SONHAR @ Dantz2024
2024/07/18
Tabakalera, Donostia
DANTZ, Elías Querejeta Zine Eskola, audiolab.org eta Tabakalerarekin lankidetzan.

Jaialdiaren “Ametsa” gaia kontuan hartuta, lozorroan dagoen entzutea praktikan jarriko duen kontzertua izango da, amets egiten dugun bitartean ikusmena bertan behera uzten dugulako eta irudi birtualak birsortzen ditugulako. Argirik, letrarik eta besaulkirik gabeko musika-konposizioen gau sonorizatu oso batean, esterilla bat eta lo-zakua bakarrik eraman beharko dira. Laburbilduz, musikarekin lo egitea da kontua, musika, ametsak eta atsedena uztartuz.
Xabier Erkizia soinu-artista, ikertzaile independentea eta ekoizle artistikoa da, proiektu esperimentaletan, inprobisazio askean eta musika elektronikoan lan egiten duena.

– Bertaratzen den bakoitzak bere esterilla eta lo-zakua eraman ditzala eskatzen da. Neurri horrek bermatuko du guztiek modu eroso eta seguruan gozatu ahal izango dutela ekitaldiaz.

Taller de escucha con refugiados participantes de CEAR.

• https://cear.audio-lab.org/
• https://www.cear.es/cear-lanza-escucha-refugio-el-podcast-para-el-que-no-basta-solo-con-escuchar/

MARCAR.NOTAR.SIGNAR
Andres Doñate, Alex Mendizabal, Bruce McClure, Xabier Erkizia, Juanjo Aranguren
Tamara Garcíak komisaritutako erakusketa
2020/06/11 – 2020/07/30
CIBRIAN gallery. Donostia

Leave a mark. A signal. Embroider initials on clothing. Make an incision. Mark a place.
Point out something so that it is known. Aim briefly. A sign. A signal.

Sound is matter. Sound as the only character. The sound as the plan of a place. Sound
as the record of someone, of a time, of a town. When Pauline Oliveros told us that one does
not hear a sound, but the place where it sounds, the moment when it sounds, who it sounds with…
It is understood that this material does not hang on a wall, does not wait for you to arrive to be named;
I need you, yes, but maybe not as one might think. These works have that particularity: they are
composed of sounds that rewrites when you listen to them. The writing of the sound, its letter, the note,
the mark on paper, the sign that hides a language for the one who writes or for the one who reads.
Maybe professional “listeners” could tell a story only of the sounds that have been left in the margin,
that binds the shores together, not repeatable sounds, sound film, loose papers, loose letters, signs.

This exhibition presents the research and results of the ARR EDIZIOAK project (composed of
Audiolab + ELSA Records), and tends to be a side note of the exhibitions dedicated to sound,
bringing together a series of works that reflect on sound as a medium. This exhibition includes
works by Andres Doñate, Alex Mendizabal, Bruce McClure, Xabier Erkizia and Juanjo Aranguren
who are sound writers, deeply connected through their works and experiences. In their immediate
environment, we do not see the cohesion that time has given us over other groups, that have
been references for the artists on display, but we can assume that friendship can be a common thread.

Sound-Art is interdisciplinary by nature and it can materialize through an infinite number of applications
that go back and forth between music ( musique concrète, electroacoustic, electronic, noise, ambient,
etc.) and the a priori understood as conventional arts (sculpture, video art, cinema…).
Relating its story here and now is not relevant but it deserves to recall its relatively recent genealogy,
from John Cage and Fluxus through Christian Marclay and turntablism, Max Neuhaus and the sculpture
in public space, aforementioned Pauline Oliveros and the idea of Deep Listening, or Luca Ferrari and
the radio art, just to mention a few references that show us the creative plurality behind the label Sound-Art.

We, all the platforms that have had the sensibility to broadcast sounds like noise, but ordered, annotated,
signed by the language and register of the artists, which is after all a way of indicating a place and a space,
assume that there are as many writing possibilities as there are signs and people. This is just a beginning
that brings together the works of Andres Doñate, Alex Mendizabal, Bruce McClure, Xabier Erkizia
y Juanjo Aranguren.

