonry, the trulli, etc., and descending towards the ground, where earth and rock blend and sustain a rich agriculture. In the final movement we reach water, a historically rare commodity in the region, traditionally obtained from wells tapping groundwater, or collected from the limited rains and seasonal snowfall and preserved either in closed constructions or, again, underground. *107* departs from the open and vast exterior and progresses towards the closed spaces, the inner structures, either naturally occurring — such as the grottos — or man-made. With rocks we discover the construction of artifacts, architecture and even nature itself, sustained by the nourishing land, and leading to the throbbing pulses and breathing of life.## Carvalhais and Tudela would like to thank: Leandro Pisano; Alessandro Ludovico; Enrico Coniglio; Antye Greie; Enrico Ascoli; Taylor Deupree; Chiara Ciociola, Aurelio Cianciotta, Raffaele Mariconte & everyone else in the amazing Barsento Mediascape crew.Photos by Aurelio Cianciotta.
## Carvalhais and Tudela would like to thank: Leandro Pisano; Alessandro Ludovico; Enrico Coniglio; Antye Greie; Enrico Ascoli; Taylor Deupree; Chiara Ciociola, Aurelio Cianciotta, Raffaele Mariconte & everyone else in the amazing Barsento Mediascape crew.
Photos by Aurelio Cianciotta.
Re:Barsento by @c (Pedro Tudela and Miguel Carvalhais) is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Permissions beyond the scope of this license may be available at http://www.galaverna.org.
Per Pedro Tudela e Miguel Carvalhais, ogni viaggio e ogni esperienza di residenza artistica costituisce spunto per applicare ai luoghi visitati la loro sensibilità di soundscaper in grado di catturare attraverso il suono lo spirito dei luoghi visitati. È un’opera di paziente compenetrazione tra paesaggio e rappresentazione quella condotta dai due artisti portoghesi nel corso dell’iniziativa “Barsento Mediascape”, che lo scoro anno li ha condotti nella zona collinare pugliese del Barsento. Da lì è nata un’istantanea sonora di oltre mezz’ora, affine alla precedente “Re:Fujaco“, che rappresenta fedelmente una paesaggio irradiato dal sole, plasmato dal lavoro dell’uomo che la terra e dalla pietra ha saputo trasformare in materia viva e fertile. Non sembra un caso, infatti, che la lunga traccia parta proprio dalle cadenze iterative di un ferro impegnato a lavorare una materia organica grezza per piegarla alla sensibilità e all’ingegno umano. I medesimi fattori presiedono alla rappresentazione sonora del duo, gradualmente svolta in sibilo spettrale, volto a cristallizzare tempo e spazio in un microcosmo nel quale elementi umani e naturali si fondono in una sorta di cartolina in lento movimento, traslitterazione narrativa di fremiti armonici, respiri e risonanze appannaggio soltanto di un accurato paesaggismo sonoro. La traccia è disponibile in download gratuito attraverso la netlabel Galaverna. [Raffaello Russo]
Galaverna è un progetto di radicalismo gentile. Label digitale devota all’arte del field recordings, lega pratica ed estetica in maniera indissolubile: pubblica un solo disco a stagione (salvo rare eccezioni) invita a non masterizzare le proprie produzioni per non diffondere plastica inutile, rende disponibile ogni lavoro gratuitamente, mantenendosi fuori dal mercato. In catalogo trovate una decina di titoli (lavori di Yasuhiro Morinaga, Alessio Ballerini e Pietro Riparbelli fra gli altri) che vi suggeriamo di recuperare; oggi ci concentriamo sull’uscita estiva, opera del duo portoghese @c, alla seconda uscita per l’etichetta. Re:Barsento è stato composto nel giugno del 2013 durante la residenza artistica Barsento Mediascape promossa nell’ambito della decima edizione dell’Interferenze New Art Festival, a cui Miguel Carvalhais e Pedro Tudela hanno partecipato. Ne è scaturito un unico brano di mezz’ora che, in tre movimenti, parte dalla superficie e si inoltra nelle profondità della terra, fra pozzi e grotte, organizzando suoni rubati a pietre, erbe ed acqua, insieme ad altri incontrati durante la ricerca. Ma quello che suggerisce il disco va ovviamente ben oltre la semplice valorizzazione sonora degli elementi: l’ascolto fa emergere l’antica laboriosità nei ritmi e poliritmi sassosi della prima tranche, rileva gli spazi sconfinati compresi fra il fruscio dell’erba tagliata e il rumore dei jet ad alta quota, cattura l’anima di questa terra, che si infiamma di clangori industriali (la parte centrale) e filtra poi nelle viscere, scorrendo con le acque sotterranee. C’è, infine, tutto quello che ogni ascoltatore saprà cogliere, magari incrociandolo con la propria esperienza e che rende Re:Barsento un discorso sempre aperto a nuove interpretazioni. Quello che si può dire con una certa sicurezza, la caratteristica migliore del lavoro, è il suo essere un percorso fra natura e cultura capace di coglie la musicalità più profonda e meno scontata di questi luoghi: non una semplice cartolina sonora, ma un frammento, piccolo ma capace di testimoniare lo spirito dei luoghi. [Emiliano Zanotti]
@c è il progetto che coinvolge i sound-artist Miguel Carvalhais e Pedro Tudela (co-fondatori della label portoghese Crónica). Il loro nuovo lavoro si intitola Re:Barsento: un disco che si spinge oltre il soundscaping, rendendo udibile la roccia dell’area pugliese in provincia di Bari. Un uso straordinario del field-recording.
