Photo: Tobias Nicolai
Image: S. Diaz Morales
Photo: Dana LaMonda
Sound Theory (The Clouds) (2021)
Sound Theory (The Clouds) unfolds at the intersection of music, cinematography, audio design and theatre infrastructure. It deals with how protocols of audiovisual staging inform our modes of sensorial engagement.
The Construction of an Imaginary Acoustic Space (2019/21)
Ensemble and Electronics work
Does music elicit an experience of sound as an imaginary realm? What is the role of technologies of sound reproduction in the constitution of this realm?
Plural Grounds: Engaging with the Audible (2021)
Engaging with the audible implies engaging with the conditions in which audibilities are formed. Audibilities, as modes in which listening occurs, emerge as part of collective and material configurations. Practices of sound-making can engage with this emergence as they plunge into the material and collective realms which render acts of listening relevant.
Transformations of the Audible (2019)
The symposium Transformations of the Audible gathered artists, scholars, students and artist researchers from three domains – that of music, the arts and the scholarly field of sound studies – to address how artistic practices dealing with sound are traversed by and simultaneously operate upon the ways in which listening takes place.
Photo: Milan Anais
Focus challenges the transparency of the recording-reproduction mechanism. It exposes the spatial rendering of the sonorous as a product of the engagement of the listener with the material conditions of the technological artefacts of audio reproduction.
Loudspeakers and recording devices, as instruments of amplification and framing of everyday listening practices, modulate the boundaries of what we experience as real or imagined. Distance/Fiction explores how the material relationship between listener and sound-emitting devices acts upon the synchronization of listening and seeing produced in the exhibition space.
Performance and Sound Installation
Oscilación is a piece for Theorbo and soundtrack composed for argentine multi-instrumentalist Hernán Vives and commissioned by the Festival de Música Contemporánea del Teatro San Martin (Buenos Aires) in 2017.
Affectio deals with the role of sound recording and reproduction technologies in modulating our perception of the real. What is the boundary between what we perceive as the characteristics of a recorded source and what we perceive as the characteristics of a process of mediation? How is our experience of the spatial in sound inherent to a material process of transduction?
Res Extensa (2006)
Res Extensa is a work based on the superposition and juxtaposition of different layers of sound “registers”. These registers are layers of sound materials diversely related to our everyday sound environment and coming from different origins: marginal sounds from electric devices, analogue sources, field recordings, amplification of microsounds, recordings of machine noises, digital “errors” and “distant” musics.