Culture and Sustainable Cities - International Symposium

Festival DME and Lisboa Incomum present the symposium

 Culture and Sustainable Cities

November 16th-18th, 2018

Lisboa Incomum

About the event

In recent years, one can observe that Lisbon highly increased its number of annual tourists, changed policy making to create different forms of mobility, renovated public spaces, and underpinned many other changes, with consequences that deserve public attention and debate in different sectors. 

The ways of life on how each one lives and thinks sustainability is highly influenced by public policies, non governmental organisations, but also the local and individual spheres. 

Festival DME is associated to the space and organisation Lisboa Incomum and intends to promote debate surrounding different topics that connect different points of view of culture and sustainability.

The concept of culture has been widely studied in different fields and in different contexts. Raymond Williams (1961, 1998) mentions three general categories for the definition of culture:

- culture is a state or process of human perfection, in terms of certain absolute or universal values. The analysis of culture, if such a definition is accepted, is essentially the discovery and description, in lives and works, of those values which can be seen to compose a timeless order, or to have permanent reference to the universal human condition. 

- the ‘documentary’, in which culture is the body of intellectual and imaginative work, in which, in a detailed way, human thought and experience are variously recorded. The analysis of culture, from such a definition, is the activity of criticism, by which the nature of the thought and experience, the details of the language, form and convention in which these are active, are described and valued. Such criticism can range from a process very similar to the ideal’ analysis, the discovery of ‘the best that has been thought and written in the world’, through a process which, while interested in tradition, takes as its primary emphasis the particular work being studied (its clarification and valuation being the principal end in view) to a kind of historical criticism which, after analysis of particular works, seeks to relate them to the particular traditions and societies in which they appeared. 

- the ‘social’ definition of culture, in which culture is a description of a particular way of life, which expresses certain meanings and values not only in art and learning but also in institutions and ordinary behaviour. The analysis of culture, from such a definition, is the clarification of the meanings and values implicit and explicit in a particular way of life, a particular culture. Such analysis will include the historical criticism already referred to, in which intellectual and imaginative works are analysed in relation to particular traditions and societies, but will also include analysis of elements in the way of life that to followers of the other definitions are not ‘culture’ at all: the organisation of production, the structure of the family, the structure of institutions which express or govern social relationships, the characteristic forms through which members of the society communicate. Again, such analysis ranges from an ‘ideal’ emphasis, the discovery of certain absolute or universal, or at least higher and lower, meanings and values, through the ‘documentary’ emphasis, in which clarification of a particular way of life is the main end in view, to an emphasis which, from studying particular meanings and values, seeks not so much to compare these, as a way of establishing a scale, but by studying their modes of change to discover certain general ‘laws’ or ‘trends’, by which social and cultural development as a whole can be better understood.

The present event, Culture and Sustainable Cities, intends to gather experts and practitioners from different fields and discuss different concepts of culture and their relations to environment, sustainability, ecology and other topics. Since it’s promoted by Festival DME, which is dedicated to the production and promotion of contemporary western art music, namely, the practices related to the field associated to electroacoustic music, the music presentations of the event are related to such practices.

The symposium themes are divided in areas such as:

- music, soundscape and ecology

- industries, policymaking and sustainability

- sustainability as a way of life

- environmental activism in art

And it should raise questions such as:

- What are institutions in the cultural sectors (theatres, concert halls, museums, foundations, among others) doing to make their activities more ecologically sustainable?

- What are governmental and non governmental organisations involved in aspects of sustainability doing to promote the integration of such principles into people's ways of life? 

- In which ways are artists interested and developing ideas on making their practices sustainable, raising awareness on such topics and integrate them in their creative processes?

- What sorts of scientific research is being made that integrates sustainability in it’s connection to architecture, urban mobility, ecology, sound studies and music making?

Williams, R. (1998). The Analysis of Culture. In J. Storey (Ed.), Cultural Theory and Popular Culture: A Reader (pp. 48-56). The University of Georgia Press.

Williams, R. (1961). The Long Revolution. London: Chatto & Windus.

The event will gather scientists, music makers, researchers and representatives of institutions that are connected to the described ideas and that will present conferences, music presentations and artistic installations.


All the events are free.
Everyone should register [name & e-mail] on the venue upon their arrival.
The only activity that requires prior register is the workshop by Eléonore Bak.

Short Program

Concert #1

16.11.2018 | 21h

Andrew Lewis — Skyline

Panayiotis Kokoras — Cycling

Monika Streitová, flute

Sophie Delafontaine — Dormir, aujourd’hui

Jaime Reis — Fluxus, Dimensionless Sound [B]

Monika Streitová, flute

João Pedro Oliveira — La Mer Émeraude

Conferences #1

17.11.2018 | 10h00-11h00

music, soundscape and ecology

10h00-10h20

Sound, Tourism and the Sustainability or Urban Ambiences: A Research Agenda

Iñigo Sánchez Fuarros [INET-md - Universidade Nova de Lisboa]

10h20-10h40

A Dynamic Living Soundscape: A City of smells, melodies and languages

Ma Rosalie Abeto Zerrudo [University of San Agustin, Iloilo City, Philippines]

Concert #2
11h30-12h30

‘soundscape and acoustic ecology’

Lidia Zielińska — Insektarion
Dante Tanzi — Sans Moteur
Nikos Stavropoulos — Karst Grotto
Manfredi Clemente — Isole
Marie-Jeanne Wyckmans — Voyage-Mirages
João Fernandes — Donos da Paisagem
Hayley Suviste — In Those Days / Community
João Castro Pinto — WATER-DREAMT-BY-FOREST: a binaural oneiric-walk

Conferences #2
14h15-15h45

'environmental activism in art'

14h15-14h35
Ambiances venues for sustainable higher education
Eléonore Bak [CRESSON/ENSA Grenoble France]

14h35-14h55
CineEco, Portugal's Environmental Film Festival
Mário Jorge Branquinho [Câmara Municipal de Seia — CineEco]

15h00-15h30
Bee Diaspora - a swarm in five movements
Anna Maria Orrù 
Morten Søndergaard

Concert #3
17.11.2018 | 16h-17h

‘urban mobility and sustainability’


Phillip Sink — Frayed Cities
Antonio D'Amato — Körper
David Jason Snow — Wake me when we get there
Irving Kinnersley — Metro, Faces, Petals
Valerio Orlandini — Firenze De_constructed 
Bracha Bdil — UrbaNature
Nicola Casetta — Gonesound #4 

Workshop
17h15-18h45
' To plunge into without control / Micro-perception as a value-belief-norm model '
with Eléonore Bak (CRESSON/ENSA Grenoble France)
*inscrições através do e-mail [email protected]

Lecture

19h00-20h00

10-years of Electronic Instrument Making - A creative journey using technology for musical expression

Tomás Henriques

18.11.2018

Conferências #3 | 10h-11h20

'industries, policymaking and sustainability'

10h00-10h20

Sustainability at one click distance
Pedro Carreira [Planetiers]

10h20-10h40

Policies and culture at the heart of sustainable urban development

Joel Preto Paulo [ISEL-IPL]

10h40-11h00

Music, responsible design and the future

Carlos Alberto Augusto

11h00-11h20

The sounds of inhabitants

Mohammed Boubezari

Concert #4
11h50 - 12h50

'sustainability as a way of life'


Robert McClure — in excess
Alberto García Aznar — P2_001
Jacob Miller Smith — Subsurface 
Ryne Siesky — ...grind... 
Paolo Pastorino — Threshold - unbalanced system
David Jason Snow — Walden morning
Patrick Ananta Sutardjo — natural spaces
Ryan Woods — Featherless Bipeds

Conferências #4
14h30-16h00

'sustainability as a way of life'

14h30-14h50
The bicycle factor

Ricardo Ferreira [MUBI]

14h50-15h10
sustainability as a way of life
Cátia Curica [Organii]

15h10-15h30
sustainability as a way of life
Inari Virkkala

15h30-16h00
Let's forget about sustainable culture and connect instead
Tom Van den Steen

Listen to Tom's presentation: https://www.youtube.com/watch?time_continue=1&v=IbaFqkn_MLY

Concert #5
16h30-17h30

Aleksandra Nygaard Djordjevic soprano

1.) Cançao 1 - Brites de Alemeida - Music by Sílvia Mateus, Original Libretto by Élio Oliveira - 2011
2.) Sequenza iii - Luciano Berio, Text from Markus Kutter - 1965
3.) Calliope - Music by Cecilie Ore - Text from Gertrude Stein - 1984

-- --

Marie Takahashi viola d'arco
Ernesto Rodigues viola d'arco
Helena Espvall violoncelo
Hernâni Faustino contrabaixo
Mariana Carvalho piano 
Carlos Santos electrónica
João Valinho percussão

Complete Program 

Concert #1

16.11.2018 | 21h

Andrew Lewis — Skyline

The Blackbird’s song: at once immediately accessible and impenetrably complex; transcending cultural and historical context; performed daily and free of charge, in the grandest gardens and the bleakest urban slums; a single line and a complex web of counterpoint; endlessly inventive and always repeating itself; completely original and so well known; the peace of a garden and the irrepressible joy of creativity; a music that belongs to all and is owned by none.

Skyline was realized in 2016 in the Electroacoustic Music Studios of Bangor University (Wales, UK) and premiered on October 20, 2016 at Theatr Bryn Terfel, Pontio, Bangor. It was awarded first prize in the 2017 Destellos Competition, Mar del Plata (Argentina). Skyline includes recordings of Bangor University’s Crossley-Holland collection of pre-Columbian Mexican wind instruments. My thanks to Susan Rawcliffe (flautist) and Scott Flesher (recording supervisor).

Panayiotis Kokoras — Cycling

Monika Streitová, flute

Cycling is an acoustic sound composition for solo flute and was commissioned by the project ‘L’ Arsenal wants you!’ for flutist Mario Caroli to be premiered in Venice, Italy The piece requires a ‘virtuosité du son’ in order to reveal its musical ideas. The so-called ‘classical’ ordinary flute sound is not often used, simply because is one possibility among several others the flute can produce. The compositional procedure is based on sound-to-sound structures as well as the transformation strategies from one to another. The composition through a delicate, detailed and accurate ‘écriture du son’ conveys its sonic sensation through notation.

This piece was a finalist in 2014 Earplay Donald Aird Composers Competition and 2014 FNMC Flute New Music Consortium Composition Competition. The score is published by Ars Publica Musical Editions.

Sophie Delafontaine — Dormir, aujourd’hui 

Do you know the white-throated sparrow?

Not at all? Neither do I.

It is a migratory bird that does not sleep during its migration periods.

Me too, it sometimes happens to not sleep enough, to work too much and to not know what is my name. Doesn’t it happen to you?

To sleep today is a project, a form of resistance, a desertion. Deny the highway of

existence by sleep.

I advocate decay, and in fact sleep for all. Would we not we be happier if we were

more rested?

This piece is a small manifesto to work less and sleep more. I put it there without too much hope to leave.

I want to thank Laurent Plumhans for his text "The Bunting", Yannick Decoster for his voice

and Joachim Glaude for his recordings.

