André Lemos is Associate Professor, Faculty of Communication, Federal University of Bahia, Brazil. PhD in Sociology, Sorbonne (1995), Visiting Scholar University of Alberta and McGill University, Canada (2007-2008). Coordinator of Cybercity Research Group (UFBa/CNPq) and Researcher level 1 at CNPq. Member of Prix Ars Electronica, Wi. Journal of Mobile Media and Canadian Journal of Communication Board. This Carnet is online since March 1st, 2001.
Mais um projeto aliando mídias locativas, espaço urbano e música. Informado pelo site do coletivo Dank, o mesmo grupo que realizou o projeto Sonic City, já apontado nesse Carnet e em meus últimos artigos. O atual projeto, Musique Concrete, de Simon Morris alia produção musical em derivas com skates pelo espaço urbano. Vejam a descrição abaixo:
"Simon Morris (US/France) is a new media artist who works with interactive instruments and new interfaces. Musique Concrete is an interactive performance piece which explores urban landscapes, skateboarding and sound. Mounted underneath the skateboard is a wireless device and sensors which enable the rider to modify sounds in realtime. The movements of the skateboarder determines the soundtrack of the city. The result is a musical composition which transforms the skateboarder into a composer. Investigating new forms of musical expression, Musique Concrete examines technology and its role as a socially engaged art practice. He has conducted live performances at Eyebeam, NYC, the Article Biennale 2006 in Stavanger, Norway, Lemurplex in NYC and the Kiasma Museum in Helsinki, Finland."
Lembra a performance de Fernando Llanos, com skate, música e projeção com retratei no post sobre o Arte.Mov.
O grupo brasileiro (carioca) HAPAX realiza dia 25/10 uma performance musical com GPS como parte da instalação TRANSI(N/S)TANTE no Centro Hélio Oiticica no Rio. A performance utiliza carrinhos de carga equipados com GPS que produzem sons de acordo com o deslocamento. A primeira performance "Burro sem Rabo", foi realizada no Rio (2006?), depois no Art.Mov de 2007 e agora no Centro Hélio Oiticica. O grupo foi criado em 2001 e é composto pelos artistas Daniel Castanheira, Ericson Pires e Ricardo Cutz.
Mesclando "high" e "low tech" o grupo produz uma onda sonora no espaço urbano de acordo com o deslocamento. O posicionamento controlado pelo GPS é convertido em sons. O percurso é que produz a música. Em um outro registro, mas próximo no princípio, podemos citar o projeto Sonic City onde o "interator", vestindo diversos sensores, vai produzindo sons de acordo com sua deambulação pelo espaço urbano. Aqui também é a reação aos estímulos sonoros externos (carros, ritmo de andar, barulho, metais, etc...) que produz a caminhada e o som. No caso do "Burro sem Rabo", é o deslocamento traduzido em sons pelo sistema a partir do GPS que dirige o deslocamento. Como diz o grupo, trata-se de "uma performance de criação sonora auxiliada pelo GPS".
Abaixo vídeo e detalhes da obra (via grupohapax@gmail.com):
"A primeira experiência do grupo com GPS nasceu na performance Burro sem Rabo realizada em BH, no segundo Arte.Mov, Festival internacional de arte em mídias móveis. Num carrinho de carga foi instalado um sistema de som com samplers, lap top, microfones e diversos alto-falantes, usado durante uma deriva de seis horas pela cidade. Essa intervenção já tinha acontecido antes, no Rio de Janeiro. A novidade em BH era o uso do Aparelho de localização Gps, acoplado a um celular. Dessa maneira, o Hapax podia, durante o percurso pela cidade, enviar as coordenadas do seu trajeto via Internet e controlar uma instalação sonora em qualquer outro lugar do planeta. E o melhor: quem controla, de fato, o resultado musical dessa instalação distante, é o trajeto, o desenho da rota, que pode ser visto, ao mesmo tempo que ouvido, num ambiente composto por caixas de som, computador linkado e projetor de imagens, em tempo real. A partir daí, a pesquisa com GPS ganhou independência da performance anterior.
O interesse do Hapax no aparelho de GPS nasce como continuação de suas experiências com o espaço público, com os fluxos de movimento urbano e as poéticas que a cidade pode oferecer. A partir daí, nasce a parceria com um engenheiro cartógrafo, Leonardo Póvoa, da UENF, com a criação de um software que traduz dados de GPS em dados de música digital, trabalhada em computador.
Burro sem Rabo
Dia 25.10 o Hapax realiza, pela primeira vez no Rio de Janeiro, uma performance de criação sonora auxiliada por GPS. A performance, aberta ao público, será feita nos arredores do Centro de Arte Hélio Oiticica, onde funciona o Espaço LCD, e faz parte da instalação TRANSI(N/S)TANTE que o grupo inaugura dia 01.11 no mesmo espaço, com curadoria de Cesar Oiticica. Em deambulações pelas curvas, becos e avenidas locais, o grupo vai criar uma peça musical eletroacústica. O Público, convidado a participar das deambulações compõem junto esta música do instante."
