Performance
With live-electronics
With electroacoustics ("tape")
Instrumentation (general)
2017
50' 00"
MacBook Pro, 3
MIDI controllers (Ipad via osc, Novation LaunchControl, AKAI mini APC), 1 audio interface with 2 mics for real time input (PRESONUS FIREBOX), MAX-MSP, Logic Pro X, Ableton Live 9 Suite.
MacBook Pro, 3
MIDI controllers (Ipad via osc, Novation LaunchControl, AKAI mini APC), 1 audio interface with 2 mics for real time input (PRESONUS FIREBOX), MAX-MSP, Logic Pro X, Ableton Live 9 Suite.
Document title The No Land Soundscape Project
Date of Composition· 2017
Instrumentation
Musical Category Performance
With live-electronics
With electroacoustics ("tape")
Instrumentation (general) MacBook Pro, 3
MIDI controllers (Ipad via osc, Novation LaunchControl, AKAI mini APC), 1 audio interface with 2 mics for real time input (PRESONUS FIREBOX), MAX-MSP, Logic Pro X, Ableton Live 9 Suite.
Premiere
Date 2017/Apr/30
Performer(s)
João Castro Pinto
Organization/Event KUNSTRADIO RADIOKUNST
Venue ORF 1 - Estúdios da Radiodifusão Austríaca
Town Viena
Country Austria
Program Notes
“The No Land Soundscape Project is a radio art piece / performance that defies the determinations concerned with the necessity of invocating the knowledge of the context of the place or sonic location, i.e., it reacts against the mimic intent of trying to reproduce an actual sound space as a kind of audio postcard, towards a kind of sonic tourism. For us, soundscape composition is a free mode of electroacoustic creation, based in the artistic recreation of field recordings belonging to whatever aspects of sonotopes / regions of the world. This radio art piece will therefore propose a live composition, at the ORF studios, of an imaginary soundscape about no precise location (hence the no land soundscape project title), a soundscape unrestricted by sound signals, soundmarks and keynote sounds, an attempt to formulate a sonic view upon the world’s cosmic soundscape, an interspersed sound meditation about the notions of space, time, identity and relation. Used sound sources will consist in field recordings captured in several countries / locations by Castro Pinto, from urban and rural / natural environments, excerpts of soundscape / phonography records and audio excerpts of discourses extracted from conferences focused on the topic of soundscape. Sounds of props from the radio art dramas / pieces of the ORF studios will be sampled and manipulated in real time, creating discontinuities between the soundscape of the field recordings and the actual soundscape of the studios of ORF, where the performance will happen. The artist will blend all these elements live during the performance in order to suggest to the audience philosophical and aesthetical questions about what is at stake in the soundscape concept.”