Jaime Reis — Fluxus, Dimensionless Sound [B]

Monika Streitová, flute

This piece is part of a cycle of pieces denominated Fluxus. In dimensional analysis, a dimensionless quantity is a quantity without an associated physical dimension. For this piece, musical processes were created in order to obtain layers with different physical (sound) qualities, where the dimensions of the sounds of the voice and flute are combined, resulting different qualities of perception. The rhythm is characterised by transformations of cells which are often complemented by secondary simultaneous rhythmic transformations on the voice, whose melodic and harmonic content is derived from processes analog to the referred transformations. Each subsection of the piece comprises a cycle of transformations, often expanded or compressed, where a dominant sound characteristic and type of transformation is to be perceived.

João Pedro Oliveira — La Mer Émeraude

Let us imagine a small invented world, a micro universe where everything exists... matter, energy, spirit, telluric movements, mysteries, natural and supernatural forces. That world is whole and from afar, whoever watches, sees it as a living ocean.

This work was composed in the Musiques-Recherches studio and is dedicated to Annette Vande Gorne and Francis Dhomont.

Biographies

Monika Streitová, The flutist, researcher of INET- MD and Assistant Professor of the University of Évora. She graduated from the Music and Performing Arts Academy of the Bratislava University, Slovakia, where she also completed her PhD at Contemporary Music Performance in 2005. (Thesis about the Sublimation in Music "Ad Libidum".) Her current research interests are concentrated in search and application of contemporary flute techniques that may contribute to the creative development of sonority. In 2006 her CD "Luminiscence" obtained the highest award from musical critic from Czech Radio. In 2007 she received a scholarship from FCT (Foundation for Science and Technology Lisbon) to realize her postdoctoral project at the Aveiro University, Portugal. During her research she has been cooperating with contemporary composers, namely R. Berger, J. Y. Bosseur, D. MacMouline, B. Schaffer, J. Guillou e J. P. Oliveira, and has premiered several of their works in most prestigious international contemporary music festivals. Beyond that she has given lectures in Universities UNRIO (Rio de Janeiro), UNESP (São Paulo), New York University (Abu Dhabi), Escola Superior de Música de Lisboa, University of Prag, University of Ostrava and University of Bratislava. In 2009 she was a founding member of "Post-ip", International Forum for Postgraduate Studies in Music and Dance at the University of Aveiro. Her flute repertoire includes about one hundred forty world premieres. She has worked with BBC, ORF2 Wien, RTP Portugal and BRB Berlin. Monika Streitová has recorded 6 solo CD and 12 CD recorded with several ensembles. She has given concerts in Germany, Austria, Arab Emirates, France, Hungary, Japan, The Netherlands, England, Poland, Portugal, Czech republic, Slovak Republic, Switzerland, Spain, and Brazil among other countries.

Panayiotis Kokoras is an internationally award-winning composer and computer music innovator. He is Associate Professor at the University of North Texas. Born in Greece, he studied classical guitar and composition in Athens, Greece and York, England; he taught for many years at Aristotle University in Thessaloniki (among others). Kokoras's sound compositions use timbre as the main element of form. His concept of "holophony" describes his goal that each independent sound (phonos), contributes equally into the synthesis of the total (holos). In both instrumental and electroacoustic writing, his music calls upon a "virtuosity of sound," emphasizing the precise production of variable sound possibilities and the correct distinction between one timbre and another to convey the musical ideas and structure of the piece. His compositional output is also informed by musical research in Music Information Retrieval compositional strategies, Extended techniques, Tactile sound, Augmented reality, Robotics, Spatial Sound, Synesthesia.

His compositional output consists of 65 works ranging from solo, ensemble and orchestral works to mixed media, improvisation and tape. His works have been commissioned by institutes and festivals such as the Fromm Music Foundation (Harvard), IRCAM (France), MATA (New York), Gaudeamus (Netherlands), ZKM (Germany), IMEB (France), Siemens Musikstiftung (Germany) and have been performed in over 600 concerts around the world. His compositions have been selected by juries in more than 130 international calls for scores and have received 60 distinctions and prizes in international competitions, among others Franco Evangelisti Prix 2012 (Italy), Destellos Prize 2011 (Argentina), Prix Ars Electronica 2011 (Austria), Métamorphoses 2010 & 2000 (Belgium), Giga-Hertz Music Award 2009 (Germany), Bourges 2009, 2008 and 2004 (France), Gianni Bergamo 2007 (Switzerland), Pierre Schaeffer 2005 (Italy), Musica Viva 2005 and 2002 (Portugal), Gaudeamus 2004 and 2003 (Holland), Jurgenson Competition 2003 (Russia), Takemitsu Composition Award 2002 (Japan). He is founding member of the Hellenic Electroacoustic Music Composers Association (HELMCA) and from 2004 to 2012 he was board member and president. He is currently secretary of the Interactional Confederation of Electroacoustic Music (CIME/ICEM) and Conference Chair for the ICMC 2015.

Jaime Reis (b. 1983) is a Portuguese composer based in Lisbon who attended seminars with Karlheinz Stockhausen and worked with Emmanuel Nunes (also PhD co-adviser), after studying Composition and Electronic Music in Aveiro University (with 3 prize scholarships as best student of the uni.). He's the artistic director of Festival DME (counting more than 60 editions). His music has been presented over more than 20 countries, both instrumental and electroacoustic, having received prizes in competitions such as Prix Russolo, ‘Métamorphoses’, arte! ⋈ clima, etc. He has worked with institutions/ensembles such as: IRCAM, KCMD, Musik Fabrik, ZKM, Aleph Guitar Quartet, Musiques & Recherches. He's Professor in the Superior School of Applied Arts (Castelo Branco, Portugal) and in the Superior  Music School of Lisbon. Director of Lisboa Incomum.

Andrew Lewis studied composition with Jonty Harrison at the University of Birmingham, England, where he was one of the founding members of BEAST. He is currently Professor of Music at Bangor University, Wales, where he teaches composition and directs the Electroacoustic Music Studios. His music is concerned with the phenomenon of sound as compositional material, and often uses technology in its realisation and performance.

Notable prizes, awards and mentions include Bourges ‘Euphonie d’Or’ France, PRS Prize UK, Stockholm Electronic Arts Sweden, Prix Ars Electronica Austria, Noroit France, Hungarian Radio, ARTS XXI Spain, CIMESP Brazil, KLANG France, Destellos Argentina. 

His instrumental music has been commissioned and performed by numerous prominent artists, including the BBC National Orchestra of Wales, the Kreutzer Quartet, Psappha, Ensemble Mise-En, Ensemble Cymru, Duo Contour, Elinor Bennet, Jane Chapman, Wendy Holdaway, Yoshikazu Iwamoto, Gerald Garcia, Phillip Mead, Xenia Pestova, Carla Rees, Heather Roche and Vivienne Spiteri. In 2004 his string quartet ‘Tempo Reale’ was chosen by Sir Peter Maxwell Davies for a Wigmore Hall concert celebrating the 60th anniversary of SPNM.

Recent projects include ‘LEXICON’ (supported by Wellcome Trust), an audiovisual work about dyslexia, which has been seen by more than 1700 people in live performances across the UK; and ‘Fern Hill’ for orchestra and electronics, commissioned as part of the centenary celebrations of poet Dylan Thomas, and premiered live on Radio 3 by the BBC National Orchestra of Wales. In 2016 ‘Fern Hill’ won first prize in the KLANG competition, Montpellier. In 2017 he was awarded a Leverhulme Research Fellowship to compose a large scale work for orchestra and electronics featuring the voices of people with dementia and their partners who care for them. The resulting work won second prize in the KLANG competition in 2018. 

Numerous recordings are available, including two collections of his works Miroirs obscurs and Au-dèla (empreintes DIGITALes) and Schattenklavier on Shadow Piano (Innova).

He is married with four grown-up daughters, and lives in Bangor, North Wales.

http://www.andrewlewis.org
http://www.electrocd.com/en/bio/lewis_an/discog/
http://composersedition.com/composers/andrewlewis

João Pedro Oliveira began his music studies at the Gregorian Institute of Lisbon where he studied organ performance. From 1985 to 1990 he moved to the US as a Fulbright student, with a fellowship from Gulbenkian Foundations, where he completed a PhD in Music at the University of New York at Stony Brook. His music includes one chamber opera, several orchestral compositions, a Requiem, 3 string quartets, chamber music, solo instrumental music, electroacoustic music and experimental video. Recently he has been exploring the possibilities of interaction between instrumental and electroacoustic sounds, and most of his recent works use both media. 

He has received over 50 international prizes and awards for his works, including, among others, the Giga-Hertz Award and the Magisterium Prize from the IMEB (Bourges).

His music is played all over the world, and most of his works have been commissioned by Portuguese and foreign groups and foundations. He is Professor at Federal University of Minas Gerais (Brazil) and Aveiro University (Portugal) where he teaches composition, electroacoustic music and analysis. He published several articles in journals, and has written a book in analysis and 20th century music theory.

Sophie Delafontaine is born in 1988 in Switzerland. She discovered electroacoustic music through dancing. 

She went to Belgium to enter the Royal Conservatory of Mons in the class of Annette Vande Gorne, Philippe Mion, Ingrid Dresde, etc. She learnt spacial interpretation with Annette Vande Gorne during the conservatory classes and summer camps. She won the second interpretation prize at the competition Espace du Son 2012 (Brussels). Also, she plays regularly in concerts organized by Musiques et Recherches. Her pieces won composition prizes: « Respire, marche, pars, vas-t-en » second composition prize of Destellos (Argentina) in 2013 and « Ressort Spiral » public prize of Métamorphoses (Belgium) in 2016.

She obtained her degree in acousmatic composition and keeps composing regularly for dance and theatre projects. She is a founding member of the collective Séneçon. Recently, she teaches spacial interpretation in ARTS² Academy of Art (Mons).

Saturday, November 17th 2018

10h00-11h00

Conferences #1

music, soundscape and ecology

10h00-10h20

Sound, Tourism and the Sustainability or Urban Ambiences: A Research Agenda

Iñigo Sánchez Fuarros [Universidade Nova de Lisboa]

Abstract

Sound provides a subtle guide to our everyday experience of the city, opening up a highly socially relevant area for urban inquiry. City sounds inform us about spaces, events and identity. The power of music, sound and noise to denote place and demarcate space suggests a sonic ecology of the urban fabric that provides a means of exploring the more ephemeral and shifting elements of urbanism. 

This presentation will discuss some of the key issues that structure the research project “Sounding Out the Tourist City”, recently funded by the Fundação para a Ciência e a Tecnologia (FCT) through a SR&TD Project Grant (PTDC/ART-PER/32417/2017). This project takes the touristification of historic Lisbon neighbourhoods both as a research object and as an analytical lens for understanding the role of sound in the cultural and sensory restructuring of urban ambiances in the post-industrial tourist city. 

10h20-10h40

A Dynamic Living Soundscape: A City of smells, melodies and languages

Ma Rosalie Abeto Zerrudo [University of San Agustin, Iloilo City, Philippines]

Abstract

The public space is an interesting cultural gourmet in New York as a universe in a city. The world come together with diverse smell, melodies and language.

A universe in a city, New York City is one of the richest street theater scenes in the world, combining many genres with hundreds of styles and forms combined. Indigenous and contemporary navigates the public spaces where general public access, congregate or utilize such as subways, parks and streets.