Miguel Carvalhais and Pedro Tudela were among the co-founders of the great Portuguese label Crónica, and make sonic artworks together as @c. Their latest release came out of an artistic residency in the Barsento region of Italy, and focuses on making audible the landscape and geography they found there. Walking steps give way to a similarly rhythmic hammering of stone on stone, then more footsteps scrunching through the grass as aircraft rumble by overhead. As the single half-hour piece develops the rhythm is taken on by a swirling hiss and metallic rattle, before petering out into a reverberant dripping and sloshing. Without knowing anything about the Barsento region except what can be gleaned from listening to this artwork, I imagine the following: quite a high-altitude location, very dry and open to the wind, but not so high or cold enough to prevent vegetation from flourishing. A landscape without much in the way of human inhabitants, and not so many birds or large mammals either. Caves — dripping, trickling, sloshing caves. A certain remoteness; a calming quietness rather than a stony silence. Dust and sunshine, white powdery stone. The sounds provide enough clues to construct an image, to map out a space, the degree of correspondence of which with the geographic space of the Barsento region remains more or less conjectural. It would be very easy for me to look Barsento up on the Internet, and then judge how ‘accurate’ this picture conjured in my mind by Carvalhais and Tudela’s wandering geographic narrative really is — or at least how it compares with other mediations of the region. I’ve resisted doing this, despite the documentary claims made by the work and the accompanying web blurb. “Re.Barsento” is such an evocative work, such a vivid auditory tale, that I think I would prefer to keep hold of my imaginary Barsento, the one that exists only in my memory, despite never having been there, and in my ears, as I listen. [Nathan Thomas]
So proud to announce the release of “RE:Barsento”, the new amazing contribution by @c (Pedro Tudela and Miguel Carvalhais) specifically made for Galaverna. Click on the image below to go to the release page.
The next release coming on Galaverna is from our favourite musicians Pedro Tudela and Miguel Carvalhais, here again as @c with a new amazing soundscape track composed in Barsento during the artistic residency *Barsento Mediascape*, promoted by Interferenze, in June 2013, and premiered at Teatro Rossini in Gioia del Colle on the 22nd. The present version of the song was mixed and mastered in Porto in 2014.
SACRED ARCHITECTURE – BENEVENTO As a part of the multiform and increasing scene of research on the soundscape which has been developed in Italy in the last decade, the work of the philosopher and sound artist of Livorno, Pietro Riparbelli, reveals a number of unique elements in the investigation of the phenomena of spatial perception and dichotomy between the visible and invisible within the soundscape.
Among the most significant projects, that together reveal the eclectic approach to the exploration of places and regions through the sound and the multidisciplinary vocation of the aesthetic investigation practiced by Riparbelli, “Cathedrals”, a real sound archive based on field recordings of sacred places made in different parts of the world (enriched by the contribution of various sound artists from different latitudes), contributes to one of the richest veins of this analysis, in which the architecture, the history, the archeology of the sacrum are highlighted in an articulated narration of places that interconnects in a complex way languages, methods and perspectives.
Inspired by this approach, and containing a series of recordings made during Suonabene (www.suonabene.it), a residency project / educational about sound held by the author at the Liceo Classico “De La Salle” of Benevento in March 2012, and curated by Leandro Pisano, this work tells of the journey of exploration conducted by Riparbelli with students in the churches of Santa Sofia dell’Annunziata and the Duomo in Benevento.
Inspired by this approach, and containing a series of recordings made during Suonabene (www.suonabene.it), a residency project / educational on sound held by the author at the Liceo Classico “De La Salle” of Benevento in March 2012, and curated by Leandro Pisano, this work tells of the journey of exploration conducted by Riparbelli with students in the churches of Santa Sofia dell’Annunziata and the Duomo in Benevento.
As reported in the critical text that related to the present release (at the moment only in Italian, soon in English too), written by the visual anthropologist Annalisa Cervone “the investigation plans around which revolves the work of Riparbelli are essentially two: the historical-cultural one and the “estesiologico” (i.e. related to the aesthetics of perception). They, however, are continuously intertwined with each other to create an aesthetic unitary discourse, a sort of large textual fold where the intellectual elements of research emerge, from time to time, in the form of mobile and ubiquitous sound compositions, whose epiphanic dimension (and so do not “visualistic”) refers – in the form of pure sound that is enough in itself (as almost completely de-secularized) – to the complex combinatorial game that governs the geometry of sacred buildings”.
