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.
The Construction of an Imaginary Acoustic Space (2019/21)
Ensemble and Electronics work
This work tackles the role of music, the instrumental and acoustic devices that inform it and the realm of sound reproduction technologies in acting upon the threshold between the imaginary and the real.
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 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 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.
The sound material at the origin of Affectio consists of the diverse rendering of the same sonorous field by different 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 engage with sound’s spatial-material fold.
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.