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sounds & texts

[SOUND]

[SILENCE], 2016
a 40hrs listening session (sound selection)

“The Rosetta comet is singing: as the orbiter approaches, the ESA uploads audio of the comet’s warbling magnetic ‘song’", The Independent Newspaper Tuesday 11 November 2014.

Photographic documentation On the way to the night walk through the forest organized by artist Chris Carroll, and quote:

"Take a walk at night
Walk so silently
that the bottoms of your feet
become ears"
Pauline Oliveiros, 1977.

Walking together to the Lower Campus we started making noises. We tried imitating landscape sounds, sounds of wind, birds, water drops or simply screams and laughs kept our attention by hearing their echo returning to us.

Quotes taken from [5] Barry Blesser and Linda-Ruth Salter, 'Spaces Speak: Are you lisening?', MIT, 2007, and [6] Walter Benjamin, 'On Language/On Language of Man':

Turn off a light source, even
in a mirrored room, and
abruptly the space becomes
dark.
br>Turn off a sound source, and
the space continues to speak.[5]

Walter Benjamin conveyed
in On Language as such and
on the Language of Man. In
this very particular essay he
reflects on the silent,
magical and material language
of things. Such as the language
of a mountain, of a lamp, of a
stone, of a fox, etc. Ar a certain
moment Benjamin poses
the question:
"And who is going to translate
them?"[6]

A mobile speaker breaks the silence and end the listening session playing ‘Wordy Rappinhood’ by Tom Tom Club, 'What are words worth?'

What are words worth?
What are words worth? Words

Words in papers, words in books
Words on TV, words for crooks
Words of comfort, words of peace
Words to make the fighting cease
Words to tell you what to do
Words are working hard for you
Eat your words but don't go hungry
Words have always nearly hung me

Ram sam sam, a ram sam sam
Guli guli guli guli guli ram sam sam
Haykayay yipi yaykayé
Ahou ahou a nikichi

What are words worth?
What are words worth? Words

Words of nuance, words of skill
And words of romance are a thrill
Words are stupid, words are fun
Words can put you on the run

Mots pressé, Mots sensé
Mots qui disent la verité
Mots maudits, mots mentis
Mots qui manquent le fruit d'esprit

Ram sam sam, a ram sam sam
Guli guli guli guli guli ram sam sam
Haykayay yipi yaykayé
Ahou ahou a nikichi

What are words worth?
What are words worth? Words

It's a rap race, with a fast pace
Concrete words, abstract words
Crazy words and lying words
Hazy words and dying words
Words of faith and tell me straight
Rare words and swear words
Good words and bad words

Ram sam sam, a ram sam sam
Guli guli guli guli guli ram sam sam
Haykayay yipi yaykayé
Ahou ahou a nikichi

What are words worth?
What are words worth? Words

Ram sam sam, a ram sam sam
Guli guli guli guli guli ram sam sam
Haykayay yipi yaykayé
Ahou ahou a nikichi

What are words worth?
What are words worth? Words

Words can make you pay and pay
Four-letter words I cannot say
Panty, toilet, dirty devil
Words are trouble, words are subtle
Words of anger, words of hate
Words over here, words out there
In the air and everywhere
Words of wisdom, words of strife
Words that write the book I like
Words won't find no right solution
To the planet earth's pollution
Say the right word, make a million
Words are like a certain person
Who can't say what they mean
Don't mean what they say

With a rap rap here and a rap rap there
Here a rap, there a rap
Everywhere a rap rap
Rap it up for the common good

Let us enlist the neighbourhood

It's okay, I've overstood

This is a wordy rappinghood, okay, bye

Ram sam sam, a ram sam sam
Guli guli guli guli guli ram sam sam
Haykayay yipi yaykayé
Ahou ahou a nikichi

Songwriters: Tina Weymouth / Christopher Frantz / Laura Elizabeth Weymouth / Lani C. Weymouth / Steven J.C. Stanley

[SOUND]

Dibujo para lo invisible, 2015
Listening sessions to draw without vision (selection of drawing and sound situations)

[TEXT]

"Concrete" (excerpt) PDF Read complete text
by Jorge Solís Arenazas, translation by Robin Myers

How can we recover what we interpret as ephemeral, residual, and random in order to problematize what we consider immobile, central, and definitive?

By exploring the acoustic properties of specific sites, Lorena Mal counseled by acoustic physicists and sound engineers, investigates the paths followed by sound matter; the angles it traces as it travels; the ranges of pressure it applies; and the variations it undergoes in response to the shapes of the walls, ceilings, floors, and so forth. Finally, she locates the points where sound density intensifies and grows more concentrated. Analyzing this mass of data allows us to understand the appearance and features of the space in question. At the same time, and even more importantly, it reveals the space’s vulnerable areas, the zones of greatest susceptibility to alteration by sound’s unpredictable path.