Tamara Garcia

SOUND-MAPPING: A critical history of sonic cartographies
Hillel Schwartz & Xabier Erkizia
martxoak 19-22, Santa Maria de Bigorio, Suitza.
Antolatzailea: SUPSI-DFA, FNS, audiolab
www.paesaggisonori.supsi.ch

Before we are born, we map the world almost exclusively by sound. In utero, we arrive at a sense of place more acutely by the presence of sounds close and distant, clear or muffled, rhythmic or sudden, than by touch, vision, and taste, which are as limited in physical range as smell is limited by its diffuse immediacy. While
obstetricians can now pinpoint the position and plot the growth of the fetus using ultrasound, from the sixth month on the fetus itself, its system of hearing well- developed, is sound-mapping its own position vis-à-vis the mother’s body and at the same time learning to recognize tonalities and inflections proper to its native languages. And while newborns and infants may come under sonic surveillance by parents deploying baby monitors, the very young are always monitoring their own situations more thoroughly by sound than by sight or touch, to which so much of the new world is out of range. One could argue, then, that it is “only natural” to sound-map our environs.

As a program of European commerce and high culture, however, cartography has been primarily visual (and occasionally tactile, as with topographic globes). What would happen if we should revert to sound to map our bodies, our neighborhoods, our nations, our continents, our very universe? This is no longer a speculative question. For three quarters of a century, physicians, urban planners, acoustic ecologists, astronomers, naval commanders, and oceanographers have been relying on various “soundings” to make sense of territories biophysical, geological, cultural, social, military, and metropolitical. People now make careers of considering the frequency, range, and familiarity of sounds in the design of sirens, buzzers, horns, and fire alarms; legislators and architects construct and consult noise codes that take into account urban or suburban landscapes and soundscapes; amusement park owners, restauranteurs, and film directors count on a sophisticated use of sound to establish ambience and paths of motion and memory; whalers, fishermen, and submariners track their prey with sonar. If in our daily lives we do not ostensibly organize our travels or tasks according to pathways of sound, we carry such maps with us, subtle or unsystematic as they may
be, and these acoustic-cognitive maps condition what we do or say wherever we are
. . . and, indeed, how we know where we have ended up.

At this historical juncture, then, it would seem at once intellectually rewarding and socioculturally vital to study the means, methods, merit, and resonance of sound- mapping at every turn, from our bodies to our communities, from our provinces to the rivers and mountains that cross national boundaries, from the jet streams and ice flows of global ecosystems to the dark matter and darker energy of the galaxies. As we have not forsaken the act of listening in the process of learning, we may learn even more by laying out what we hear when we listen in each and every direction.

AUDIOLAB: SOINU-LANTEGIA
IKUS-ENTZUNEZKO OBRETAKO AUDIOA Luca Rulloren eskutik
APIRILAK 14, LARUNBATA / 10:00-13:00 / 15:00-18:00
SORTZAILE GUNEA, Tabakalera
16-21 urte bitarteko pertsonei zuzendua. Tailerra dohan da baina izena ematea beharrezkoa da.

Ikus-entzunezko obretan soinuaren erabilerari hurbilketa kritikoa egiteko asmoz, soinua atzemateko tresnak erabiltzeko lehen tailer teknikoa aurkezten dugu. Taldeko praktikan eta esperimentazioan oinarritutako metodologia batetik abiatuta, zinema profesionalaren antzemate-estandarrak ezagutuko ditugu, adibide gisa setak eraikiz agertokian soinu-atzematearen askotariko errealitateak estaltzen ahalegintzeko. Elkarrizketak atzemateko metodoak, mikrofoniarako soluzioak pertsonaia batekin edo birekin, eta irudiarekin sinkronizatzeko denbora-kodearen erabilera eta konfigurazioa gainbegiratuko ditugu, eta wildtracketan estereoan atzemateko teknikak praktikatuko ditugu.