From the text-folds of this fascinating sound narrative, emerge a series of pictures juxtaposed as in a kind of parataxis in which, in the exploring of architectural resonances or sounds and voices from the distance, lost in the grandiloquence of the architectural spaces, coagulate itself in the meaning of a research that puts, in the perspective suggested by Annalisa Cervone, “at the center of its aesthetic discourse the moment of listening – here understood as a total perceptive fact that puts the “listening ear” and the sound source (the world-environment) in a relationship of openness and mutual self-giving”and that acquires, in the end, “a powerful ontological value that refers to a complex reflection on the “aisthesis” (esthetics), conceived as the beginning of a new way of knowing through perception”.
Notes “Sacred Architecture – Benevento” has been composed with field recordings made in three churches in Benevento (Chiesa dell’Annunziata, Chiesa di Santa Sofia, Duomo) in March 2013. This work is the final step of a workshop held within the “Suonabene” project curated by Leandro Pisano. Many thanks to Leandro Pisano, Annalisa Cervone, Giuliano Mozzillo and to the pupils who have followed me during the workshop.
Sacred Architecture – Benevento by Pietro Riparbelli is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Permissions beyond the scope of this license may be available at http://www.galaverna.org.
“Galaverna | approaching post-digital sound, the netlabel curated by Enrico Coniglio and Leandro Pisano, has recently released an excellent work by Pietro Riparbelli titled “sacred architecture benevento”. Beautiful minimal compositions based on naturally reverberated recordings made in churches. stunning and downloadable for free!”.
The next Galaverna release will feature music – and other multimedia contents – from Pietro Riparbelli.
Pietro Riparbelli, is a graduated philosopher and multi-media artist based in Livorno (Tuscany), has seen his works published by Touch, Radical Matters Ed/Label, Cold Spring, Gruenrekorder amongst numerous others. He has performed live at a wide array of festivals and art events, most notably at Equinox Festival (London) and the Fundació Tàpies (Barcelona). He is a curator/executive producer of the independent music label Radical Matters – Editions Label with the new series “Metasound” to investigate the dimension between music and contemporary art. For more infos please see at www.pt-r.com.
NUBICUCULIA “We were driving back from San Michele Arcangelo’s Cave”, Enrico Ascoli recalls, “there, Taylor Deupree and I have long stayed in order to listen and record the polyphonic and dripping humidity of this temple. And then, just out a tangle of thoughts and through the echo of the sounds we just recorded, I heard for the first time the word “Nubicuculia”. To say it was Giuliano Mozzillo, sitting next to me and talking to Leandro Pisano, professor of his and residence curator. I don’t remember what they were talking about, but thanks to the onomatopoeic sound of this poetic word I was brought back to reality. “Do you remember, Giuliano, when I told you about the correspondence between Nubicuculia and the territory of Puglia?”, Leandro replied.
That comment made my curiosity grow even more, because it sounded like a new way to interpret the territorial exploration that I was conducting in association with other sound artists, during that windy-heated July. That evening I found out that the word was the title of a comedy by Aristofane about and utopian city built in the clouds and inhabited by birds. Aside from any interpretation, what captured my attention was the choir of birds. I pictured a classical Greek theatre choir, every singer tuning up a different bird call: 25 singers in total, the sound-scape of that suspended city. During that residence I was recording a lot of material, but I soon realized that I was avoiding any reference linked to the ambient or the landscape, in order to focus on the tune shaded that I was creating myself, modifying the materials collected during my historical exploration of those places.
I was trying to find the core of that territory through the voices of its ordinary items: between stone shingles, vineyards and odd agricultural tools. And then I realized that I was auditioning for the singers to embody the Terra dei Trulli, inlaying it a utopian and material kaleidoscope, because made out rocks, rusts, wood and humans.
“Nubicuculia” is the result of an exploration in which sound-echoes of a dazzled scenario mix with underground vibrations, echoes of rocks and forgotten items. Enrico Ascoli creates the splendour of a landscape which interchange abstraction and mater, light and darkness, interstices and open spaces. The eterotopical narration matches with five moving pictures by Giuliano Mozzillo, (“distil of a never ending moment, repeating itself forever, but at the same time, always changing according to the variations of the music, playing with the same vibrating tune molecules”), as the Piemontese artist himself explained.
Notes “Nubicuculia” is the fourth track born re-elaborating the field-recording taken by the Paris-based artist Enrico Ascoli in the South of Italy during the artist-in-residence project Barsento Mediascape/Interferenze 2013. It’s a narrative dialogue between many different sound materials recorded exploring the territory, not with a documentary intent but looking for their timbrical and harmonic properties: musical seeds, full of a remote esotism, that come to light manipulating in a musical way ancient agricultural tools, the stone shingles of a “trullo” roof, the stalactites of a cavern, the rows of grapevines.
A very special thanks to Leandro Pisano and Enrico Coniglio for releasing this work, to Vito Santoiemma who allowed me to explore it’s universe of ancient tools, to Giuliano Mozzillo who has given a visual and dynamic soul to these sounds using the video documentation of the artist residence shooted by Antonello Carbone and himself.
NUBICUCULIA by Enrico Ascoli is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Permissions beyond the scope of this license may be available at http://www.galaverna.org.