The streets and the public spaces are the most intensified interactive spaces, where millions of people come and go every day; They are pathways of overwhelming exchange and sensory overload. On the other hand, they are a wealth of details, spontaneous resources of living archives and walking think tanks coming from diverse backgrounds and professions.

People access, traverse and experience these public spaces as they become part of the routinary role playing and negotiating, from one train to the next, where people intimately share their personal spaces voluntarily and intentionally. The variety of personal encounters is a rich textures of individuality, breaking and making lines to confront order and disorder. Amidst the chaos, the artists break the patterns by creating a space to feel a universal oneness, where by the end of the day, we realize that we are so much more similar than different from each other.

10h40-11h00

Sounds of the ancient future

Chiara Rizzi [University of Basilicata - Department of European and Mediterranean Cultures: Architecture, Environment, and Cultural Heritage (DiCEM)]

Antonella Ciervo [Onyx Jazz club]

Abstract

Sounds of ancient future is a narrative of the genealogy of a project that Onyx Jazz Club Matera is co- producing with Matera-Basilicata 2019 Foundation. It is a cross-disciplinary project aimed at avant-garde research and production in the field of sound arts.

In this expressive field, we want to include different languages - from recorded music, to sound installation and from live performances to field-recordings and sound-scapings, which are just some of the tools for mapping a territory’s sound-scape. In addition, our investigations will include the production of electronic instruments and percussion.

In 2014 Onyx Jazz Club invited Joe Johnson, an American composer, and Luca Moroni, an Italian multimedia artist, for six week in Matera. Musical compositions, soundscapes and interactive installation emerged and were unveiled in a public performance in Casa Cava. The video shows the creative journey of these artists and the genealogy of the on-going project for Matera, European Capital of Culture (2019). 

Biographies

Iñigo Sánchez received his PhD in anthropology from the University of Barcelona (Spain). He is currently an auxiliary researcher at the Institute for Ethnomusicology (INET-MD) at the Faculdade Sociais e Humanas of NOVA University in Lisbon (Portugal), where he also teaches as a guest lecturer at the Music Department. He is the Principal Investigator of the FCT research project  Sounding Out the Tourist City. Sound, Tourism and the Sustainability of Urban Ambiances in the Post-industrial City (PTDC/ART-PER/32417/2017).

His research interests focus on the study of music as a social and cultural phenomenon in three interdisciplinary domains: the relationship between music, identity and migration; the field of sound studies, and the study of music in urban settings. In 2017 he worked as a research fellow for the AHRC project “Understanding the Role of Sound and Music in Conflict Transformation: The Mozambique Case Study” at the Sonic Arts Research Centre at Queen’s University Belfast.

His research has been published in different journals (TRANS-Revista Transcultural de Música, Western Folklore, Revista d’Etnologia de Catalunya, MUSICultures) and edited books, among others Fiesta y ciudad: pluriculturalidad e integración (CSIC, 2008), Made in Spain. Studies in Popular Music (Routledge, 2013), Musical Performance and the Changing City (Routledge, 2013) or Towards an Anthropology of Ambient Sound (Routledge, 2017). He is the author of the monograph Cubaneando en Barcelona. Música, migración y experiencia urbana (CSIC, 2012) that results from his PhD research.

He is the editor of TRANS-Transcultural Music Review, the peer-review journal of SIBE-Spanish Society for Ethnomusicology.

Website: www.inigosanchez.com

Rosalie “Rosa” Abeto Zerrudo is a multidisciplinary teaching artist, performer, multimedia poet, and cultural worker with a bachelor's degree in psychology and a master's in theatre (Steinhardt, New York University). She combines her community-engaged cultural arts practice into a creative process that she calls Soul Work. Soul Work integrates improvisation, memory making, visual theater, ritual performance, music, film, poetry, and ephemeral installography with the healing arts. At present, she serves on the faculty at the University of San Agustin, Iloilo, in the Fine Arts Program, College of Technology and Humanities/CLASE.

Chiara Rizzi (Tricarico, 1976), international Ph.D. architect. Since 2016 she is assistant professor of architectural and urban design at University of Basilicata. 

In 2018 she is part of the teamwork of “Arcipelago Italia”, the Italian Pavillon of 16th International architecture exhibition in Venice, curated by Mario Cucinella. 

One of her current research field is the soundscape, concerning this she is working with Onyx Jazz Club on the project Sounds of ancient future, a co-production with Matera-Basilicata 2019 Foundation.

From 2011 to 2016 she was research fellow at University of Trento. 

Since 2016 she is member of mentor’s community of Pensando Meridiano, permanent laboratory of sustainable culture, innovation and cohesion based in Reggio Calabria. From 2015 to 2016 she was scientific coordinator of Laboratorio Sociale Officina Piedicastello (Trento), an informal group of urban makers.

From 2010 to 2016 she was president of the association Architecture without border Abruzzo. 

Since 2004 she is an active researcher and she wrote a large number of essays and papers. She is Athor of following book: La città dell’Altro Adige (2016), Joao Nunes: progettare paesaggi, (2016), The Fourth landscape (2014), Quarto paesaggio (ed. 2013, 2014). 

Antonella Ciervo is 53 years old. She has born in Belluno, in the northeast of Italy, but always lived in Bari, in the Southern Italy and, since 1998 lives in Matera where she found the ideal way of life to continue working as journalist and writer.
Journalism is her main work, her passion,  that she did since 1983 writing in several newpapers. The way to communicate, through different period of history, has always been a challenge for her. That's the main reason she decided, almost 20 years ago, to become the manager of Onyx's press office. The particular bond between the persons who founded the association, won her and this feeling is in the way Onyx Jazz club communicates even in this new project called Sounds of Ancient Future. 

Concert #2

17.11.2018 | 11h30-12h30

‘soundscape and acoustic ecology’

Lidia Zielińska — Insektarion (8’30)

Insektarion is a piece about Wroclaw - one of the biggest cities in Poland. "My" Wroclaw is not so much the city’s audiosphere, but rather a mental sketch of memory. The work established anew the atmosphere, sound logos, symbols and sonic emblems recalling different situations and people in Wroclaw. I used a field recordings made by myself and from the archive of the Laboratory of the University of Wroclaw.

Dante Tanzi — Sans Moteur (6’)

A reflection on nature. Artifice that tends to overlap with the original to become itself nature. Sounds that change their character little by little and become transfigured, acquiring new connotations. The piece develops in a linear path, in a game of transformation of sound objects, starting from sampled sounds of birds, found somewhere on the net. The sound of birds gradually become innatural, one would say ‘without soul’. The final result is something that sounds artificial, without life. Third track of the album 'Double Miroir' published in 2014 by the obs label of Rostov (Russia).

Nikos Stavropoulos — Karst Grotto (8’)

The title, chosen for its onomatopoeic qualities and its direct references to landscape types, as well as geological spatial structures and processes, reflects the sound world of the work. Karst, a particular topography is created by the dissolution of soluble rock types from their contact with acidic rain water. A microlevel chemical process which characterises the morphology of entire landscapes and results in complex networks of small-scale, micro-space, features and textures like fissures and rillenkarrens.

Karst Grotto was composed during residencies at the Department of Music Technology and Acoustics in Crete and the Institute for Computer Music and Sound Technology in Zurich.

Manfredi Clemente — Isole (9’)

One and every island. A journey through it.

Isole is a commission of the association Amici della Musica di Cagliari in the context of the

EU project ‘Le paysage sonore dans lequel nous vivons’. The naturalistic field recordings

used in the piece are mostly from an artist residency that took place in April-May 2017 as

part of the same project.

Marie-Jeanne Wyckmans — Voyage-Mirages (8’)

For the piece "Voyage-Mirages", I leave a poem extract that illustrates the relationship that the acousmatic music allows with reality and its multiple mirages.

« Ainsi, jamais d’arrêt. L’immortelle matière

Un seul instant encore n’a pu se reposer

La nature ne fait, patiente ouvrière, 

Que dissoudre et recomposer.

Tout se métamorphose entre ses mains actives;

Partout le mouvement incessant et divers,

Dans le cercle éternel des formes fugitives,

Agitant l’immense univers.

«le nuage», Louise Ackermann

João Fernandes — Donos da Paisagem (8’5)

Excertos do conto "Paisagem" de João Ventura:

"Os donos da paisagem não gostavam dela. Abriram um concurso para fazer modificações e entrevistaram pessoalmente os concorrentes.

Concorrente #1 - Arquitecto paisagista

Propõe um arranjo que irá manter no essencial o que lá está. Pequenas modificações como a plantação de algumas sebes de arbustos, introdução de um açude no ribeiro, plantações de ervas aromáticas em locais a definir. [...]

Concorrente #2 - Engenheiro paisagista

Propõe-se construir uma nova paisagem. A existente será terraplanada e a seguir o terreno será formatado em socalcos, com faixas para habitação, indústria, e um ENORME centro comercial que alojará comércio e serviços. [...]

Concorrente #4 - Entusiasta das energias alternativas

Instalação de uma central mini-hídrica no rio, geradores eólicos nas linhas de cumeada, painéis solares nas encostas viradas a sul, uma instalação de suinicultura para produção de biogás.

Concorrente #5 - Industrialista

Propõe-se a construção de uma fábrica de baterias para telemóveis [...]

Anexo à fábrica existirão dormitórios para os operários, que se prevê que venham a ser imigrantes de países pobres do extremo oriente.

Concorrente #6 - Empreendedor imobiliário

[...]O ribeiro será encanado, excepto numa pequena extensão, que ficará no centro de uma minúscula zona verde para fruição das cerca de 10 mil pessoas [...]

Concorrente #8 - Pessoa normal

«Ponham pessoas na paisagem. ‘Senhoras e senhores / Meninos e meninas / Manueis e Joaquinas / Gente de todas as cores / E feitios e medidas…’ É a diversidade que dá valor à paisagem. Tentem imaginar uma paisagem habitada..»

Os donos da paisagem imaginaram e gostaram do que viram. E esta foi a solução que veio a ser adoptada."

Hayley Suviste — In Those Days / Community (5’)

This work is a homage to Britain’s urban landscapes, human resilience, poverty and childhood inspired by the pioneering female street photographer Shirley Baker. The photograph’s I have chosen to take inspiration from are Baker’s depictions of the urban clearance programmes of Hulme, Manchester, between 1961 - 1981. 

"Whole streets were disappearing and I hoped to capture some trace of the everyday life of people who lived there," Baker said. 

This composition is made up from sound recordings inspired by the activities and objects that are taking place in Baker's photographs, field recordings from Hulme today and archived recordings from the British Library of Shirley Baker and other Hulme residents in interview. Despite being based on local memories, this piece testifies to the poverty and resilience of all communities that have been under siege due to changing cityscapes.

João Castro Pinto — WATER-DREAMT-BY-FOREST: a binaural oneiric-walk (5’30)

"WATER-DREAMT-BY-FOREST: a binaural oneiric-walk" is a soundscape piece inspired by the fascinating sounds of the forest. This piece intends to sonically figure the aliveness and aural richness of the forest and countryside soundscapes, as it magnifies some of its characteristics through electroacoustic processes and soundscape composition techniques. The present piece results in an oneiric statement, as it represents the forest as being capable of dreaming about water, in a kind of search of this precious existential liquid. Water is here considered as the fertile symbol of life, as its fundamental archetype, thence, in this piece the forest is represented as being able of craving it, of dreaming about it, as humans do. When dreaming with the water, the forest invites us to sonically recreate the ambiguous contours of this whimsical dream, that dreamlike search for primeval liquid.