+more

AVALANCHE un proyecto de Carlos Casas en colaboración con Xabier Erkizia y Luca Rullo

9-10 marzo, Polvorín de la Ciudadela, Iruñea-Pamplona
Proyecto en colaboración con el Festival PUNTO DE VISTA
www.puntodevistafestival.com

Punto de Vista Labs-ek hainbat artista bilduko ditu jaialdian elkarrekin sortzeko. Kasu honetan, Carlos Casas zinemagile eta artista gonbidatu du Avalanche#10 ikus-entzunezko muntaketa espezifikoa lantzera, soinu-bandarekin eta zuzeneko edizioarekin. Avalanchek Hichigh-era eramaten du ikuslea. Hichigh biztanlerik gabeko munduko hiri garaienetako bat da, herrialde ezezagunenetako eta urrunenetako batean kokatuta. Pamirren dago, Tajikistan eta Afganistan banantzen dituen mendilerroan; Pamir mendiak misteriotsuak bezain liluragarriak dira, eta tradizio zaharrenetako eta ongien kontserbatutako batzuen babeslekua. Avalanche site-specific motako proiektua da, kokapenaren, jaialdiaren edo hartzen duen lekuaren arabera sortu eta garatutakoa. Punto de Vistarako hamargarren “berraragiztapen” honetarako, AUDIOLAB soinu-departamentuko koordinatzaile den Xabi Erkizia soinu-artista eta musikariaren laguntza izango du.
Jaialdiak iraungo duen astean, Zitadelako bolborategia laborategi ireki eta saiakera-areto bihurtuko da, ikus-entzunezkoen inprobisazio-saioekin eta zuzeneko edizio-saioekin. Ostegunetik larunbatera zabalik egongo da eta martxoaren 10ean jende guztiarentzako amaiera-ikuskizuna eskainiko da.

CARLOS CASAS
Carlos Casas Bartzelonan jaio zen eta Parisen bizi da, eta nazioartean saritutako zinemagile eta artista da. Zinema, artea eta etnografia interesatzen zaizkio eta bere lanak xehetasunez dokumentatzen dituen eta ikuslearen, kokapenen eta jendearen arteko lotura sortzen duten ikus-entzunezko esperientzia inguratzaileak eta kontenplaziozkoak dira.

XABI ERKIZIA
Soinu-artista, irratiko esataria, ekoizlea eta kazetaria da. Bere lanak pertsonen, soinuaren eta euskarri desberdinen ikerketa du ardatz. Hainbat egoeratako probak, soinu-instalazioak, grabazioak, musika-konposizioak, irratirako sorkuntzak, lankidetza-proiektuak edo taldeko inprobisazioak egiten ditu. Azken 15 urte hauetan, Europa, Amerika eta Asiako hainbat lekutan garatu du bere jarduera. 2000. urteaz geroztik, ERTZ Beste Musika Batzuen Jaialdiaren zuzendarikidea da.

Lantegia:
MICRO-FM Zure irrati estazio propioa eraiki
2017 ko abenduak 4 igandea – 11:00-14:00 + 15:30-17,30.  ARRATE KULTUR ELKARTEA, Eibar (Gipuzkoa)
Izen ematea: hirikiten@gmail.com (plaza mugatuak)
Antolatzailea: HIRIKITEN

Zer da FM irrati emisora bat? Nola funtzionatzen du? Zer behar duzu halako bat egiteko? Nola funtzionatzen du? Lantegi honen bidez halako galderei erantzutea bilatzen dugu, baina ez da hori helburu bakarra. Teknologia hauek eskaintzen dituzten sorkuntzarako aukerak aztertu eta FMaren oinarrizko funtzionamendua, baita haren mugak eta arauak ere ezagutuko ditugu. Parte hartzaiek beraien irrati-experimentuak praktikan jarri ahalko dituzte tailer honetan.