INTERRUPTIONS #8
Sounds in Cause
Curated by José Manuel Berenguer and Carlos Gómez
Sounds in Cause works as an archive containing the sound heritage of a series of cultural contexts in Latin America where, for good or ill, the environment is expected to experience irreversible changes in the short and medium term as a result of economic growth. The Orquestra del Caos began collecting samples in October 2009. At present, the archive includes 300 Gigabytes of samples of soundscapes from seven Latin American contexts.
The collection and dissemination of sound data for subsequent use in artistic and research projects fits perfectly within the raison d’etre of Caos->Sonoscop. Through international sound-based artistic interventions, this project aims to raise awareness of these changes, firstly in the vicinity of the sites where the sound samples are recorded, and secondly in all the different cultural centres in which the artists involved in the international call for participation organised by Orquestra del Caos work.
Furthermore, its essence is to try to introduce scientific methodologies into arts practice on one hand, and to encourage science to look outside of itself and use approaches borrowed from other contexts on the other.
Deleted scenes
We dig up some unreleased fragments of our conversation with finish artist Terike Haapoja that we were unable to include the first time around.
Terike Haapoja
Finnish artist Terike Haapoja invites us to imagine this posthumanism: a hybrid, expansive, empathetic “we” with room for ambiguity and difference and for interspecies political understanding, in which the morbid fantasy of human exceptionalism and the hierarchy of species is put to rest once and for all. Drawing on concepts such as Syl Ko’s black veganism, Sue Donaldson and Will Kymlicka’s expanded theory of animal rights, and Carol J. Adams’ sexual politics of meat, Terike Haapoja ventures to imagine a world beyond animalisation and distinctions between protected and disposable beings.
AM Kanngieser
Political geographer and sound artist AM Kanngieser works in the coordinates between space and sound. This merging of disciplines that seems completely normal to her tends to be more perplexing to the compartmentalised world of science and academia than to the undisciplined field of artistic practice. In this podcast, we become the listeners as AM Kanngieser reflects on expanded listening, on the inaudible, and on our anthropocentrism. They talk about their long-standing interest in sound governance and dissect the many tensions that built up in the project “Climates of Listening”, which was originally based on the intention of amplifying campaigns for self-determination and self-representation in the Pacific.
Deleted scenes
We dig up some unreleased fragments of our conversation with political geographer and sound artist Anja Kanngieser that we were unable to include the first time around.
Auxiliaries
In this new PROBES Auxiliary by Chris Cutler, composers and performers expand their classical, contemporary, avant garde, jazz, rock, electronic and installation art vocabularies by incorporating real or virtual collaborations with wildlife, soundscapes, insects, amphibia, birds, whales and wolves. And we learn what a whale has in common with a nightingale.
By José Manuel Berenguer
This essay addresses a number of concerns relevant to understanding the listening experience within art and everyday life.
In this conversation, José Manuel Berenguer reflects on the concepts of soundscapes and field recordings, and discusses his recent practice in a context in which the genre is taking on an increasingly prominent role in the field of sound creation.
José Manuel Berenguer. Part II
A musical selection of José Manuel Berenguer works from 1990 until today.
Francisco López. Part II
A musical selection of Francisco López works from 1997 until today.
Francisco López. Part I
A monographic on the work and historical context of Francisco López, featuring an interview with Rafael Flores.