Mein Konto. Klassische Gitarre. Gemischte Duette. Englisch Horn. Bass Saxophone. Schlagzeug und Percussion.
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Definizioni, esperienze, visioni e pratiche artistiche in una conversazione estesa con Martina Raponi, Francesco Fonassi e Francesco Giannico. Che potenziale ha, dunque, tale ambito di ricerca? Quali le sue attuali applicazioni? La conversazione che segue tenta di analizzare questi aspetti.
Bisognerebbe persino chiedersi cosa sia un punto di corrispondenza oggettivo. Per me, rappresenta da sempre una via per conseguire una presa di coscienza dal basso non dissimile da altri strumenti che possano elevarci culturalmente e spiritualmente , come il cinema o la letteratura e cosi via. Paroloni per dire semplicemente che i paesaggi sonori non sono altro che insiemi di suoni estratti da un certo contesto di riferimento: se cambia il contesto cambia anche il paesaggio sonoro.
Alla luce di questi piccoli ma significativi riscontri, la visione di Schafer non mi pare superata, anzi. Preferisco parlare di campo acustico sonic field. Quando registriamo e archiviamo un paesaggio sonoro parliamo di registrazione di campo. Sono queste le esperienze che mi interessano al momento. Ad esempio le esplosioni, i tuoni, i terremoti, tutte quelle sollecitazioni vibratorie cui siamo costantemente sottoposti, dallo stare seduti su un treno al pedalare su una bici.
La maggior parte degli altri movimenti che operano su di noi non possono essere percepiti in maniera cosciente. La mia concezione di rumore come dispositivo per analizzare processi di normalizzazione non prevede che il rumore sia parte attiva dei processi in esame.
Ho dunque provato a capire cosa implica il fare rumore in base a questa divisione. Quali sono gli obiettivi e i metodi di archiviazione che avete adottato? I paesaggi cui aspirano queste controculture sono psicofisici. Si attraggono e coincidono, secondo quella che Rupert Sheldrake chiamerebbe una risonanza morfica. Frangi , Epistemology of Trasparency , dal catalogo della mostra Open Museum Open City dove due anni fa ho realizzato un intervento architettonico nella Galleria 2 del museo.
Il sistema risponde in modo latente e interdipendente, quasi come se si stesse attraversando e insieme contaminando uno strano campo elettromagnetico. Robert C. In Italia in particolare ha avuto un peso rilevante il lavoro di Virginia Volterra, nel sistematizzare a livello culturale e linguistico la cultura sorda. E chiude il cerchio anche nella considerazione del paesaggio sonoro come terreno vibratorio propriocettivo. This interview was born a few months ago, in Venice when, in occasion the presentation of her book Strategie del Rumore Auditorium, , I met Martina Raponi.
Discussing her publication, some critical points, and especially new horizons for practices of noise and her latest researches, we recognised the common attention on soundscape issue. We decided to involve in our conversation the Italian artists Francesco Fonassi and Francesco Giannico. Albeit with completely different approaches, they revolve around this scene developing contents, views, forms and applying methodologies. Since its first appearance, the Soundscape coined by R.
Murray Schafer is marked by a temporal continuity that makes it extremely changeable and which all of us must feel co-authors, more or less voluntary and conscious. Which is its potential? What are the current applications? The conversation tries to analyze these aspects and is enriched by an interest bibliography, reported in the notes, which helps us to position the three contributions in the dense constellation of material and documentation existing.
The urgencies — who traced categories for — were ear cleaning, acoustics and especially speculation in Ecology of Music. After World War II all technological research and the use of phonic technical concern of territorial control and political subjugation of the individual through the imposition and writing were deafening quiet.
And this awareness which gradually consolidated, at least in the sector studies Volcler and Goodman are the most famous11 that we must take as a starting point to confront what it means operate in sound arts and to develop critical thinking2 2. In the same years, between and , I developed a number of systems, gestures and prototypes that placed this issue in the center of my phenomenological research on noise limits, on the intensity and permeability of figures such as attack and defense related by pre-existing architectural or configured at the service of these phenomena.
Francesco Giannico : The potential for investigating the soundscape is very high if you take this practical aspect. What is become more aware than we listen if we translate it into a daily practice? For me it is a way to achieve an awareness from the bottom, it can elevate us culturally and spiritually such as film or literature.
I speak of broaden the scope of our perceptual capacities to make room for a kind of acoustic relativism. More simple: the soundscapes are collections of sounds extracted from a certain reference context: if the context changes, the soundscape also changes. The listening works fine on the identification of reference allowing us to listen to what is naturally closer and functional to our daily activities.
After some workshop I conducted, I realized that the ability to learn more about the sound environment in which we live is not expected3 3. The risk is that we continue to talk about that only with insiders. The playful approach or para-artistic is my favourite, even with adults. Probably, we must consider that in parallel to a slow but growing awareness relating to the soundscape has corrisponded a deterioration of sound sustainability if we examine more populated areas.
The truth is that it would take large-scale plans that no government wants to undertake and finance in times of economic crisis, so the only hope is to rely on raising awareness that knows how to bear fruit in the not too distant.