Passei hoje o dia todo lendo, re-lendo e escrevendo. Como não tive tempo para alimentar muito esse Carnet e como já escrevi aqui sobre o papel das câmeras nos telefones celulares e sobre o iPod como forma de resignificação estética (sonora) dos lugares, deixo abaixo duas citações que reforçam minhas hipóteses sobre esses temas:
Sobre Mobile Sound Experience:
"These technologies all permit a reorganization of public and private realms of experience where what is traditionally conceived of as 'private' experience is brought out into public realms in the act of individualized listening or talking. These technologies also permit users to prioritize their experience in relation to their geographical, social and interpersonal environment enabling them to exist, in a variety of ways, within their own private soundworld. The site of experience is therefore reconstituted variably through the use of such media" (...) iPod reorganizes users relation to space and place. Sound colonizes the listener but is also used to actively recreate and reconfigure the space of experience."
Michael Bull
Photos, MMS, and Camera Phone.
"Mobile technology par excellence, with its new visual potential, instead emphasizes forms of experience that are strongly rooted in physical and social space and shows the subject's need to embed themselves in localized and socially contextualized forms of interaction.(...) the camera-phone seems to enable 'the doubling place' or more accurately, the pluralization of places (and experiences) and their trans-location(...). The outcome is an evident reassertion of the mobile phone's cultural identity as a medium that makes it possible to intensify communication with proximate relations, to nourish sentimental bounds, and to build a shared code of experience interpretation (...) camera phone is closed linked to the search for spatio-temporal embedding of subjects ans experience, favouring the local context and social situations of which the exchange of communication itself forms a part (...). camera-phone enables the multiplication of connections between different physical ans social spaces rather than the weakening of a 'sense of place'"
"Trabalho da artista alemã Christina Kubisch explora a relação dos sons com as cidades a partir de diversas performances e instalações. O último trabalho chama-se Five Electrical Walks, culminando obras que ela tem realizado desde 2003. Nesse trabalho os usuários podem ouvir sons que emergem das ondas eletromagnéticas dos mais diversos equipamentos no espaço urbano. Um trabalho que utiliza a potência locativa, sensores, e a antiga arte da deriva como forma de leitura e interação do/com o espaço urbano.
"Christina Kubisch is a first generation sound artist of the highest order. Kubisch has been working with electrical induction since the late seventies and in 2003 she began her Electrical Walk installations. Listeners wear specially built headphones that reveal electro-magnetic radiation eminating from the technological world around us. 5 Electrical Walks is her first collection of compositions untilizing material recorded during Electrical Walks.
Invisible/Inaudible: FIVE ELECTRICAL WALKS Electromagnetic Investigations in the City
'Electrical Walks is a public walk with custom-made sensitive wireless headphones by which aboveground and underground electromagnetic fields are detected, amplified and made audible.
The transmission of sound is accomplished by a built-in set of induction coils which respond to the electromagnetic waves in our environment. The palette of these noises, their timbre and volume vary from site to site and from country to country. They have one thing in common: they are ubiquitous, even where one would not expect them. Light systems, wireless communication systems, radar systems, anti-theft security devices, surveillance cameras, cell phones, computers, streetcar cables, antennae, navigation systems, automated teller machines, wireless internet, neon advertising, public transportation networks, etc. create electrical fields that are as if hidden under cloaks of invisibility, but of incredible presence.
The sounds are much more musical than one could expect. There are complex layers of high and low frequencies, loops of rhythmic sequences, groups of tiny signals, long drones and many things which change constantly and are hard to describe. Some sounds are 'global players', they sound much alike all over the world. Others are specific for a city or country and cannot be found anywhere else.
Electrical Walks is an an invitation to a special kind of investigation of city centres (or other locations). With the magnetic headphone and a map of the environs, upon which the possible routes and especially interesting electrical fields are marked, the visitor can set off on his own or in a group. The perception of everyday reality changes when one listens to the electromagnetic fields; what is accustomed appears in a different context. Sound can transport you to different time areas, sound can transport you through your knowledge of space. Your brain is trying to get together what you hear and see in new ways. Nothing looks the way it sounds. And nothing sounds the way it looks.
The five compositions on the CD are based on numerous live recordings of electromagnetic fields, made between 2003 and 2007 in the cities of Birmingham, Chicago, Taipei, Paris, Bremen, Riga, Tokyo, Madrid, London, New York, Berlin and others. The sounds have not been altered electronically or by other means."
Mais um projeto em Locative Media, citado no artigo do post anterior. O projeto canadense, de Toronto, hear you are --- [murmur], "anota" sons em locais do espaço público permitindo uma outra leitura e uma forma de significação diferenciada das cidades através dos telefones celulares.
Vejam a descrição:
"[murmur] is a documentary oral history project that records stories and memories told about specific geographic locations. We collect and make accessible people's personal histories and anecdotes about the places in their neighborhoods that are important to them. In each of these locations we install a [murmur] sign with a telephone number on it that anyone can call with a mobile phone to listen to that story while standing in that exact spot, and engaging in the physical experience of being right where the story takes place. Some stories suggest that the listener walk around, following a certain path through a place, while others allow a person to wander with both their feet and their gaze.
The stories we record range from personal recollections to more "historic" stories, or sometimes both -- but always are told from a personal point of view, as if the storyteller is just out for a stroll and was casually talking about their neighbourhood to a friend.
It's history from the ground up, told by the voices that are often overlooked when the stories of cities are told. We know about the skyscrapers, sports stadiums and landmarks, but [murmur] looks for the intimate, neighbourhood - level voices that tell the day-to-day stories that make up a city. The smallest, greyest or most nondescript building can be transformed by the stories that live in it. Once heard, these stories can change the way people think about that place and the city at large."
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