Field recordings from crackling wood, water, wind, stones, animals, insects, walking humans, quiet soundscapes, etc. were captured by the composer in Alentejo (Cromeleque dos Almendres) and in Sintra’s forest.

All the sounds were recorded with two digital recorders: a ZOOM H2 (with 4 channels surround - onboard mics and a binaural set mics [Soundman - OKM],) and a Sound Devices 722 with external mics (a condenser large diaphragm mic [Studio Projects B1] and a Shotgun mic [Sennheiser MKH-416] used in several configurations).

This piece was selected and premiered at "PNEM Sound Art Festival 2011", for the WOODWALK Experience, a Soundwalk event through the Forest with headphones playing soundscape pieces; Uden, The Netherlands. "WATER-DREAMT-BY-FOREST: a binaural oneiric-walk" was released by Triple Bath (Greece), in João Castro Pinto’s 2012 solo album: PANAURAL - interspersed soundwalks and soundscapes.

More info @ http://www.agnosia.me

Biographies

Lidia Zielińska - Polish composer, professor of composition and director of the Electroacoustic Music Studio at the Academy of Music in Poznan; numerous awards for orchestral music, multimedia, electroacoustic works; books, articles, papers, guest lectures (topics: sound and music, acoustic ecology, Polish experimental music, traditional Japan music), summer courses, workshops in Europe, both Americas, China, Japan, New Zealand; electroacoustic compositions realized at the EMS Stockholm, SE PR Warsaw, IPEM/BRT Gent, ZKM Karlsruhe, Experimentalstudio des SWR Freiburg; vice-president of the Polish Society for Electroacoustic Music, former vice-president of the Polish Composers’ Union, programming committee member of the “Warsaw Autumn” Festival.

Dante Tanzi

After majoring in Philosophy, Dante Tanzi went on to study composition, electroacoustic music and musical informatics. From 1985 to 2009 he worked at L.I.M., the Musical Informatics Laboratory of the University of Milan. His compositions have been performed in Italy and abroad: Rome (CIM 1988); Zurich (Euromicro 1988); Moscow (Italia 2000, 1988); Lugano (Computer Music Concert 1991); Montreal (ÉuCuE 2001); Crest (Festival Futura, various editions); Huddersfield (ICMC 2011); Flix (Nit Electro Sonora 2013); Milan (CIM 1996, Festival 5 Giornate 2014, 2017); Paris (LICENCES, various editions; En Chair et En Son 2016); Belfast (Sonorities 2015); Lille (SIME 2015, 2017); New York (NYCEMF 2015, 2016, 2017, 2018), Basque Country (Festival Bernaola 2016), Manizales (BunB 2016); Linz (Ars Electronica 2016, 2017); Sarzana (Musica e Suoni 2018); KLANG! Festival 2018 (Montpellier). In 2009 he attended the Futura Festival annual acousmatic interpretation course (Crest, Drôme). Since 2012 he has been performing works of the acousmatic repertory on the acusmoniums SATOR and the mobile acousmonium AUDIOR. He published essays on CTheory, Leonardo Music Journal, Leonardo, Interface, Crossings, De Musica, Organised Sound, Contemporary Music Review. He is a founding member of the association ‘AUDIOR’ (www.audior.eu).

Nikos Stavropoulos (b. 1975) is a composer of predominantly acousmatic and mixed music. His works are performed and acknowledged internationally (Bourges, 2000,2002, Metamorphose, Brussels 2002,2008,2016, SCRIME, Bordeaux 2003, Musica Miso, Potrugal, 2004, Punto de Encuentro Canarias International Electroacoustic Composition Competition 2008, Destellos Foundation 2015, 2016, Open Circuit 2016). Other interests include the performance practice of electroacoustic music, multichannel practices and teaching music and music technology. He joined the Music, Sound & Performance Group at Leeds Beckett University in 2006 and is a founding member of the Echochroma New Music Research Group, a member of the Irish, Sound, Science and Technology Association (ISSTA) and the Hellenic Electroacoustic Music Composers Association (HELMCA).

Manfredi Clemente (1988) is a composer of musique concrète, sound artist and field recordist. He graduated in Palermo where he studied composition with Emanuele Casale and completed his PhD in Electroacoustic Composition in Birmingham (UK), under supervision of Jonty Harrison. He is now pursuing a Master in Musicology at the University of Palermo whilst working as an A/V technician at the local opera house, the Teatro Massimo Vittorio Emanuele. 

His research investigates space not just as a mere parameter of the compositional process, but as the main dimension of perception and thence of evocative processes involved in listening experience. Interpretation of fixed-on-a-medium music on acousmonia is central in Clemente’s musical practice. For several years he has been curating the installation and performances of the Contemporary Music Festival of Cagliari acousmonium and has been member of B.E.A.S.T. - Birmingham ElectroAcoustic Sound Theatre. He performed or his music has been performed in several festivals around Europe and the world.

He often composes for theatre and artistic performances and is very much interested in the possibilities offered by the meeting of different media. As a live-electronics performer, he has been part of the MiniM Ensemble and of the Klein Bottle collective. His improvisation solo is based on a mix of electroacoustic feedback machines, modular synths and field recordings.

Marie-Jeanne Wyckmans. Rocourt (Belgique) - 1954.

Professional Foley Artist, discover acousmatic music in 1984, during the 1st International Acousmatic Festival «L’Espace du Son» in  Brussels.

First prize (1990), and graduated in acousmatic composition in 1993 with professor Annette Vande Gorne in the Royal Conservatorium of Brussels and Mons.

Acousmatic compositions:
-Voyage-Mirages, Paysages, Voyage,voyage (clip musical), Mouvement Browniens, Trajet, Appels, Tableau, La Terre et le Ciel, Envols 1, Alchimie, L’absence du Vide 

Chargée d'Enseignement Conservatoire ARTS2-Mons

Professeur INSAS-Institut National Supérieur des Arts du Spectacles

Professeur IAD- Institut des. Arts de Diffusion

Doctorate at Paris 8 University under the guidance of Professor Makis Solomos, João Fernandes works on the relationship between new technologies and musical improvisation. In 2011, he completed his master's degree at the same university under the guidance of Professor Horacio Vaggione. His formation includes a Master's degree (2008) at Catalunya’s Superior School of Music in Barcelona, where he attended the course "Music creation with computer media", a degree in composition at Lisbon's Superior School of Music and a degree in Computer Engineering from Instituto Superior Técnico of Lisbon.

Beside his academic activities, he has participated since 2010 in the electroacoustic improvisation groups 'Unmapped' and ‘Electrologues', which regularly perform in France and other European countries. Since 2016, he has been part of the great improvisation ensemble 'Le Grand 8'.

Hayley Suviste (b.1996) is currently undertaking a masters in Electroacoustic Composition at the University of Manchester, UK. Her work has been performed at festivals such as MANTIS (Manchester Theatre in Sound), BEAST (Birmingham Electroacoustic Sound Theatre), NMNW (New Music North West), MA/IN (Matera Intermedia Festival), EASTN-DC, MUSLAB London and MUSICA. Hayley also works and performs collaboratively around Manchester, having recently taken part in a residency with Modul Projects working alongside other sound artists to create a live-set that fuses electroacoustic composition, modular synthesis and laptop music. 

João Castro Pinto

After playing (mostly guitar) with several independent rock bands, in the beginning of the 90's, João Castro Pinto started his creative activity as a sound and intermedia artist in second half of the 90's. The main output of his artistic production comprehends the domains of sound art, experimental electroacoustic / tape music and intermedia research, in a trans-disciplinary perspective of confrontation, concerning the new digital media. Since 2002 he's been the artistic director and producer of the Hertzoscópio - Experimental and Transdisciplinary Arts Festival.

His academic path is reflected on his works as it also indicates which are the main artistic perspectives and ideas of his interest.

He studied Philosophy at the New University of Lisbon and is currently concentrated in his Ph.D. studies in Computer Music @ the U.C.P. in Porto, Portugal.

His fundamental artistic intent resides on the exploration and recreation of natural sound and visual elements that are abducted from their original context trough digital recording technologies, and then recreated in another context and space-time that intends to create a deep inner experience. The common denominator of the artistic goals of the pieces that he has presented so far focus on the intention of creating an intense sonic experience that provokes in the audience something similar to an existential glimpse that portrays the imperative need of searching for a way to access the ultimate inner-space, which is both intimate and trans-personal.

The symbolic and plastic research operated by J. Castro Pinto to achieve the referred goal, has a means to a different end than the research itself. At stake is a true medium that materializes itself in a modus operandi of distension that operates by serving as the deconstruction of the mechanical automatisms that, on a daily basis, constrict and subjugate the existential human point of view, by which, phenomenally, remain immobile and underdeveloped the operative processes of the perceptive consciousness and the conditions of possibility to access the inner-space.

The path of the artistic experience that leads to the discovery and conquer of this inner-space (or that leads to the immersion in it), constitutes the center of the experimental & trans-disciplinary researches, practices/concerns of João Castro Pinto. 

Conferences #2

14h15-15h45

'environmental activism in art'

14h15-14h35

Ambiances venues for sustainable higher education

Eléonore Bak [CRESSON/ENSA Grenoble France]

Abstract

The concept of «  ambiance » is currently questioning the interaction between architecture and (urban) environment, sound and climate, uses and perception.  Studies are therefore mobilizing different disciplines (art, design, architecture, urban planning, engineering, technologies, physics, climatology, sociology, psychology, phenomenology, philosophy, communication…) with their respective resources (perceptions, cultural approaches, methods, tools). In parallel, « ambiance » has been individually assimilated by all these different disciplines. So they come not only into the work/discussion with their respective resources, but also with their own strategies and prospects/refuges. Art and music for example have been enhanced and stimulated by ambiances. Artists have even vigorously contributed to improve their positive assessment, their mediation and their enhanced value. Above all they raised the collective awareness and memory of them. They have created and keep on creating new ambiances (fictional ones for example). All these activities are related to what we could link to mood, mind and knowledge, to the benefit of a better understanding of art, but also in favour of a so constructed common ambiance culture. 

The ongoing debate on environmental emergencies which questions for example our “harmonious coexistence”, is an opportunity to examine how contemporary artists take care of this extensive theme. What kinds of co-existences are interesting to them? Can they help us to find original methods to explore co-existence? Can they suggest new questions in the field of sustainability? 

