Web Playlist 2021
A special internet listening session from the 2021 Open Call, featuring works by:
Julia Nanda Bejarano López
Julia Nanda Bejarano López
Birds know all the secrets. There’s something in their sonorities that resonate in the sounds of the world and the sounds of the world resound in birds too. In this piece, Everything sounds like birds, through the use of recordings made by me around the world, I wanted to enhance the ability of sound to integrate with others and create new imaginaries and travels. Diverse sound ambients from different places are integrated into a single bird-environment.
Julia Nanda Bejarano López –Artist, composer and scenography designer, 1991, Bogotá, Colombia– Bachelor of the Arts in Visual Arts with an emphasis in plastic expression from the Xaverian University of Bogotá-Colombia with studies in theatre scenography also from the Xaverian University. She has participated in many artistic events in different countries with works that involve sound, electroacoustic music, theatre and photography.
“Sound is one of the most important aspects of my life, because it gives me meaning and well being, and it’s the subject matter I use more as an artist, assuming it as the center of my practice. My creating processes revolve around the world of sound, creating diverse experiences and object-based, installation and reflexive proposals with it. All of this with a very active interest for working with sound objects, symbolic images and sounds and how they behave in specific spaces, as well as an interest for the action of listening, recording and creating soundscapes of the world. I have also taken an interest in subjects and approaches with other areas such as writing, photography and theatre, because it allows me to create imaginary and poetic situations, spaces, times, images, persons and objects.”
Ilaria Boffa / Mark Vernon
Mark described this musical work as a distortion or subversion of constructed fantasies of the ‘exotic’ or ‘other’ that were common in the musical genre of ‘exotica’ popular in the 50s. Starting from this reflection and listening to the piece, I wrote my poem ‘Ode for Complexity’ building on the concept of authenticity, mediocrity (nothing is really superior or special a priori) and complexity. I strongly believe in nurturing complex thinking. Articulate and disassemble, deconstruct that simplistic and linear approach that weakens minds and relies on conformed familiar standards to minimise effort, sacrifice, care and discipline. Simplicity is derivative. Now more than ever, we need to stay uneasy and vigilant. Clouds are moving fast, they’re changing perspective.
Ilaria Boffa is an Italian poet. She has published three poetry collections and she is one of the eight authors included in the North East American Association publication ‘Writing in a Different Language’ Vol XL 2018. Over the last years, she has been experimenting with field recording, blending her spoken words with sounds.
Sonopoetry Works: https://soundcloud.com/ilaria_boffa
Latest Publication: About Sounds About Us, 2019, book of poems: http://www.samueleeditore.it/about-sounds-about-us-ilaria-boffa/
Mark Vernon is a Glasgow based sound artist whose practice focuses upon field recording, the manipulation of environmental sounds and acousmatic presence. His work explores ideas of audio archaeology, magnetic memory and the reappropriation of found sounds. A keen advocate of radio as an art form, he co-runs Glasgow art radio station, Radiophrenia and has produced programmes for stations internationally. http://www.meagreresource.com
Polydomophony arises from the urgency of listening to the parts of own home’s sound and intimate landscape. In this perspective, household appliances become interlocutors inside the house’s isolated space. Polydomophony is generated by solitude in the domestic area that produces the echo of unheard songs sung right on the objects between the walls of a house. Walls become the silent spectators of a story without witnesses. The audio, in particular, is the result of an attempt at dialogue between a human voice and the voice of a boiler.
Ibetan Ell is “Memories of a frequency journey”, frequencies of a shapeless journey as universal language.
The poetry of Tibetan bell beat frequencies is in their perpetual and shapeless journey that invest our bodies. A universal language that doesn’t need linguistic or conceptual translation.
There is a physical predisposition to perceive the frequency phenomenon as a single thing that at the same time is able to stimulate all the other senses. This absence of barriers makes frequencies a mysterious journey that manifests itself in sound.
Sounds and frequencies are blended, filtered, shaped through complex modular synth system, composed by different unities coming from several world countries, therefore travelling again around all the Earth globe.
La memoria non e perfetta, perde frammenti, frammenti non voluti….cosa rimane di questi? Ricordi lontani dove anche la narrazione può cambiare, con questo lavoro si e voluto far perdere le tracce del suono (fildrecording) manipolandolo al fine che si perda. Un montaggio convulso, errori di registrazioni ricavati da frammenti di vita quotidiana, con l’utilizzo riverberi, strati di sonorità che a tratti cambiano tono repentinamente come se fossero immersi nell’acqua per poi essere tirati fuori velocemente, causando un soffocamento della traccia e dell’ascolto, piccoli frammenti di attimi sparsi, identità che si sgretolano e si liquefano perdendosi.
The memory is not perfect, it loses fragments, unwanted fragments … what remains of these? Distant memories where even the narration can change, with this work we wanted to lose all traces of the sound by manipulating it in order for it to be lost. A frantic montage, recording errors obtained from fragments of everyday life, with the use of reverbs, layers of sound that at times change tone suddenly as if they were immersed in water and then quickly pulled out, causing a suffocation of the track and of the listening, small fragments of scattered moments, identities that crumble and melt and become lost.
cantante: Andrea Gavagnin
Lista di parole italiane cadute in disuso, al punto da risultare incomprensibili, cantate sull’aria del Lacrimosa dal Requiem di Giuseppe Verdi. Il riposare sugli allori di un passato glorioso, sfruttandone immagini e parole, rende inefficace il nostro operare nel presente. La voce di contro tenore del giovanissimo Andrea Gavagnin, intrisa di commovente slancio verso il futuro, resta imbrigliata nell’inerzia di un passato che condanna all’impotenza i giovani inascoltati del nostro paese.
Whilst my yearly travel to Italy from my hometown of Hobart in Australia is halted due to the pandemic I have been increasingly aware of other more subtle forms of travel. In particular, how sound itself travels has become an important aspect of my research with more sound files being sent across the globe and conversations with other artists via zoom and mobile phone replacing the face to face communication I have been used to.
Unedited field recordings from my archives are introduced at the 4 minute mark – one of the Grande Canal sent to me in 2019 and one of the main highway in my hometown which I sent to a colleague in Italy in 2020. These recordings capture the main routes of travel in their respective cities and bridge the past with the present creating a sound collage that travels through time.
In keeping with the theme of how sound travels the entire piece was written and mixed in