Concrete Acoustics doesn’t seek to obtain the space’s auditory narrative, nor does it intend to represent that narrative via particular aesthetic parameters. What it does, rather, is intervene in the space, exacerbating its characteristics so that they may redefine the conception of the architectural site. It obliges the space to take risks, to shatter its traditional hierarchical logic, to de-center its interpretation from materials, functions, and other traditional reference points.

The sculptural aspect of the installation is by no means scenographic; it directly engages in the phenomenon it questions. Not only does it expose the form of the construction; it also works to reformulate its very meaning. At no point does it seek to provide a scaled recreation or to amplify the occurrences produced there. Quite the contrary: it operates on a literal, physical, immediate level, eliminating the distances between the listener/observer and what he or she perceives (a perception, incidentally, that always exists on the borderline).

Concrete Acoustics operates along the borderline of the perceptible, and we must remain in silence in order to listen.

The installation doesn’t take the aural experience and its correspondingly silent atmosphere as a narrative; rather, it produces its own resonances.

Peter Sloterdijk stated that intersubjective relationships became historically possible because inhabitants were united by a single psychoacoustic framework: the “soundsphere.” According to this perspective, sound creates unexpected bonds, links that are neither linear nor causal, connections shaped by a logic that doesn’t merely escape the one that visual alphabets prescribe but which actually precedes them.

This is only possible if the path is traveled both away and back—if the multiplicity of elements, subjects, and spaces are interwoven in silence. (...)

Project exhibitions:
Concrete Acoustics (Christinenstraße 18-19, 10119 Berlin), 2016, Meinblau, Berlin
Concrete Acoustics (Calle Dr Mora 7, 06050, Ciudad de México), 2016, LAA, Mexico city
Concrete Acoustics (1515 Saint-Catherine St W, QC H3G 2W1, Montreal), 2018, FOFA Gallery, Montreal



[SOUND]

Dis/appear, 2015
a sound played during listening sessions at reverberating spaces.
2''

Listening sessions:
Dis/appear, 2014. Protocolos sonoros: Voces desechables/Cuerpos desechables, sesión de escucha, SITAC XII, 2015. Coordinated by Michael Roberson (Ultra Red) and Lucia Sanroman, Museo Experimental El Eco and Museo Universitario Arte Contemporáneo (MUAC), Mexico city, 2015.
Universität der Künste Berlin, Berlin, 2016
Etnografías sonoras: El mundo resuena y yo lo escucho, seminario por Andrea Ancira, Facultad de Ciencias Políticas, UNAM, Cd. de México, 2016

Dis/appear, 2014. Documentation pf listening session, SITAC XII, 2015. Coordinated by Michael Roberson (Ultra Red) and Lucia Sanroman, Museo Experimental El Eco and Museo Universitario Arte Contemporáneo (MUAC), Mexico city, 2015.

(Listen before reading)
2 minutos de escucha en acumulación. Grabado en low-fi y reproducido durante sesiones de escucha abiertas al diálogo, el sonido y su eco se hace abstracto e indisinguible, abrumador según la reverberación del espacio en el que resuena, resultando siempre en interpretaciones diferentes en cada contexto: una multitud de personas, una montaña que cae, el comienzo de una tormenta, un muro que cae, policias a caballo, una cascada, una caída constante de piedras chocando juntas.

La grabación consiste en el sonido de pasos en diferentes suelos y con diferentes ritmos, 108 personas que ocupan el espacio con un 'volumen' temporal y que uno a uno 'caminan' juntos. 108 es el número de desaparecidos en México cada 2 semanas según un estudio que analizó una década de casos en el país y que fue publicado en 2014, año de realización del audio.

[TEXT]

[SILENCE], 2016
printed memory

PDF Complete printed memory

Sound protocol, a text selection by the artist, and the transcription and narration of a listening session held by 16 artists who were in silence and without language for 40hrs at Skowhegan residency 2016.

[Silence], 2016, printed memory, brass cover with engraving, 15x11cm.

[TEXT]

Conciertos Abiertos, 2014
printed sound situations

Pequeñas publicaciones que recopilan observaciones para percibir los ritmos e identidades
sónicas de diferentes lugares a partir de una serie de textos que indican donde y cuando escuchar. Producción de impresos sobre la Cd. de México (Santa Maria la Ribera, Guerrero y Guadalupe Tepeyac) con el apoyo de Fundación Alumnos47.

"Replicas: speculative exercises for a material history" (excerpt) PDF Read complete text
by Andrea Ancira

[TEXT]

"The landscape of ruptures" (excerpt) PDF Read complete text
by Jorge Solís Arenazas

[TEXT]

"Negation and Disobedience" (excerpt) PDF Read complete text
by Octavio Avendaño

[TEXT]

"Synchrony" (excerpt) PDF Read complete text
by Jorge Solís Arenazas

[TEXT]

"Between Lines" (excerpt) PDF Read complete text
by Bárbara Perea

[TEXT]

"El museo de la ruina" (excerpt) PDF Read complete text
by Nath Cano