We will try to formulate some answers by focusing on environmental activism in art and especially on the author’s interrogations on ambiantal perception and representation (BAK Eléonore Reside in the un-viewed, Kinds of sound visualizations, doctoral thesis in architecture https://halshs.archives-ouvertes.fr/tel-01451609 prepared in CRESSON/ National High School for architecture Grenoble 2016 / UMR (mixt research unity) AAU (Architectures, Ambiances/Urbanités) CNRS 1563 - ÉNSAs Grenoble & Nantes F https://aau.archi.fr/cresson/ ). This focus is faced with a number of:

• preoccupations, including observation, exploration (modes), mapping of sound-clouds and analysis of the topics of listening patterns, as an integrated approach for ambiances,

• sustainability challenges, including re-introduction (the notion of : sustainable higher education) of multi-sensory meanings and intensive values as increasing the energy/vitality of an ambiance (planned, pre-architectured, pre-engineered (the notion of « pre-ambiance ») or hazardous space information, as well (or less) satisfying resources for co-existence; higher or lower porosity to the other/other (convolution of bodily and ambiantal gestures) as well (or less) satisfying resources for environmental and cultural consciousness;  as well (or less) satisfying resources for sustainable ambiantal prospection and creativity.

Leaning on few of Eléonore Bak’s sound-visualizations we will examine un-viewed (in the sense of forgotten, nebulous, unconscious, but not mute at all) aspects of ambiances.  After a short introduction in her exploration and representations modes, we will compare two listening patterns (simulations of sound-clouds): Fontaines de Clans, which is showing individual listening patterns of six fountains ; St Jean de Luz, which is showing an acoustic encoding. To go deeper into her exploration modes, but also into the aforementioned un-viewed, we present also a practical exercise (for further information see our workshop To plunge into without control / Micro-perception as a value-belief-norm model).

14h35-14h55

CineEco, Portugal's Environmental Film Festival

Mário Jorge Branquinho [Câmara Municipal de Seia — CineEco]

Abstract

CineEco - International Festival of Environmental Cinema of Serra da Estrela — www.cineeco.pt — is an international cultural event based on an environmental theme. It is the only environmental film festival in Portugal, organized by the Municipality of Seia, uninterruptedly since 1995. It is one of the oldest film festivals in the world and one of the founders of the international platform Green Film Network, which brings together 40 international environmental film festivals — http://greenfilmnet.org/ — and gathered for the first time, this year, at an International Forum in Seia: http://cineeco.pt/?q=f%C3%B3rum-programa. Its director is one of the directors of this network: http://greenfilmnet.org/about/board-of-administration/.

The festival annually brings together the most recent national and international productions on environmental issues to create debates and contribute to increase knowledge and awareness about the necessary behavioral changes of governments, companies and individuals for the preservation of life on the planet. Each year, more than 600 films from more than 40 countries participate, of which about 100 are selected. It seeks to combine the cinematographic aesthetic with current environmental themes and captivate new audiences through cinema. The festival also presents a set of extensions throughout the year, in several cities of the country.
Its Director, Mário Branquinho, proposes us a trip of more than two decades, to get to know the festival and the evolution of environmental cinema.

15h00-15h30

Bee Diaspora - a swarm in five movements

Anna Maria Orrù 

Morten Søndergaard

Abstract

‘Bee Diaspora’ is a joint contribution between architect and artistic Researcher Dr. Anna Maria Orrù together with poet and sound Artist Morten Søndergaard. This contribution will include both a communication reading and a music installation piece, therefore the intention is to have two proposals jointly presented and performed in an allotted combined span totalling 25 minutes (15 minutes communication + 10 minutes music). The proposal is a philosophical and theoretical presentation of sustainable urban living overlapped into an artistic composition and translation of swarm-intelligence and soundscapes. It is a joint endeavour that will traverse and bridge between architecture, artistic research, ecology, sound art, poetry, and sustainability. This proposal is a gesture towards thinking about sustainable movement and collectivity as a poetics of urban relation inherent in assemblage thinking and swarming. This plurality is a vital component of considering naturecultures and the importance of how to look at sustainable behaviour and relation to nature in cities.1 After all, environmental concerns and behaviour are collective but they are also a matter of individual behaviour and origination (Tomkins 2012). Both the individual and communal scales rely on one another, especially when it concerns engaged and dynamic bodies in a joint activity of sustainably living together, strengthened by shared movements and behaviour. Hence, this proposal finds modes to inspire and encourage collective forms of action through an artistic approach in which to grasp the problem by using swarm-behaviour as a metaphorical device. 

Biographies

Eléonore Bak

After experiencing weaving and  theatre design Eléonore Bak studied at academy for Art & Design of Colone [D] (1981-85). Even if she was especially interested by drawing, hability and actability of sculpture and environments, sounds became more and more important. After researches in CIRM (Centre International de Recherches Musicales) and a residency in Villa Arson, Nice [F] (1985), she use sound as self-sufficient material. First she modeled them as formal entities with specific plastically morphologies and textures. From than she introduced them in unusual places and architectures (for example caves, empty water tanks, panopticums, labyrinths) where the given climates even microclimates and thermo-dynamics went within them in a characterized way, enriched their presence and meanings. To resume, she didn’t create fixed sound objects, but well temperated bodily beeings. 

As sound and ambiance-constructions noticed to discretion, as hearing is a solitary experience whose potential refinement remains difficult to surround by language, she became interested in mediation of the intimous living together of bodily and ambiant gestures (audio-drawings, listening patterns and other perceptive studies from 1995 until today). In return of her constructive experimentations and visualisations her perceptions become a common divisible. 

The questioning of the visual contamination of language, perception and mental representation brought her closer to science. She studied therefore technologies, cultures of communication and forms of sociabilities at university of Nice Sophia Antipolis ([F] (Sound/Space, steps towards a new spatial thought Master 2 in 2001). To go deeper into the aforementioned problematics, she worked from 2002-2016 with physicians and engineers (ACROE lab INP Grenoble [F]; holophonic platform (smartroom) of Centrale Supélec, Metz [F]) and joined in 2010 the CRESSON lab, ÉNSA National High school for architecture in Grenoble where she prepared her doctorship (Reside in the un-viewen, kinds of sound visualisations), conducted by Grégoire CHELKOFF. This international artist, PHD in architecture and associate searcher of CRESSON lab and UMR AAU (Architectures, Ambiances, Urbanités), a mixed research unity CNRS 1563 - ÉNSAs Grenoble & Nantes [F], teaches since 1994 in Art schools (France and Monaco) and since 2006 in École Supérieure d’Art de Lorraine, where she founded in 2009 her one soundlab L’A.R.S (L’Atelier de Recherche Sonore) spezialised in soundart, architecture and urban ambiances.

Mário Branquinho (CineEco Director, Seia _ Portugal)
He was born in Sabugueiro, Seia (Portugal) on June 19, 1966. He has a degree in Sciences and has a Masters in Art Animation. As a Superior Technician at the Municipality of Seia, he is responsible and programmer of the House of Culture of Seia. He is the the director and founder of CineEco - International Environmental Film Festival, it is the only with this theme that has been taking place in Portugal since 1995 and one of the oldest in the world. He is also one of the founders and board member of the Green Film Network, an international platform of 39 environmental film festivals, having organized in Seia, in 2018, the 1st International Forum of Environmental Film Festivals by this network, in a total of 30 countries. He is usually invited to
conferences on the theme of environmental cinema and as a jury in several festivals:
Brazil, Mexico, Argentina and Europe. Branquinho is the author of chronicles and creative writing books “Sentido Figurado”, “O Mundo dos Apartes” and “Estranhos Dias à Janela”.

Anna Maria Orrù’s work is embedded in biomimicry, artistic research and in curating performative research, providing an alternate approach to the field of sustainable design, art, ecological urbanism and architecture. She works in the interstitial spaces between disciplines to creatively tackle issues around climate change. Her projects and PhD from Chalmers University, cover the distinct topics of embodied engagement, ecological behavior, architecture, biomimesis and urbanism. She is a lecturer and teacher at a number of Swedish Institutes for design, art and architecture since 2010, and directs the transdisciplinary studio FoAM Nordica.

www.annamariaorru.com

Morten Søndergaard (born 1964) is one of Denmark’s most important poets and artists. He debuted as a poet in 1992 and since then has written several poetry collections, many of which have been translated into a variety of languages. In addition, he works with art and sound art and has exhibited throughout Europe. His most recent sound project is called ‘Speos’ (Greek for Cave) has had several performances throughout Denmark since 2017, and is set to be released soon.

http://www.mortensoendergaard.com/english/

Concert #3

17.11.2018 | 16h-17h

‘urban mobility and sustainability’

Phillip Sink — Frayed Cities

Photographers love urban decay. We see endless images of ruins from cities like Detroit, Flint, and Gary. Once-charming downtown areas in many cities and towns have been boarded up and abandoned. Dying American towns and cities can either be the remnants of suburban flight, or the symptoms of a nation in decline. 

In Frayed Cities, I wanted to explore images and sounds from dying cities. Using the idea of city planning and blueprints of buildings as a springboard into the video, I developed sketch drawings of people and cities. Through animating these sketches, I attempted to create an abstract narrative that explores the fact that there are no plans in place to reverse urban blight or aid the people who may be stuck living in these areas. With this in mind, I composed the music with sounds derived from crowds, construction/destruction, closing/opening doors, and other sources.

Antonio D'Amato — Körper

Körper is an acousmatic piece entirely based on the elaboration of an acoustic pulse sequence which was produced in the course of a MRI diagnostic test. The aesthetic idea implied in the composition refers to the topical and controversial theme known as "global control and censorship”. Through the examination of the constant and continuous information flow, which is either consciously or unconsciously produced by everyone, it is possible to accomplish a condition of control; that condition ought to benefit the national and global security. 

The question is: How deep or intrusive should the control on individuals be in order guarantee global well-being and security?

At the moment, there is no univocal answer. Control is not only coercive - it can take the pleasant and subtle appearance of a custom-tailored set of information, directly injected into the communication flows usually employed by individuals. As the occasional intrusion into the personal communication flow is barely noticeable, could the large mass of information, imposed to the users of digital devices, produce a sort of control on the behavior and habits of the individuals? Has that sort of control only a commercial intention? 

If nowadays cameras and sensors constantly watch movements of the individuals in cities and buildings, can we assume that in the future cells and chemical reactions in our bodies will be scanned and examined in order to gather information to be collected, stored and processed?

Technically speaking the composition uses exclusively a short audio recording of a MRI test.

A large number of processes and signal elaboration modules are applied in order to subdue the crude audio sample to the compositional requirements.

Spectral editing and resonant filters are chained in order to isolate restricted areas in the whole sound object. The foundation material is clearly revealed only at the very end of the piece. The piece was composed at ZKM studios in Karlsruhe.

David Jason Snow — Wake me when we get there

British scholar Paul Rennie has noted that a train journey offers an experience similar to that of cinema: a distanced, voyeuristic platform for observation of the world, and a systemic organization of time and motion. Rennie notes that this experience of being “on track” is both comforting and disconcerting to the passenger, who abandons the autonomies of modernist identity in favor of being driven, provoking a powerful, terrifying sense of the train being unstoppable.

Irving Kinnersley — Metro, Faces, Petals

Metro Faces Petals took its original inspiration form Ezra Pound's early twentieth century  modernist poem 'In the Station of The Metro' and, although it is constructed from sounds collected from the London underground it reflects the experience of travelling on the undergrounds of several European cities. 

Pound's poem evokes the experience of willingly entering the ground in order to move around beneath the city. The piece explores the purgatorial aspects of this experience, the almost overwhelming and disorienting noise which reverberates through the tunnels as trains come and go.

But like Pound's poem the second half of the piece hints at the transformative power of the human imagination where hints of different realities metamorphise out of the purgatorial.

