Taylor, J. Milo., Rivas, Francisco & Mesa, Miguel
Affiliation: Kunsthochschule für Medien Köln (KHM) / Fonoteca Nacional Mexico / Independent.
Research Focus: Listening Cultures, Media Archaeology, Sonic Anthropology: Methodologies of Sound in the Humanities

La Cantada: The Songs for the Dead in Naolinco town.

Abstract
When Spanish conquerors arrived on the Mexican Caribbean coast they encountered a town called Naolinco. To this day, an ancient annual tradition still occurs there: “El Día de todos los Santos” (The Day of Every Saint) – the so-called “day of the dead”. It is a time to remember the deceased and to renovate communication with them. In family homes, altars are made and at dusk, families walk to the cemetery to sing to their deceased. These special songs (cantada) are both ancient and syncretic, mixing indigenous traditions with the Catholic iconography of the invaders. Following their dedication, people move from house to house, visiting altars in the homes of others, singing the cantada. “Fiestas”, as noted by many anthropologists, configure the ritual and social calendar, articulating the sacred and profane, which, in this kind of community, become blurred. In this context sound becomes a “bridge” between two worlds consolidating the identity network of the inhabitants of Naolinco. We witnessed an auditory culture activating the “world of the dead” through ritualised and collectivised soundings. In this study we discuss our participation in the custom and we explore the function of this music in this specific context.



With the Bergen Impro Big Band .
Led by John Hegre and Lasse Marhaug (Jazkamer)

AVAGRDE har gleden av å åpne sin trettende sesong, høsten 2012, med festivalen:

Pannekaker: Konserttur gjennom syv byrom
1. september 10:00-23:00

Kl 10:00 Bergen Offentlige Bibliotek
Kl 12:00 Konsertpaleet KP 9
Kl 14:00 Bredsgården, Bryggen
Kl 16:00 Studentsenteret
Kl 18:00 Musikkpaviljongen
Kl 20:00 Bergen Kjøtt
Kl 22:00 Kosmo klubben

Medvirkende: Jazkamer, Bergen Impro Storband, Ny Musikk Bergen og Avgarde

Festivalen foregår på syv forskjellige steder i Bergen, i løpet av en dag! Turen begynner på Bergen Offentlige Bibliotek kl 10:00. En lang dag, med mye fantastisk musikk tar publikum fra sted til sted, scene til scene, og de akkustiske rom fylles med fine klanger, spilt av Jazkamer og Bergen Impro Storband. Konsertdagen avsluttes i Kosmo klubben kl 22:00.
Det er gratis adgang til alle konsertene. Kom og bli med på tur!

http://bergenkjott.andreelvan.net/news/show/avgarde-pancakes

InCounter at the Bussey Building

A programme of video works and live sound performances exploring process and structure.

sainswn (wales/england)

new sonic realities based in the dynamics and experience of movement in, between and through place and non-place. entities and environments. trajectories and tracings. mediation and event. themes of immersion, transit, non-human intelligences, infrasonic and ultrasonic forces. the work is entirely based upon notions of listening as composition. reception as construction. perception as the primary generative.

Incounter website


A lab hosted by Mariella Greil & Werner Moebius at Prisma Mexico 2009

Maybe manifesto
Maybe we move into the space between yes and no
Maybe we perform the spectacular spectator or performer
Maybe we overcome virtuosity and redefinition
Maybe we question the brute somatic nature of the body and make-believe transformations
Maybe we are all stars and invest in generosity
Maybe we share the in-between
Maybe we look for respect, hospitality and friendship
Maybe we become hybrid
Maybe we distort and recycle our style
Maybe we enjoy cunning concepts and teasing procedures and their strictures
Maybe we move beyond camp, eccentric, heroic and their opposites
Maybe we inverse the structure of the sublime
Maybe we decide for sensitive ambiguity
(response to Yvonne Rainer’s NO Manifesto and Mette Ingvartsen’s YES Manifesto)

Die Kunstpraxis als Werkform.

The lab creates space and framework for exploring emerging practices. “Who’s afraid of the in-between” contributes to a critical discourse on knowledge production in collaborative research and work modes both rehearsed and performed beyond closed categories.

writings from the in-between. emily sweeney, july 2009, mexico

the in-between is inherent. it is rich with experience, preserving a space where memory trails into possibility. it is not a state to be achieved, only recognized, and delicately. to focus on the in-between will cause it to shift. the instant we acknowledge a state as being in-between, we have arrived.

in order to find ourselves in-between, we engage with concrete structures. a vacuum is not in-between: it is nowhere.

where are the two poles that we would find ourselves between?
knowledge and ignorance
technique and pedestrianism
planning and sensation
consciousness and unconsciousness
self-consciousness and abandon
isolation and interaction
movement and sound
proprioception and desire
beginning and end

where would we find ourselves that we should feel in-between?
perhaps we will try to find sensitive ambiguity together.

once, in the laboratory, we exchanged rules. each of us wrote a rule on a small slip of paper and put it into a hat. then, we all selected rules that we were bound to follow for the duration of an open improvisation. i selected the rule to NEVER BEGIN!!! i could not predict how this would unfold. i could not conceive of never beginning.

i stationed myself against a white wall at one end of the space. there, i could feel the wind on my body from outside through an open door and i could see the shadows of trees shifting at the corners of my eyes. i had an easy view of the entire improvised event occurring in the space. NEVER BEGIN. i could not move but to breathe. my hair was moving in the wind; i could not move my head. my eyes searched round and round, roving the space; i could not move my head.

sounds, movements, sensations, interactions shifted before me. but i could not move. i stood still. i began (shit!) to feel an immeasurable pressure in my thighs and feet. my hands trembled; my legs trembled; my face contorted; i began to cry. i breathed; i focused; i stopped crying, and began crying again. i arrived in a space between proprioception and desire. i was present between every decision and every action; i filled the space with longing. the space filled with my longing. every actor’s action was infected with my desire.

is it possible to invite another person into my in-between? can i have company there?

is it possible to be alone in the in-between? do i depend upon the presence of company there?

where were we, that we should feel in-between there and someplace else?

where are we going?

does the in-between imply movement, instability, journeying? is it possible to arrive at the in-between?

are we comfortable in the in-between? is it possible to be comfortable in the in-between? do we want to be comfortable in the in-between?

