Nicola Di Croce – AIPS
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CURRENT SCAPES Field recording as a research tool
[eng] “Current scapes” alternates compositions from some of the members of AIPS – the italian soundscape archive collective – and some international artists involved into field recording practice. The tracks reveal the common aim to inquire soundscape from different perspectives agreeing upon the potential of field recording as a tool for the investigation of the urban and territorial transformations. Nicola Di Croce is a member and curator of AIPS, a collective of artists involved into the study, the collection and the interpretation of the italian soundscape. AIPS is an association active from 2013 which deals with sound mapping, multimedia performances, live concerts, workshops and research activities. www.archivioitalianopaesaggisonori.it
“Current scapes” alterna tracce composte da alcuni membri dell’Archivio Italiano Paesaggi Sonori (AIPS) con altre realizzate da artisti internazionali impegnati nella pratica del field recording. Le tracce rivelano un impegno comune nello studio del paesaggio sonoro da prospettive spesso distanti eppure concordi nell’indagare le potenzialità della registrazione ambientale come strumento di ricerca sulle trasformazioni della città e del territorio dell’attuale. Nicola Di Croce è membro e curatore di AIPS, Archivio Italiano Paesaggi Sonori, collettivo di artisti coinvolti nello studio, nella raccolta e nelle interpretazioni dell’ambiente sonoro italiano. Costituitosi associazione nel dicembre 2013, AIPS si è cimentato negli ultimi anni in svariati progetti di mappatura sonora, performance multimediali, concerti, workshop e attività di ricerca, tutti incentrati sulla pratica dell’archiviazione dei paesaggi sonori intesa come “campionamento” di interpretazioni sul territorio contemporaneo. www.archivioitalianopaesaggisonori.it
Luc Ferrari – Presque rien n.1 (part one) – 6:52 [Le lever du jour au bord de la mer, 1967.70] https://www.youtube.com/watch?v=z2aWEM1nnNg Ferrari has recorded field sounds from a yugoslavian shore in order to create a provocative and contemplative composition. “[…] the use of magnetic tape to capture a slice of life, and thereby transform it into an object of aesthetic contemplation, places Presque rien within a tradition of avant-garde works that stretches from Marcel Duchamp to John Cage and beyond, a tradition that calls into question the boundary separating art and everyday life” (from Eric Drott, The Politics of Presque rien, p. 146; in Sound Commitments (2009), Edited by Robert Adlington, Oxford university press).
Enrico Coniglio – Astrùra (part one) – 8:16 [Astrùra, Silentes 2016] https://13silentes.bandcamp.com/track/astr-ra-part-one Named after the Venetian for two seabeds, the pieces are field recordings collected at the mouth of the harbor during a foggy spring day back in the 2009, on the northern edge of the lagoon. The project goal of redefining a locative identity is achieved by highlighting the inherent contradiction in the overlapping stream of sound. Enrico Coniglio is a member of AIPS. (text from Silentes bandcamp page)
Angus Carlyle & Rupert Cox – From Over The Perimeter Wal – 8:46 [Air pressure, Gruenrekorder 2012] http://www.gruenrekorder.de/?page_id=8437 The recordings are based on two fieldworks (2010-2011) in a japanese rural village occupied by a bunch of farming families arrived after the WWII “who continue to make their livelihood from an organic small-holding with fields of fruit and vegetables, pens of pigs and a barn with egg-laying hens.” “in 1966, the Japanese Government set about securing farming land in the village of Sanrizuka and the hamlet of Toho in order to build what was then called the New Tokyo International Airport.” (text from Gruenrekorder website)
Alessio Ballerini – La radio a pedali – I – 10:30 [La radio a pedali, Galaverna, 2013] https://galaverna.bandcamp.com/album/la-radio-a-pedali “Along the run with many other bikers I held a 4 channel portable audio recorder in one hand, forward facing the two onboard mics and fastening the two other external mics on my backpack. That allowed me to record sounds both in front of me and in the rear. This was meant to allow me to postproduce the field recordings in two different forms.” Alessio ballerini is a member of AIPS. (text from Galaverna bandcamp page)
