ARTISTS in residence

Xabier Erkizia

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NOVEMBER 14 – 18 2011

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Multidisciplinary artist from the Basque Country. Has been working on different media as tv, radio, paper, video, cinema, internet… Erkizia’s principal characteristics are investigation, some kind of curiosity on any art or communication form and diversity, specially the ones that implies a listening experience.

Xabier Erkizia has collaborated (live or in studio) with the likes of: Mattin, Eddie Prevost, Ilios, TV Pow, Margarida Garcia, Mark Wastell, Nishide Takehiro, Billy Bao, Luis Marte, Pablo Reche, Alan Courtis, John Oswald, ixi-software, Akauzazte, Tzesne… He participates in various music and sound projects as Billy Bao, Ornitorrinkus, Soinumapa, HOTS! radio and composes soundtracks regularly for filmmakers as sabel Herguera, Vuk Jevremovic or Izibene Oñederra.

He also organises a yearly international festival in Bera (Nafarroa) ERTZ, dedicated to experimental arts and is director of the sound department in the center of contemporary arts in San Sebastian ARTELEKU.

a r t i s t : Xabier Erkizia

t í t l e : Podcast SONM

d a t e : November 2011

{mp3remote}http://www.sonm.es/media/audio/podcast/XabierExkizia-podcast_sonm.mp3{/mp3remote}

EL ARCHIVO COMO PERFORMANCE

La idea del archivo como repositorio preciso y objetivo es uno de los conceptos más enraizados de nuestra comprensión del documento y de la memoria fijada, sea cual sea el soporte. Esta percepción básica, heredada directamente de la práctica de coleccionar y examinar documentos históricos y objetos, que aplicamos sobre el archivo y las expectativas que generamos en torno al mismo, se muestra aún de forma más contradictoria cuando representa o documenta performances o eventos en directo. En el ámbito concreto de la música, el campo de la improvisación, especialmente aquel que se define a sí mismo como libre ha protagonizado infinidad de debates sobre esta cuestión. ¿Es posible documentar con cierta credibilidad y fidelidad una situación sonora? ¿Y la experiencia de un espacio? ¿Cómo se documenta aquello que, como el sonido, es ubícuo y efímero por naturaleza? Y sobre todo, ¿cómo se archiva aquello que, como en el caso del sonido genera nuevos y abstractos espacios en cada momento en que se reproduce?

Responde Alessandro Baricco. “Lo que tiene la música de singular y anómalo es esto: transmitirla e interpretarla son un acto único. Un libro o un cuadro se pueden conservar en una biblioteca o en un museo, después de ser interpretados, pero es otro acto, autónomo, y que no tiene que ver con su simple conservación. La música, no. La música es sonido y existe en el momento en que se toca, y en el momento en el que es tocada, no se puede evitar interpretarla.”

[Read more…] about XABIER ERKIZIA

Antonio García Román (Madrid, 1963)

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OCTOBER 17 – 21 2011

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This Telecommunications Engineer and Guitarrist has always used the electronic guitar as an instrument to be manipulated and to study all its possibilities. He started his experimental works around 1983 with a first work ‘Pequeñas diabluras sobre cinta magnética’ a clear example of improvised electronic, industrial echoes and concrete music. From the beginning of his musical career, he used two ways of working on musical scene, as individual experimenter and collaborating with other musicians. In 1986 he self-releases the cassette ‘Guitarra Manipulada’ with very good comments in specialized press. The usual and frequent exchange between musicians on those years gived him the opportunity to know and contact with other musicians as Antón Ignorant (Macromasa), Antonio Tenas (Vocoder), Miguel A. Ruiz (Toracic Tapes), Francisco López, Marcus Breuss (Clónicos) with whom worked in different moments. He was the founder of Sex-pol (experimental pop), Programación Infantil (electronic) join to José Miguel Sánchez Aznar, Programación Gagarin with Miguel A. Ruíz, being an active member of bands as Vocoder (techno) and Clónicos (schizo-delia).
His last public appearances took place in Madrid Jazz Improvisation Festival ‘Hurta Cordel’, inside a improvised musical and dance performance with Marcus Breuss, Javier Colis and other Spanish improvisers and as a soloist guitarrist in ‘Pieza Giratoria’ a composition for orchestral band, electronic and turntables written by Pelayo Arrizabalaga (Clónicos), played in Circulo de Bellas Artes, Madrid. He always contributed into the creation and development of Radio-Creation Programs as ‘Radio Anonima’ (Borja, Zaragoza) and as Computer Music Teacher in Alcalá de Henares (Madrid). In 1993 opened Diskpol, a records shop in Madrid, especialized in unusual, experimental and different Music, which remains being an important meeting point and showcase for musicians and musical styles.