I prefer to speak of sonic field. When we record and store a soundscape we speak of field recording. That field is always polluted by our actions, even if we are listening without interfering voluntarily. We interfere with it, and with other bodies to listen listen here is intended not only as hearing but, more generally, how to feel , and then assimilate it and together we modify our laws4 4. It is an issue that came up when I started re-reading and re-thinking Strategie del Rumore after its publication.
It is astonishing to realize that there are many definitions of noise, and we could say that each discipline today has one definition for it; each of these identifies articulates and uses noise in its specific context, in its specific way. This means that we find, at the root, a problem of language, and of definition.
My exercises, now, are about identifying elements of interruption in the continuum of connections which form the fabrics which we define as social, urban, and so on, through interlacing. These fabrics are supported by an idea of soundscape which could be extended and which I connect to the depiction done by Steve Goodman in Sonic Warfare ; it is not a case that the idea of affection is in the subtitle of the book6.
The conditions of listening, implicating either noise and the notion of soundscape, are also taken into consideration on a historical and cultural level by Hillel Schwartz in Making Noise.
This mastodon of the literature about sound contains many references which show how the notion of noise, when examined while considering specific modes of listening, changes according to complex equations, in which the historical progression, technology advancements, geographical contexts, and cultural elements play a fundamental role. This makes it difficult to define noise in a universal way, but it helps in contextualizing it and historicize it according to the study cases.
The body is the nodal aspect also in your book, Strategie del Rumore: especially since the 60s, it highlights the growing awareness of awareness and exploration of the physicality, then transported even in music. In extreme cases the vibrational texture of a specific environment can be perceived by the body, followed by introjection and conscious elaboration.
We can talk about this when referring to explosions, thunders, earthquakes, or all those vibrational stimuli we are constantly subjected to, from the simple action of just sitting on a train to a bike ride I am thinking at the moment about the installation by Raviv Ganchrow at the edition of Sonic Acts, titled Long Wave Synthesis : this work examines the infrasound waves, which operate on a geological scale.
Noise, as invasion, as sound impact, proposes an augmented mode of bewilderment, which eventually resolves itself in what I like to define as identification, but which is not disconnected from something very similar to an interrogation. In our contemporaneity we need to research another way of being part of the existential circuits which exist in a mutated technological landscape, less hardware and more immaterial.
The role of the body is to regain all the possible hardware which surrounds us, accepting even to abandon our condition of mere humans, to push the potential of technology, together with our sensorial and sensual capacities, to its extreme, however absurd or paradoxical this might sound.
The materiality of the body has to find a way of reaffirming itself in order to gain back a space which has been lost, a space of interaction, of negotiation, and of action, and then transfer it to a virtual world which cannot be ignored. How to re-elaborate the fragments of experiences and information which act upon us in an affective way, privileging an intensification of proprioceptive activities, and understand how to reconvert them into experiences capable of generating critical mass?
The crucial node here is understanding how to lead these experiences to a next, perhaps higher, level, making use of the interstitial values hidden among the political claims.
This also raises a fundamental problem: if we admit that noise is a problematic notion, especially in the light of its possible de-functionalization in a context like the one described by Goodman, or if considered in the analysis of a process of normalization, then what does it mean to make noise? It is more a residual element, an excess, something that a system is willing to reabsorb in order to stay compact, to be analyzed in its entirety, to be functional, and functioning.
The cases could be endless, and my ambition, on a sci-fi and on a theoretical level, is to understand how to elaborate a kind of equation which allows to identify, analyze, and support the potential noises, while keeping in mind the specificities of the contexts in which they appear and operate. The privileged case study for me at the moment, in both the essayistic and in the narrative work, is deafness as a noise mode of existence on a cultural, linguistic, and social level, despite the silence which seems to be inevitably inherent in it9.
It is around this dilemma that my second and last year at Sandberg, in , developed. From there, I tried to investigate objects and experiences which concern more the first element, than the second.
I therefore tried to understand what does it imply to make noise according to this separation. This kind of noise is present in most of the contexts which deal with cultural production And it can compete as an experience involved in the formation of a subjective and collective memory.
Just like the visual experiences. Which are the goals and the storage methods you adopted with AIPS? Francesco Giannico : AIPS is an archive of experiences that include the studio, manipulation, reinterpretation of listening environments. In this context, AIPS seems better as a modular vision: in each module is a project with its own characteristics and independent. Thanks to Google Maps, Open Street Maps and similar technologies it was possible to represent concretely the union between a landscape and its sounds: what could be more intuitive click a placeholder of a map and start the related audio?
Clearly, in this case there are various levels of complexity related to the possibilities of realization of these maps that can be scientific, collaborative, interactive. Develop or rediscover a sensitive ear, also implies the possibility of risemantizzare a sound content, enrich it with the opportunity to generate new values, ideas, perspectives…. My own perception, during the workshops, has been changed when I watched the collective awareness mechanisms that arose.
The new semantics have gone beyond expectations. The future prospects for projects developed in this way can be many and can have an impact on people and their area.
Email Address. Interviews , 23 settembre Interviews , 23 September Definitions, experiences, visions and artistical practices in a conversation with Martina Raponi, Francesco Fonassi and Francesco Giannico. Francesco Fonassi - Territoriale - Two sensitive audio environments.
Il paesaggio sonoro
Il Paesaggio Sonoro