Valerio Orlandini — Firenze De_constructed 

Firenze De_constructed is a piece built using as sound sources recordings from the project Firenze Soundscapes, a soundmap of Florence, curated by the author, that currently features almost 70 field recordings taken in the city.

The linear sounds of the original recordings are scrambled and reconstructed in an artificial stream of consciousness that wanders through the town and creates new links between otherwise unrelated and distant events, people and places. An imaginary soundwalk that gives a different spin on a city often stereotyped and not understood in its complexity. 

The listener is thus invited to ask her/himself if s/he really knows what is happening in her/his urban area, and what does it mean to be part of an urban community.

Bracha Bdil — UrbaNature 

Stuck in traffic jam, movement of many people, automaton-people-, moving mechanically, beeping at you.

But in these carts there are souls, working and sensitive, really?

How did the automaton cover the soul, how do the achievements cover the  breathing,

Measuring all day competition and bravado.

When will we release the cover?

Then we will find

movement,

The Soul.

The work "UrbaNature" for stereo sound-track is trying to express the ideal of natural life which is dulled by the forced reality of an  urban-technological world. 

Nicola Casetta — Gonesound #4 

Thinking of rural area my specific interest lies in transitions between urban and rural space. In the pursuit of knowledge, new challenges, educational possibilities and social dynamics the typical social tendency is to move from the countryside to the city. Urban life holds promises of a culturally and intellectually stimulating environment but also represents a great number of commercial and political influences. Influences that at times seems to make it more difficult for us to navigate our own opinions and desires. We seem to constantly operate under the external influence of noise. Noise as a metaphor for manipulation but also literally the constant soundtrack of the city; traffic, activity, voices, advertisement, industry. In the attempt to find an alternative, I look back towards the countryside, however I do not wish to take a step back but rather move forward with a new idea of purpose. The purpose of more time, wider space, a peaceful atmosphere, room for internal reflection and the possibility of integrating artistic and intellectual disciplines into a rural setting. 

A movement directed from rural to urban space is in the context of social mobility an obvious one. We miss stimulation, we go to the place where we can find it in external surroundings. Like the obviousness of how silence will always be eliminated by noise. A movement back seems more complex. If artistic and intellectual qualities can not immediately be found in our surroundings, can we find them within ourselves? What happens when our surroundings doesn't work to influence us? Can we find our own answers? 

I would like to work with this movement from urban to rural, external to internal, noise to silence. 

Biographies

Phillip Sink

Much of Phillip’s music is inspired by social awareness, the human experience, science, and art. In addition to traditional composition for voice and acoustic instruments, he composes audiovisual works that combine video with electronics.

Phillip is the recipient of many awards including the Hermitage Prize given by the 2015 Aspen Music Festival; the Best Music Submission Award at the 2015 International Computer Music Festival; three Indiana University Dean’s Prizes for best orchestral, chamber, and electronic music. His electroacoustic music has been selected for presentation at conferences such as the International Computer Music Conference; SEAMUS; Arts and Science Days in Bourges, France; New York City Electroacoustic Music Festival; National Student Electroacoustic Music Event; and the Electroacoustic Barn Dance. 

Phillip received bachelor’s degrees in music composition/theory and music education from Appalachian State University and master’s degrees in music composition and music theory pedagogy from Michigan State University where he served as a graduate assistant in music theory. Phillip was a doctoral fellow at the Jacobs School of Music where he earned a doctoral degree (DM) in music composition with minors in electronic music and music theory. At Indiana University, he served as an associate instructor of composition where he taught courses such as Free Counterpoint, Notation, and Composition for Non-Majors. In 2016-2017, he was a Post-Doctoral Fellow of Music Composition at University of Missouri. He now serves as Assistant Professor of Music Composition Theory at Northern Illinois University.

Antonio D'Amato graduated at conservatory in Piano, Harpsichord, Music for Multimedia, Music Pedagogy, Electronic Music and in 2017 in Audio Engineering. He also studied Composition for eight years, Bassoon for three years, Baroque Organ, Ondes Martenot in Strasbourg and Paris, and later Sonology at ESMUC in Barcelona. Some of his instrumental works are published by Forton Music, U.K. His first electronic composition was selected for a performance during the ICMC 2012 Conference. In summer 2015 he was trainee at ExperimentalStudio des SWR in Freiburg, and in 2016 at ZKM in Karlsruhe.

His works have been performed in Australia, Austria, Belgium, Brazil, Canada, France, Germany, Greece, Ireland, Italy, Japan, Korea, Mexico, Slovenia, Sweden, Taiwan, UK and USA.

The compositions of David Jason Snow have been performed in concert by the Ensemble Intercontemporain at the Centre Georges Pompidou in Paris, the New Juilliard Ensemble at the Museum of Modern Art in New York, the American Brass Quintet at the John F. Kennedy Center for the Performing Arts in Washington, D.C., and numerous other artists and ensembles at venues in the United States, Europe, Asia and Africa. His acousmatic compositions have been presented in concert by Espacios Sonoros in Madrid, Spain, the DI_STANZE Community Festival of Sound Arts in Rome, Italy, Video Remakes in Venice, Italy, New Adventures in Sound Art in Toronto, Canada, Radiophrenia in Glasgow, Scotland, and the MAARBLE project of the European Space Agency in Rhodes, Greece. Snow has been awarded artist grants from the National Endowment for the Arts, the Maryland State Arts Council, and ASCAP, and composition prizes from BMI, Musician magazine, and Keyboard magazine. He earned degrees in music composition from the Eastman School of Music where he was awarded the Sernoffsky, McCurdy, and Hanson composition prizes, and the Yale School of Music where he was awarded the Osborne-Kellogg composition prize. Snow's principle teachers were composers Joseph Schwantner, Warren Benson, Samuel Adler, and Jacob Druckman. Snow resides in New York where he is a reference librarian at the Lila Acheson Wallace Library at the Juilliard School. His music can be heard on the Albany and Summit record labels, and at his website NewAgeAvantGardeSmoovJazz (http://davidsnowmusic.org).

Irving Kinnersley is an electroacoustic composer based in Somerset, England. He is particularly interested in exploring the sonic identities of particular places. His practice utilises field recordings both in unprocessed and processed form, and found sound, as well as synthesized sound sources. He has a Masters Degree in Creative Sound, and will start a PhD in ElectroAcoustic Composition at Manchester University, England, next year. His  work has been performed at the MANCA Festival in Nice, France and at the Seeing Sound Symposium at Bath Spa University, England.

Valerio Orlandini is a composer and field recordist from Florence, Italy.

Active in the area of experimental music since 2005, his research focuses on integrating within the same frame different expressive media (especially music, poetry and moving images), often collaborating with artists from other artistic fields. Musically, starting from a dark ambient background, he developed a meeting point of electroacoustic and concrete music, field recordings and pure electronic research.

He is currently involved in the European project “Le paysage sonore dans lequel nous vivons”, centered on soundscapes and their relationship with the people living within them, and is attending the Conservatory of Florence.

Bracha Bdil, composer and pianist, born in 1988, has a B.ed in Music Education from Levinsky College and a Master's degree in Music Education and Composition from the Jerusalem Academy of Music and Dance, led by Professor Andre Hajdu, o.b.m. and Professor Haim Permont.

Bracha studied classical voice training with Hadassah Ben-Haim, classical piano with Dina Orlov and Dr. Irena Berkowitz, jazz with Marina Lewinsky, and piano chamber music with Professor Alexander Tamir.

Bracha won the first prize in the Wolf Durmashkin Composition Award, Germany (2018), and the first prize in the Yardena Alotin Composition Competition, Bar-Ilan University, Israel (2016).

Her repertoire includes orchestral music, chamber, vocal and electronic music, as well as music for dance and theater.

Her musical compositions and edited works have been performed around the world, including: "China International Choir Festival" - Beijing, "Belt and Road World Choir Festival" - Hong Kong, BIMCC - Banaue, Philippines, "International Jewish-German Festival" - Bavaria, "mid-residency recital" - California, "6:30" Concert Series - UWGB MUSIC, University of Wisconsin (2018), "Bezanson Recital Hallon" - University of Massachusetts, Concert sponsored by the "Russian Musical Union" - Saint-Petersburg, "The Schnittke Festival" - Seratov-Russia, "UNK New Music Festival" - University of Nebraska, "Société de Concerts de Montréal" - Canada (2017), the concert series "Concrete Timbre" and "Fifteen Minutes of Fame" - New York, "Australian Percussion Gathering" - Griffith University, Queensland Conservatorium, Melbourne, "One Minute Project" - Athens (2016).

With her composition "Yizkerem", for A-cappella choir, Bracha has been chosen as one of the composers in presenting Israel at the Asian Composers League Festival which will take place this coming October in Taiwan. The same composition won a prize in the International Choral Writing Competition named after A.D Kastalsky - Moscow (2018).

In Israel her works are broadcast on the Israel Radio Voice of Music program and were performed at various events, including: Israeli Music Festival, Zimriya Festival (2018), Israel Festival (2017), Piano Festival (2015), a series of Excellence - the future generation, Eden-Tamir Music Center, Ein Kerem, and a series of Singing with the Sinfonietta, Performing Arts Center, Be'er Sheva (2014).

Bracha Bdil is a member of the Israel Composers' League and her works are published by the Israel Music Institute. Bracha is also a lecturer at the Levinsky College of Music Education, the Jerusalem College and at the Ron Shulamit Conservatory.

Starting from season 2018-9 Bracha has been appointed as artistic director and chief conductor of the women's "Zmora" orchestra in Jerusalem.

Nicola Casetta is a sound artist and composer. His current work is devided into three avenues: context-specific music, concerned phonography, in situ installation and sound mapping; studio music; largely concerned with transformation of mostly acoustic and electronic materials via Musique Concrète techniques. Live Electronic Music; largely improvised and or performed in loose, with a custom modular laptop instrument based on live sampling.

His musical research is directed to explore a possible link between natural, instrumental and electroacoustic sounds and the interdependent relationship with the place in which they are performed and heard.

In 2014 Nicola was an artist in residence at Moks (Estonia), supported by the project DE.MO./Movin'Up by the Italian Ministry of Heritage and Cultural Activities (MiBAC) as well as the Estonian Ministry of Culture. He was also an artist in residence at Rųst (Norway) supported by the Norwegian Ministry.

His music has been perfomed at Suoni Inautidi 18, 8th FKL Symposium on Soundscapes, Ma/In 17, Muisca Nuova Festival 16, NYCEMF 2015, ICMC 2014 in Athens, XX CIM in Rome, San Francisco Electroacoustic Music Festival, Premio Phonologia in Milan, Silence Acusmatica 2013, Segnali 12-13-14-15, Distanze 2013 and 2014, Festival dei Due Mondi of Spoleto 2012, Atomino Experimental Festival among others.

Nicola is currently professor of electronics music at the Conservatory of Perugia.

