Aural Praxis Workshop by Tilde
ACTIVE LISTENING AND PLACE’S AFFORDANCES
Participation Fee: 20€ Materials provided by Tilde & Aural Tools as a working kit for the participants
PLEASE REGISTER IN ADVANCE due to the capacity of the space. Register+info: firstname.lastname@example.org
An overview concerning themes as the echolocation, the aural architecture and the soundspace relationship, followed by practical sessions where the participants aurally experience a site.
During the practical section each participant is provided with a kit, consisting of about ten small objects (reali-zed within the project Aural Tools) and receives some suggestions about its use. These protoinstruments are very easy to play; they are not intended for producing sound per se, instead they are designed to enact the aural potentialities of a site.
The aim of the workshop is to produce sounds out of a negotiation between active listening and a place’s affor-dances, wherein the participants listen to themselves in the act of producing sound, in a specific space and time.
The practical section of the workshop can take place both in the open air, indoor as well as where there are specific fascinations. No specific musical skills are requested for participating. Groups of people of all ages can participate.
The affordances of the environment are what it offers the animal, what it provides or furnishes, either for good or ill. The verb to afford is found in the dictionary, but the noun affordance is not. I have made it up. I mean by it something that refers to both the environment and the animal in a way that no existing term does. It implies the complementarity of the animal and the environ-ment. James J. Gibson
‘Acoustic knowing’ is an experiential knowledge based on the intimate relations between sound, space and place. Acoustemology invokes the way that space indexes the distribution of sounds, and time indexes the motion of sounds. Yet acoustic time is always spatialized, and acoustic space is likewise temporalized. Steven Feld
An examination of the continuum of structured energy from event to audition suggests that sound conveys information about events at locations in an environment. A given sound provides information about an interaction of materials at a location in an environment. William W. Gaver
When I walk along the seashore, my perception of ‘the great noise of the sea’ is clear; that is, it is fully and powerfully audible. But it is also confused, since I hear this sound as a mass and don’t distinguish its elements – the individual waves – which remain obscure. Yet I must in some sense hear the individual waves, otherwise I could not hear the aggregate. Hence the sound of each individual wave must be distinct for me, though in an unconscious and, hence, obscure sense. What is clear, then, is also confused, and what is distinct is also obscure. Each individual wave is the result of a multitude of forces: the speed and direction of the wind, air pressure and temperature, the temperature and viscosity of the water, and so on.As a result, each conscious perception is the local registration of the entire state of the universe at any given moment. Christoph Cox
Attila Faravelli, Enrico Malatesta and Nicola Ratti, three active figures in the new italian electroacoustic scene and Víctor Mazón Garoqui, spanish performer, will present their sonic interventions after a one day workshop/research at Aural Disjunction Series @ HILDE
Für die Performance ist der Eintritt frei. Spenden für die Musiker sind ausdrücklich erwünscht.
Attila Faravelli (1976), Stereo recordings.
In his practice he explores the relationship between sound, space and body.
His music has been released by the labels Die Schachtel, Senufo Editions, Boring Machines, Presto!? and he presented his work in Europe, USA, China and South Korea. In 2010 he partecipated to the 12th International Biennial of Architecture in Venice. Since 2011 he curates The Lift, series of experimental music concerts in Milano. In 2012 he was chosen as the italian curator for the Sounds of Europe project. He is founder and curator for the Aural Tools project, a series of simple objects to document the material and conceptual processes of specific musicians’ sound production practice. Aural Tools are acoustic devices for relating sound to space, the listener, and the body in ways unavailable through traditional recorded media such as CDs or LPs.
Enrico Malatesta (1985), percussion.
Percussionist active in the field of contemporary music; his personal activity and research is aimed to extend the sonic and multi material possibilities of percussion instruments through simple gestural techniques, able to realize complex polyrhythms and multiple sounds between performer and instrument and space’s vastness.
His live performances and collaborations have been presented throughout Europe, North America, Japan and South Korea and has recordings published by the labels Presto!? Records, Second Sleep, Senufo Editions, Entr’acte, Alku, Aural Tools, Weighter Recordings, Triscele Registrazioni, Consumer Waste.
Enrico Malatesta has been stage musician for Teatro Valdoca between 20072013 and he is curator of Grande Stagione, an indipendent platform for experimental music in Cesena and neighboring areas.
Nicola Ratti (1978), analog synthesizer.
Began his musical career as guitar player. Lately his approach is focused on beatanalog experimentation and sound installation.
He is currently working with: Giuseppe Lelasi with whom he formed the project entitled Bellows and Attila Faravelli as Faravelliratti. He has performed live in Europe and North America, and his albums had been released by Anticipate, Preservation, Die Schachtel, Entr’acte, Senufo Editions, Holidays Records, Megaplomb, Musica Moderna, Boring Machines, Coriolis Sounds, Zymogen.
He collaborates also with visual artists such as A. Roma and Blisterzine/NastyNasty. Since September 2013 he´s the curator of a series of events concerning sound and performance hosted by O’ in Milano called The Variable Series. He’s one of the promoters/artists of Aural since its firts edition.
Víctor Mazón Gardoqui (1982), Modular synth / unstable systems. Working with self-designed electronics and (un)stable systems, will show a site-specific acoustic intervention inside one of the rooms of HILDE as a prelude to the “~” trio performance. ://victormazon.com | ://r-aw.cc