BJ Nilsen – Londonium – 10:48 [The eye of the microphone, Touch, 2013] https://www.youtube.com/watch?v=0hAqVP8H9ms “I spent full days and sometimes nights sweeping the streets and its interiors for sound – walking and listening with no route or intention. A city without sound does not exist. Every location, passageway, alley, road, park, and pub contains its own world of isolated sound events and patterns – the sound of a shopping bag caught by the wind on the asphalt of a busy street when a bus passes by.” (text from Touch website)
Attilio Novellino – Calme cementi – 9:02 [Loud listening, Cronica 2012] https://cronica.bandcamp.com/track/calme-cementi “Four Italian soundscape artists worked in four ailing Italian industrial sites. Their work aimed to capture the strength of industrial noises, providing a “loud experience” of mechanical hums, natural drones, metal squeaks, waves of steam and the sounds of raw materials, simultaneously proposing to reflect over the meaning and the high social value of industries and workers in a country where they are often overlooked.” Attilio Novellino is a member of AIPS. (text from Cronica website)
Pablo Sanz – Green line (Maghrib prayer) – 11.32 [Green line, Gruenrekorder 2012] http://www.gruenrekorder.de/?page_id=7140 “Recorded in East Jerusalem on 9.01.12 during sunset in a spot at the City of David, facing the arab village of Silwan, in the outskirts of the Old City. With a predominantly Palestinian population, nowadays Silwan is under Israeli jurisdiction. Regarded as a major archeological site, this area is situated just at the East side of the 1949 Armistice Demarcation Line (Green Line). The international community considers Israeli annexation of East Jerusalem as illegal under international law, but the Israeli government disputes this.” (text from Pablo Sanz website)
Pietro Riparbelli – Benevento – Duomo – 6:04 [Sacred Architecture, Galaverna, 2014] https://galaverna.bandcamp.com/album/sacred-architecture-benevento “Sacred Architecture – Benevento” has been composed with field recordings made in three churches in Benevento (Chiesa dell’Annunziata, Chiesa di Santa Sofia, Duomo) carried out on March 2013. This work is the final step of a workshop held within the “Suonabene” project curated by Leandro Pisano. Pietro Riparbelli is a member of AIPS. (text from Galaverna bandcamp page)
Joseph Sannicandro – I dreamt I was dreaming and I came home too late – 2:16 [A sea without a port, Galaverna 2015] http://galaverna.bandcamp.com/track/i-dreamt-i-was-dreaming-and-i-came-home-too-late Mexico occupies a complicated place in the American popular imagination. As a tourist destination, Mexico evokes beautiful seaside resorts and great food, friendly locals and an opportunity to lower one’s inhibitions. Then there is the other Mexico, the post-colonial Mexico, the Mexico rocked by the effects of NAFTA, of sprawling slums and terrible poverty, of colonized peoples and traditional ways of life obliterated by the violence of multinational corporations and agricultural subsidies. Most of the recordings were made around Mexico City. (text from Galaverna bandcamp page)
Giulio Aldinucci – Fiaccole – 12:00 [Sonospace] https://www.sonospace.org/exhibition/giulio_aldinucci/ Fiaccole tells the story of a thousand years old pagan tradition which take place every Christmas night in Abbadia San Salvatore, on Amiata mountain, tuscany, Italy. Giulio Aldinucci is a member of AIPS.
Bunú – Correspondence (Transition #1) – 8:14 [Sonic Terrain, WLD 2013]
http://sonicterrain.bandcamp.com/track/correspondence-transition-1 ‘Correspondence’ combines recordings from two different cities: Belfast and Rio de Janeiro. The composition explores unexpected similarities and variations in spatial density between two disparate sonic environments. The recordings open a dialogue, constructing a composition that maintains a sense of presence and initiates transitions between spaces not normally associated with either location. The recordings were made over a two month period between April and May 2014. Bunú is Aidan Deery and Matilde Meireles: sound artists and field recorders. Working together since early 2013, they use field recordings as a way to articulate an experience of place through long-form composition, installation and live performance. Bunú are interested in exploring how sound shapes the experience of everyday life, and thus provide a creative framework to explore new relationships with space through sound. (text from Bunù website)
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