Workshop | 17h15-18h45
' To plunge into without control / Micro-perception as a value-belief-norm model '
*inscrições através do e-mail [email protected]

with Eléonore Bak (CRESSON/ENSA Grenoble France)

Ambiance is a clue to discretion. Perception is a solitary experience whose potential refinement remains difficult to encompass/embrace. In exploring a given ambiance we will try to approach very close nuances of an ambiance and to wander into un-viewed (forgotten, nebulous, unconscious but not mute at all) aspects of it. The constructive experimentation, which means the action of hearing reinforced by a specific modus operandi, a kind of quasi blind turning, falling, feeling, touching… called « the plunge », will help us to discover them. 
We will especially examine the interaction between natural (experience of the given ambiance in the room) and artificial environments. Therefore we will experience: 
• The surround system: feedback loudspeaker by loudspeaker
• Special spatial compositions and 

• The whole playing aura // the notion of micro-perception, the notion of gestural and multi-sensory intertwinement, the notion of well tempered body, space and mind).

Lecture

17.11.2018 | 19h00-20h00

10-years of Electronic Instrument Making - A creative journey using technology for musical expression

Tomás Henriques

Abstract

The talk will showcase a group of different electronic musical instruments created by the author over the last decade, and the software that brings them to life. It will cover the instruments' technical features and how they closely relate to their musical capabilities and foster new music performance paradigms. 

Issues related to human-machine interaction such as interface complexity, data feedback and personalization of interaction will be discussed. The challenges of working with ephemeral technologies to create new musical interfaces will be addressed as well.  

Biography

Tomás Henriques is a composer, inventor and educator. His music includes pieces for acoustic instruments, both large and small formations, as well as music for electronic and mixed media. They have been performed at international Festivals, including - Musica Viva Festival, the Festival Synthèse, the Logos Festival, the North American New Music Festival, the June in Buffalo Contemporary Music Festival, the Gulbenkian Contemporary Music Festival, the 3rd Practice Electronic Music Festival, the Art Series Now Festival, etc. 

Dr. Henriques' creative research is wide in scope. He won First Prize at the 2010 Margaret Guthman Musical Instrument Design Competition, with the invention of the “Double Slide Controller,” a slide trombone-like electronic instrument. His "Sonik Spring", a hand-held interface that translates force and 3D hand-wrist motion information into sound and visual data, was granted two full US patents. From 2010-13 he was the Principal Investigator of the “See-Through-Sound” international research project, aimed at helping visually impaired individuals ‘see,’ using sonic cues. Recently Dr. Henriques teamed up with Yamaha engineers to develop a 52.1 surround sound system installed at Ciminelli Hall, for which he created the software for panning of multi-channel sound.

Dr. Henriques teaches theory, composition and electronic music at Buffalo State where he is the coordinator of the program in Digital Music Production.

18.11.2018

Conferências #3 | 10h-11h20

'industries, policymaking and sustainability'

10h00-10h20

Sustainability at one click distance
Pedro Carreira [Planetiers]

Sustainability at one click distance - nowadays everybody wants to have its part on sustainability transformation, and if they don't, probably they will not strive. Social and environmental impact are 21st century concerns. Companies, entrepreneurs and NGOs are working to build products, services and movements but they are disperse around the globe... And internet. Can we put all you can do for the Planet in One place? That's Planetiers' main drive!

10h20-10h40

Policies and culture at the heart of sustainable urban development

Joel Preto Paulo [ISEL-IPL]

Abstract
The concept of sustainable cities or smart cities is currently a topic of great importance. With the availability of low cost technology, such as IoT, Internet of Things, it is now possible to monitor a wide set of parameters used in the management of a city, namely road traffic management, energy consumption, environmental parameters, etc. In this way, huge amounts of data are generated that need to be processed. This raises several questions that change the paradigm of the methods of management of a city and dialogue with the citizens, opening the way to a greater participation of the people in the policies of its municipality and inter municipality.Thus, the conditions for a new era in the way one looks at culture are created. In fact, new artistic aesthetics with a strong human or environmental interactive component are being generated throughout the urban environment, creating a debate between policies and culture.

10h40-11h00

Music, responsible design and the future

Carlos Alberto Augusto

Abstract

Music, like any other creative activity must follow the rules of design. Responsible design, as advocated by designers in the second half of the 20th century, appeared as a response to the threatening of an environmental crisis that scientists feared and was showing its first unequivocal signs during this period. The threat became a harsh reality but responsible design didn’t. Change is not just an option anymore. Music and composers have an important role to play in this change.

11h00-11h20

The sounds of inhabitants

Mohammed Boubezari

Abstract

By questioning the user's relationship to his lived environment through the auditory modality, a whole sound culture is revealed in its complexity and plurality, far from the reductive figures of the embarrassment and the complaint to which we have been accustomed to by the normative and media discourses. we found that beyond the phenomenon of sound comfort, the sound situations are constituted in signs and become significant: Is this the discreet and everyday music of the inhabitants? an ordinary soundcsape or a metalanguage?

Biographies

Pedro Carreira

Scout, sportsman, eternal student of geological engineering and mining at IST. He fell in love with the environmental area during the optional GTVR discipline of the master's degree in environmental engineering. Leaving the master's thesis in the mining area to "tend to infinity" ... he completed an internship in the environmental consultant, 3Drivers, at the same time had contact with the entrepreneurship by the junior company of the IST, Junitec (IST). After a trip to the entrepreneurial environment of Berlin and a volunteer campaign at the 1st Web Summit in Lisbon, he met Planetiers co-founders. Ending "drop everything", wear the jersey and become a Planetier, today is Operations Director of the startup that aims to bring together everything we can do for the planet in one place!

Joel Preto Paulo
PhD in Electrotechnical Engineering and Computers by Instituto Superior Técnico (IST), in the area of ​​Room Acoustics - Measurement techniques using perceptual models. Adjunct Professor of the Higher Institute of Engineering of Lisbon (ISEL). Researcher of the Group of Acoustics and Noise Control of CAPS - IST. He is a member of the Audio Engineering Society (AES) and the Portuguese Society of Acoustics (SPA). The main areas of interest in R&D are: experimental techniques for room acoustics, multichannel sound, beamforming techniques, 3D capture, location and identification of sources, digital audio signal processing, psychoacoustics, statistical learning methods applied to music and noise, intelligent cities and entrepreneurship.

Mohammed Boubezari

Algerian and Portuguese architect, PhD. in architecture, architectural and urban ambiances option, at CRESSON France laboratory. Currently lives in Portugal where he leaded at Parque EXPO, the study of the Strategic Plan for Urban Development & PDAU 2015-2035 (Masterplan of land use and urban planning). He has collaborated on several research projects, particularly on sociability and media at the beginning of Internet practices. He worked on sound comfort in an inhabited environment whose thesis is published. Has filed a patent from which he spent several years developing a predictive method of representing the soundscape. He is a soundscape consultant. Currently certified architect in Algeria for the second time after a first period in the 90s. He is also a consultant to the Wilaya of Algiers on the management of the Plan of Algiers and to the CNERU (Centre Nationnal, d’Études de Recherches en Urbanisme) for the study of urban detailed land use plans and the new sea-side of Algiers (Façade d’Alger).

18.11.2018

11h50 - 12h50

Concert #4

‘environmental activism in art’

Robert McClure — in excess 

in excess explores the vast amounts of waste humans produce on a daily basis. This general observation was magnified during my time living/working in China. Excessive packaging accompanied nearly all products in a vain attempt to elicit a feeling of luxury in the consumer. This plastic packaging served as the primary sound producing material. Plastic sounds are put through numerous processes, both sonically and spatially, in an effort to overwhelm the listener just as physical plastic are overwhelming the Earth, particularly the ocean. Waves of plastic swirl around the listener while other plastic sounds have been filtered and colored with pitch; tainted. 

This work was written in conjunction with the oboe solo, "struggling". The two pieces can be performed simultaneously under the title, "struggling, in excess". Taking cues from the oboe solo, balloons were used to simulate multiphonics; an important sound character for "in excess".  The balloons scream through the din of plastic as their last breaths are extinguished under the weight of our excess.

Alberto García Aznar — P2_001 

P2_001 is part of a compilation of pieces created in August 2018, on the occasion of the exhibition Hacia Valtuillle de Arriba. This showcase was held at a small village in the north of Spain called Valtuille de Arriba, and its vertebral axis was a dialogue about intangible heritage, memory, cultural identity or the idea of a spot itself. Therefore, this exhibition tried to create a space for thinking about the collective memory of the village, a remembrance of traditions, legends, landscapes, vocabulary… These are the issues that compose the concept of P2_001 and all the other pieces of the compilation. In this vein, P2_001 and its partners are the result of a research on how we relate to new places as foreigners, as ‘an other’. What stimuli do we receive from a new place during our first contact? Is it possible to have a reliable idea of life and culture there? Do we act as a filter of all these inputs? These questions were some points that structured the creative process. In the composition of P2_001, I used sound recordings taken by some villagers themselves as my raw material. First with a deep listening of those sounds, and after through manipulation and mixing of them, I try to establish in my mind an (imprecise) idea of what Valtuille de Arriba is like. This piece is the result of all those treatments.

From my point of view, environmental activism has to do not only with wild nature or ecology; it’s a broader concept, in line with the breadth of the idea of sustainable development itself. Rural villages have always had a close connection with nature which surrounds them. Not only because of agriculture, but also in relation to the way its inhabitants deal with daily life and environment. Their relation with nature conditions and defines how these people conceives the use of resources, social relations, mobility, distribution and care of the home or preservation of cultural traditions and signs of collective identity. Protection and recognition of these issues is also an important task if we work in the field of activism and environment, and art can be a powerful way to make it count.

Jacob Miller Smith — Subsurface 

Subsurface features sounds recorded from sources of carbonated water as well as found trash that carbonated drinks are packaged in. It is a criticism of litter and trash found throughout our environments as well as an examination of the role of packaged water in a desert environment. All materials used were recycled after recording.

Ryne Siesky — ...grind... 

Each year, approximately 500 billion plastic cups are used, of which roughly 6 billion cups end up in landfills every year. ...grind... is an 8.1 channel fixed media piece in which a one-second sound file of a plastic Keurig coffe pod hitting the floor is morphed into more destructive sound forces, symbolic of the faulty business and political ideologies that ultimately contribute to a lack of environmental sustainability. The vast majority of this work was created with Richard Garrett’s “Audio Spray Gun”.

Paolo Pastorino — Threshold - unbalanced system 

"Threshold - unbalanced system" is a composition that refers to the concepts of noise and the problems related to its perception and endurance. It manifests itself in different forms and timbres; it is a product that derives from man's transformative and intentional processes; it imposes itself, it stratifies, saturates the environment and modifies it. Through dynamic contrasts, sudden breaks with silence and masses of sound independent of each other and without a precise identity, I wanted to give a personal interpretation to the problem of noise and tolerance to it.

David Jason Snow — Walden morning

Walden morning is a byproduct of my collaboration with French choreographer/ cinematographer Aurore Biry on the 2018 dance video Ballet de la Nuit, which was sponsored by the Festival International de Vidéo Danse de Bourgogne. Following the example of illustrious composers like Aaron Copland, Leonard Bernstein, and John Corigliano, who adapted their film scores for the concert stage, I excerpted a segment of my hour-long electroacoustic score as an independent musical work, augmenting it with new audio material. The resulting composition can be interpreted as a synopsis of the larger work from which it derives, with the source work’s numinous, environmentalist subtext made more explicit: Walden morning is a study in deep listening, a meditative polemic aimed at sensitizing listeners to the emancipating joy that accrues from aligning human aspiration with the cyclic flow of the natural environment.