“…if entire systems of representation, of meaning, had been extinguished inside him, entirely new systems had been brought into being.” Oliver Sacks, An Anthropologist on Mars

the in-between is a constant negotiation. the in-between is dependent upon binaries. the in-between denies binaries. the in-between rejects binaries.

i know only that i am in-between. i do not know why, or how. why do i strive for articulation? if i articulate this, will it disappear?

i am an artist who was raised in the united states. i find myself in mexico. all the time (walking, seeing, hearing, speaking) i have a heightened sense of myself living between my individual beliefs, hopes, and sensations, and those of the country i inevitably represent. can i shed this in-between? do i want to shed this in-between? why am i so uncomfortable in this space between myself and my perceived geopolitical identity?

i am a movement artist who was raised by a family of musicians. all the time (moving, listening, sounding) i have a heightened sense of myself living between my senses. do i want to focus on this in-between? will i damage my in-between by concentrating on it?

where is the space generated by this laboratory of in-between?

i am not afraid of the in-between. i fear its obliteration through description; articulation; location.

emily sweeney, july 2009, mexico

Lecture Theatre, MacRobert Building. University of Abderdeen

This presentation concerns Streaming Media and Network Radio. Of particular interest to me is the selection of two of my case studies as examples, namely Negativeland and Sam Auinger (other artists selected by Byrne are Katherin Roggla, Bruce Russell and x.y)

playback > > Background level of unknown track

Byrne begins his tracing of the topic with the over-familiar citation of Marinetti’s Futurist Manifesto for Radio, La Radio from 1933. This vision is criticised for its rather utopian scope, and the discussion moves on to a consideration of broadcast as a medium and the essential tension between the visionaries of radio, such as Marinetti, and the political reality facing such artists when working in such a capital intensive domain. Early on in the radio’s history, studios and stations became rapidly centralised, moving away from the participatory, many-to-many networks imagined by Marinetti, to become fetishised centres for the dissemination of dominant discourse to societies being organised to maximise consumption and production. Artists who chose to work in this medium worked under highly restricted parameters, including such standardisations as program length, volume, subject taboos, the use of silence, restricted playlists.

E.g.s

Orson Wells – War of the Worlds.
Artaud – Pour en finir avec le jugement de dieu (1947)

Of relevance to my work, is the means by which the differences by which radio art and sound art can be distinguished. Key works in this area are Radical Radio by R.M. Schaefer (1987), and ‘Towards a Definition of Radio Art (19xx).

“Radio Art is not Sound Art, nor is it Music. It is Radio”.

“Sound Art and Music are not Radio Art just because they are broadcast on Radio”.

How can these efforts to delineate radio art practice be used to articulate similar efforts in sound art?

Keywords: Kunstradio, Austria, New American Radio.

n.b Both of these work within state infrastructure. What is the significance of this?

e.g. Negativeland – Over the Edge – KPFA, Berkeley, California.

Byrne goes on to consider how web streaming has suggested new strategies and possibilities for the medium of audio broadcast. There are questions; is internet streaming Radio Art? Is it a new form? It certainly is not radio. Let us consider the similarities and differences between the two.

This can be much expanded using Shaefer, and the Micro Radio Manifesto, Italy.

Traditional Radio
Web Broadcast
Single site
Multi-site streams
Regulated
Unregulated
Monologue
Dialogue / Trialogue
Diatope
Polytope
1 hour format
Long duration
Assimilated
Isolated
Owned
Shared
Promoting
Communing
Speakered
Screened
Through Air
Through Wires
Populist
Specialist

Questions – site of reception of both? Listening environments

Keywords

‘Radio Polyphony’ – The Thing, New York
RadioNetz, Berlin
Reboot.fm
WPS1
RadioDays
post.thing.net
Locus Sonus – audio art research group
Art Dirt Redux
Bitforms – podcast
Whitney Biennial mashup.

There is much of interest in this section, and it moves some way to explain the frustration and annoyance I felt at Hanson’s presentation. His view that the studio as object of discourse as relevant and of interest, reveals itself as an ill-informed and obsolete view of sound practice. Issues of portability, and the very examples of artists demystifying their workspaces that he presented, indicate an alternative position.

dematerialisation
influence of Fluxus, land art, Kubisch working in situ.
Sound art for mobile phones – who presented this – get paper  from Bill
Community initiatives

While the artist studio as a trope may well be in evidence in the works he presented, their relevance, and interest is limited in scope, and represents an historically entrenched position, showing little understanding of current practice.

On the 25th of January, 2003, thirty human shield volunteers and three double-decker buses left London for Iraq, picking up other volunteers throughout Europe on their way. At their peak in Iraq they numbered approximately 500.

The action’s primary goal, instigated by Ken O’Keefe, was simple; get thousands of (mostly white) Westerners to Iraq to make the bombing and invasion of Iraq politically untenable. In this goal the action obviously did not succeed, not in the least because of time constraints.

http://en.wikipedia.org/wiki/Human_shield_action_to_Iraq
http://www.humanshields.org/