Works to be emphasized:
‘Guitarra Manipulada’ (1986, self production, reissued in 1989 by Toracic Tapes). Solo.
‘Copa de Veneno’ (1990, Ediciones Cúbicas). As a member of Clónicos.
‘Audioscope. New electronic music from Madrid’ (1992 Geometrik Records). 2 pieces in this emblematic compilation around the Madrid Avantgarde Scene with Luis Mesa, Juan P. Monreal, Miguel A. Ruiz, Markus Breuss, El Sueño de Hyparco y Francisco López and others.

www.diskpol.com

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a r t i s t : Antonio García Román

t i t l e : Podcast SONM

d a t e : october 2011

{mp3remote}http://www.sonm.es/media/audio/podcast/AntonioGarciaRoman.mp3{/mp3remote}

[Read more…] about ANTONIO GARCIA

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JUNE 13 – 17, 2011

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Biologist, sound artist and independent curator based in Valencia. Since mid-90s he has been exploring diverse approximations to sound creation, his approach goes from the manipulation of modified or broken turntables and tape recorders to, especially, the capture of acoustic phenomena through environmental recordings and the amplification of sound events that they slip by or are inaccessible to our sense of the perception. His interest is centered on the power of the sound and his potential as raw material for the creation. It might be said that it’s a fethishistic approximation to the nature of the sound and therefore of the music. He is the director of Eozoön label and sound art curator in Observatori festival. In addition it coordinates the ((VIBRA)) monthly concert series at OCCC Valencia. He has published several works in specialized labels of Europe, Latin America and Australia and has realized several workshops, installations and projects in Spain and around the world (“DIN exhibition” Dublin 2002, “Collective Jukebox 3.0 “ 2002, “Incidental Amplifications” Brisbane 2005, “SOUNDLab 3” Colonia 2006, “Expanding the Space“ OCCC Valencia 2006, “Mamori Sound Project” Amazons 2007, “Sudamerica Electronica” Sao Paulo 2008, “Framework:Afield-Mamori Radio Thing” Resonance FM London 2008, “Matèria Condensada” Barcelona 2010). He has taken part in diverse national and international festivals (Sónar, Observatori,Ciberart, Sonikas, Escena Contemporánea, Nits d’Aielo i Art, Experimentaclub, Resonantes, Limb0, FUGA Jurásica, Erase & Reset, FILE Sao Paulo) and also it has been working in projects of contemporary dance (Cía. Noname Radar, Cel Ras, EBCD).

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http://www.observatori.com

http://octubre.cat/

http://www.ccapitalia.net/

http://www.nmartproject.net/

http://dreamlandrecordings.ipower.com/

http://sudamericaelectronica.blogspot.com/

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t i t l e : Podcast SONM

d a t e : june 2011

{mp3remote}http://www.sonm.es/media/audio/podcast/Ruben-garcia.mp3{/mp3remote}

In my case the idea for the podcast has been to use material of SONM’s collection as raw material to develop a composition with own entity. The selected sources are complete tracks or excerpts of diverse artists or groups from own discs or compilations, as well as unpublished pieces and material from publications. There were in use a mixing desk, two turntables, two CD players, a double cassette deck and a laptop (as recorder and as a one more input source). The track list is merely informative since the majority of the used tracks are slightly difficult to identify after several mix generations and the use and abuse of the equalization, of the volumes, the balance sheet and of the speeds of the different reproduction devices as well as for the temporary and spatial order since many are sounding simultaneously. Effects were not used.

