Pablo Sanz - http://www.20020.org/web
His background includes eclectic forays into experimental creation with different media, such as photography, electronic music, live video, djing, radio and editorial projects. Most recent activities oscillate around the exploration of contextual and decontextualized sound activity, focusing in the practice of phonography and the development of strategies for the use and abuse of environmental and concrete sound matter. His experiments sometimes result into fixed media works, live events or site-specific installations, which attempt to create heightened listening experiences, usually exploring connections between sound, location, memory, space and perception.
PRESENCE [TABACALERA] is a study and a meditation on architectural resonance and background noise.
Original source recordings were made in the Summer 2010 at early hours in La Tabacalera de Lavapiés, a semi-abandoned industrial complex in the city center of Madrid, Spain.
This was followed by a live event in the location itself as part of the program of the 6th edition of the Sound and Interactive Art Festival IN-SONORA, Oct 2010.
Sara Pinheiro chapter three, in betweens
I am curious to break geographical limitations, trying to be in different places at the same time, in between, the possibility of being nowhere, the edge of a continuous transition.
I am looking for unbalanced positions, that of the surroundings, allowing my body to swing freely, throughout intuition, creating micro routines in an improvised perception, learning with my own ambiguity of listening, making choices.
I am wondering about listening and how i can open the door for an invitation that has no claims beyond the act itself of inviting.
My recent release “Chipka” explores different ways of using field recordings; as documentation of places or events, as part of a personal audio-diary, and as raw material for compositions.
The two identical vinyl records contain unprocessed recordings and compositions made with the help of electronics, but also fragments, stable textures and loops.
It’s not a record that you can play from beginning to end, your listening is interrupted by silences and locked grooves – it’s a record that you have to play like an instrument, or read like a score.
In any case you have to work at it.
At Wonderwerp I will be working with these records and mixing in some other earlier personal memories recorded on vinyl.
Justin Bennett