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 our engagement with sound is informed by the material conditions and protocols of synchronization of audiovisual staging.
Pasado Mañana is a collaboration with La Otra Compañía Argentina de Baile (physical theatre/dance company based in Buenos Aires). It is a hybrid project that explores the place of the body in between audiovisual installation and stage work. New version premiered in Concepción (Chile) in March 2022
The Construction of an Imaginary Acoustic Space (2019/21)
Ensemble and Electronics work
This work taps into the articulation of technologies, affect, space and listening. It acts upon the ubiquitous presence of recorded sound in our media saturated environment to explore the way sound technologies modulate our attention and informs our engagement with the aural.
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 how the audible is formed as they plunge into the 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 is performed.
Photo: Milan Anais
Focus challenges the transparency of the recording-reproduction mechanism. It exposes the spatial dimension of the sonorous as intrinsic to the engagement of the listener with the material conditions of the technological infrastructure of audio reproduction.
Loudspeakers and recording devices, as instruments of amplification and framing that inhabit our daily auditory context, interfere with the boundaries of what we experience as real or imagined. Distance/Fiction explores how the material relationship between listener and sound-emitting devices and 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.
The sound material at the origin of Affectio consists of diverse renderings of the same sonorous field by diverse recording technologies. Affectio uses field recordings not so much to re-enact the experience of a given location, but to explore how audio reproduction technology informs the ways we make sense of our sonorous environment.
Res Extensa (2006)
Res Extensa is a work based on the superposition and juxtaposition of different layers of sound registers. These registers are sound materials diversely entwined with our everyday 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.