[Read more…] about Rubén García

Roc Jiménez de Cisneros (Barcelona, 1975)

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March 14-18, 2011

Roc Jiménez de Cisneros (Barcelona, 1975) is an artist and composer. Since 1996 he is the core of a computer music project called EVOL and his work has been released on internationally acclaimed experimental music record labels such as Mego, Entr’acte, Lucky Kitchen, Diskono, Scarcelight, fals.ch or his own ALKU. His music displays a radical and playful approach to algorithmic composition and explores the application of concepts from geometry and physics to various synthesis techniques. Heavily inspired by cosmology, quantum theory, noise and rave culture, he describes his recordings, installations and performances as “computer music for hooligans”.

http://vivapunani.org

http://alkualkualkualkualkualkualkualkualkualku.org

http://imbecil.net

Edge effects and recursive archives

by Roc Jiménez de Cisneros

Keywords: archival, meta-archive, recursion, juxtaposition, mapping, synthesis, nature, calls, autonomy, imitation, emulation, edge effect.

{mp3remote}http://www.sonm.es/media/audio/podcast/roc-mix.mp3{/mp3remote}

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This mix was made exclusively using archival material found in the SONM collection – recursively using archives within the archive. The sources are tracks from historical compilations, biology-related documents, unfinished/unpublished pieces, and from periodical audio-publications dedicated to the archival and critical review of the works of amateur and academic composers and instrument makers. In some cases the recursion runs three levels deep, e.g. a collection of instruments in a museum documented in a magazine compilation and found in the SONM archive. All tracks are simply juxtaposed, without overlap. This edge effect technique was chosen to highlight the similarities and contrast between the wide variety of sources.

The edge effect in ecology is the effect of the juxtaposition or placing side by side of contrasting environments on an ecosystem. This term is commonly used in conjunction with the boundary between natural habitats, especially forests, and disturbed or developed land. (Retrieved from “http://en.wikipedia.org/wiki/Edge_effect“)

“There is substantial discrepancy among recent studies about the existence and intensity of edge effects. Most studies have focused on seeking simplistic and static patterns. Very few have tested mechanistic hypotheses or explored the factors that modulate edge effects. Consequently, studies are very site-specific and their results cannot be generalized to produce a universal theory of edges. Although estimates of the intensity and impact of edge effects (…) little can be done to ameliorate edge effects unless their mechanics are better understood” (Edge effects in fragmented forests: implications for conservation, Murcia, C. in “TREE”, Vol. 10 #2, February 1995).

[Read more…] about Roc Jiménez de Cisneros

Darío Moratilla (Guadalajara, 1974)

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JANUARY 17 – 21 2011

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Darío Moratilla (Guadalajara, 1974) sound editor, radio dj (Djitter) since 1994. He received in 2001 the first International award of Electroacoustic Music for the masterpiece “Modo Aleatorio”, organised in Spain by Foundation Author. He bases all his music in the manipulation of the digital audio and displacement of many field records and the possibilities of chances and error as a factor of the music. Interested in the Action/Sound/Noise without concept, Learn to listen, Rave Culture and Real-time process. He also form part of a sound interventions proyect in architectural spaces called “Kelahnaio”. Co-director of the association of sound art “Cimaural” and the Music label Brrr. Has presented his work at museums, art centers, festivals, raves, clubs in London, Paris, berlin, taiwan, Lucca, Barcelona, Madrid …

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www.cimaural.net

 

www.grainsize.blogspot.com

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a r t i s t : Djitter (Dario Moratilla)

t i t l e : Podcast for Sonm

d a t e : jan 2011

g e n r e : Mixes

{mp3remote}http://www.sonm.es/media/audio/podcast/Djitter.mp3{/mp3remote}

Mix its created with 2cd players 2 turntables, cassete tape and NO EFFECTS. No Overdubs and never heard the sound material. Only plays records discovered during the week of residence at Sonm. Included Ponzoña´s track of my label… Total respect to the artists and the labels. Thanks to all the people of Sonm Archive for this days. Incredible Collection (+5000) Of Audio Works Truly amazing. I Need to go again for check cassette works… Long life to Mr Lopez. ¡¡¡Happy listen¡¡, feedback it´s welcome¡¡¡

[Read more…] about DARÍO MORATILLA