Patrick Ananta Sutardjo — natural spaces


My electroacoustic work in stereo for four speakers surrounding the audience is a musical art work of environmental activism to plead for the protection of the environment and human, technological robotic and the animals’ living spaces on our planet. The work is an organic rendering of natural spaces in sound as a sign and signal for us to care for nature and preserve this planet for future generations to come.

Ryan Woods — Featherless Bipeds

Featherless Bipeds is a chronological, narrative piece following the imagined rise and fall of humankind (featherless bipeds). Humans once lived in relative harmony with the rest of the natural world. Currently we are in the Anthropocene destroying the world’s ecosystems and indeed, ourselves. The world will heal once we are gone. Massive change is needed now if we are to avoid this narrative. Hold your governments to account. Hold the multinationals to account. Hold yourselves to account.

Biographies

Robert McClure’s music attempts to discover beauty in unconventional places using non-traditional means. Visual art, poetry, the natural world, neurological and mathematical concepts are elements that influence McClure’s works. His work has been featured at festivals including NYCEMF, the Sonorities Festival of Contemporary Music, The Beijing Modern Music Festival. the Toronto International Electroacoustic Symposium, SEAMUS, and ICMC. 

His works may be found through ADJ·ective New Music LLC, Bachovich Music Publications, Imagine Music Publications, Innovative Percussion, Media Press, Inc., Resolute Music Publications, and Tapspace Publications as well as on the ABLAZE, Albany, and SEAMUS Record labels. His piece titled, "a veil" was recently recorded and released by pianist Lucas Wong on his album "Remembering Debussy".

Robert received his doctorate from the Shepherd School of Music at Rice University where his primary mentors were Shih-Hui Chen, Arthur Gottschalk, and Kurt Stallmann. Robert has previously held positions at the Shanghai Conservatory of Music and Soochow University in Suzhou, China. He currently serves as an Assistant Professor of Composition/Theory at Ohio University.

Alberto García Aznar, born in Tarazona (Zaragoza, Spain) and based in Madrid, is a sound artista and student of Audiovisual Comunication and Journalism double degree. In addition to his university education, he participated in many courses related to contemporary art, such as the ‘Non-Master of sound art’ (Negra Centre from AADK Spain) or courses from ‘School of Arts’ at Madrid Circle of Fine Arts (‘Cultural management’ and ‘The art of exhibition. Theory and practice of curating’). Furthermore, he has participated in many workshops from various artistic fields (electronic music, performance, improvisation, photography, fanzine…).

His interest in contemporary art has risen exponentially since he arrived to Madrid, thanks especially to the Equipo project at Reina Sofía Museum, an educational initiative which Alberto has been a member of for some years. He also worked at some radio stations, emphasizing his role as sound technician and conductor at the cultural station Radio Círculo. Nowadays, Alberto develops his own art projects in sound art and experimental music, and also in fanzine and happening. All of that from diverse interests and subjects, individually and collectively. Finally, we mustn’t forget that Alberto express a friendly assiduity to black coffee.

Jacob Miller Smith (b. 1992) holds a B.M. and M.M. in Music Composition from the University of Alabama and is pursuing a D.M.A. in Music Composition from Arizona State University in Tempe, AZ. He has studied composition with C. P. First, Peter Westergaard, Amir Zaheri, Jody Rockmaker, James DeMars, and Garth Paine as well as conducting with Amir Zaheri. He is an active collaborator with student performers and groups, and has had numerous performances across the US, as well as South America, Europe, Asia, and Canada. His work and research primarily involve the influence of acoustic ecology and nature as well as interdisciplinary collaboration. He has composed for soprano Amy Little, hornist Madelyn Cook, and pianist Luciane Cardassi. Jacob Miller Smith is a member of the Society of Composers Inc. (SCI), the American Society of Composers, Authors, and Publishers (ASCAP), and the College Music Society (CMS). He hopes to continue composing, conducting, teaching, and collaborating throughout his career. More information can be found at www.jmsmithmusic.com

Siesky's music is deeply rooted in aestheticism, visual arts, psychology, and modern jazz. His music has been performed by Hypercube, Phoenix Brass, Jonathan Forbes, among others. Ryne graduated, with honors, from Virginia Commonwealth University (VCU) and is currently a Graduate Assistant at Ohio University where he works to earn his Master's in Music Composition with Dr. Robert McClure. His works may be found through Talent Music Publishers (Corona, CA). Ryne is currently an Adjunct Professor in Music Theory at Hocking College.

Paolo Pastorino (08/12/1983) is an electroacoustic composer.

Since 2006 he starts to work as sound engineer for some Rock, Industrial and Nu-Metal bands. He studied and graduated in computer music and sound technology at the Conservatory of Sassari and he is specialized in new music technologies at the Conservatory of Cagliari. He has participated in several master classes held by artists such as Jean Claude Risset, Curtis Roads, Bernard Fort, John Chowning, Yann Robin, Eckart Altenmüller, Michelangelo Lupone and Tolga Tüzün. In 2014 he attended an artistic training internship at the Rome Music Research Center under the guidance of Michelangelo Lupone.

His works have been presented/selected at NoiseFloor festival (UK), BBC Radio 3, Sound Spaces (Sweden), NYCEMF (New York), Mantis Sonification festival (Manchester), Sonorities festival (Belfast), Spot - Octandre (Bordeaux), VERV (Venice), OUA Electroacoustic Music Festival (Osaka University Of Arts), Dias de Música Electroacústica (Portugal), Homeostasis lab Biennale, Festival Contemporanea Acusmatica (Udine -Italy), Festival SpazioMusica (Cagliari - Italy), PLAY900 (Museo Novecento - Firenze - Italy), Festival MUSLAB (Buenos Aires - Argentina), Datscha Radio 17 festival (Berlin), Microtopies (Barcelona), Elektro Arts (Romania), Klingt gut! International Symposium on Sound (Hamburg), Forum Wallis - Festival International de Musique Contemporaine (Switzerland), Seoul International Computer Music Festival (Asia Culture Center, Gwangju), EX_NIHILO (Mexico), NSEME Louisiana State University (USA), San Francisco Tape Music Festival (USA), Mixtur (Barcellona), NWEAMO Festival (Tokyo), CIM (Cagliari - IT), EMUFest (Rome - IT), CIRMMT (Centre for Interdisciplinary Research in Music Media and Technology - Montréal), 3ème Concours International de Composition pour un instrument acoustique et dispositif électronique (Bourges, France), Inter #6: experimental sound for loudspeakers (Glasgow - UK), DronesTruck Como (Midway Parkway St. Paul, Minnesota‐USA), Galleria comunale d’arte di Cagliari (Italy).


Patrick Ananta Sutardjo was born in Aachen, Germany in 1978, his mother German, his father Indonesian. He graduated from Gymnasium and studied music at the University of London, Goldsmiths College, with BMus and continued his studies in composition at the Musikhochschule Karlsruhe with Prof. Wolfgang Rihm for Diplom and Solistenexamen. Patrick A. Sutardjo lives in Frankfurt am Main and works as composer, musician, teacher for music and arts for elementary school and as piano and guitar teacher.

The compositions of David Jason Snow have been performed in concert by the Ensemble Intercontemporain at the Centre Georges Pompidou in Paris, the New Juilliard Ensemble at the Museum of Modern Art in New York, the American Brass Quintet at the John F. Kennedy Center for the Performing Arts in Washington, D.C., and numerous other artists and ensembles at venues in the United States, Europe, Asia and Africa. His acousmatic compositions have been presented in concert by Espacios Sonoros in Madrid, Spain, the DI_STANZE Community Festival of Sound Arts in Rome, Italy, Video Remakes in Venice, Italy, New Adventures in Sound Art in Toronto, Canada, Radiophrenia in Glasgow, Scotland, and the MAARBLE project of the European Space Agency in Rhodes, Greece. Snow has been awarded artist grants from the National Endowment for the Arts, the Maryland State Arts Council, and ASCAP, and composition prizes from BMI, Musician magazine, and Keyboard magazine. He earned degrees in music composition from the Eastman School of Music where he was awarded the Sernoffsky, McCurdy, and Hanson composition prizes, and the Yale School of Music where he was awarded the Osborne-Kellogg composition prize. Snow's principle teachers were composers Joseph Schwantner, Warren Benson, Samuel Adler, and Jacob Druckman. Snow resides in New York where he is a reference librarian at the Lila Acheson Wallace Library at the Juilliard School. His music can be heard on the Albany and Summit record labels, and at his website NewAgeAvantGardeSmoovJazz (http://davidsnowmusic.org).

Ryan Woods is a sound artist and electroacoustic composer based in Manchester, UK. His work is often concerned with ecological issues, soundscapes and place. After completing an undergraduate dissertation in music and sound art’s potential role in creating ecological sustainability, he is now undertaking a Masters in Electroacoustic Composition at the University of Manchester. His current focus is on exploring sonification of environmental data in electroacoustic composition as well as community soundwalks as a method of engagement with place.

Conferências #4

14h30-16h00

'sustainability as a way of life'

14h30-14h50

The bicycle factor

Ricardo Ferreira [MUBI]

Abstract

There’s hardly any more efficient way for a human to move around than on a bicycle. And, in an urban environment, up to distances of about 6/7 km, it’s also the fastest mode. Yet, you move through the city streets at a speed that doesn’t disconnect you from the environment, keeps you in touch with the people around you and your senses are all constantly receiving stimuli.

14h50-15h10

Cátia Curica [Organii]

Abstract

I´m Catia Curica, Organii founder and I´ll talk about how can we put sustainability in the center of our life and work to contaminate our familys, friends, companys and workers.

15h10-15h30

sustainability as a way of life

Inari Virkkala

Abstract

At current, she is trying to find a way to live with producing less than 2000 kg of co2 annually. Inari will present strategies of low carbon living in personal and urban planning scale.

15h30-16h00

Let's forget about sustainable culture and connect instead

Tom Van den Steen

Abstract

Sustainability generally spans the social, economic and environmental realm, with the cultural and intergenerational dimensions woven as a thread between these three. A closer look at the way we engage with sustainability and talk about it, learns us that we're nowhere near an approach that will indeed allow us to live fully in the present without compromising wholesome lives of future generations. In this presentation, we will connect through linguistics, quantum physics, political economy and permaculture with the unity that permeates the universe and - by extension - our lives. We will come to see "sustainability" as an element that separates us from life instead of living it at face value. Any solution to the tremendous challenges we've created ourselves needs to be congruent with the state from which we've departed: connection, with one another and with the world that surrounds us.

Biographies

Ricardo Ferreira

Bikes are an important part of my life! I’ve been riding them almost nonstop for 45 years... (maybe 40, as I first had to learn how to walk). I ride to, at and from work with the joy of using mostly my energy to quickly reach my destination. And, on my days off, I go for a ride. 

It wasn’t always like that, but a set of two wheels propelled by a pair of pedals has always been there. 

In 2003, I became a self-employed professional web-designer and an adventure sports facilitator and team-building events organizer. For the last 4 years, I’ve also been a bike tour guide. 

In 2009, I joined MUBi - Associação pela Mobilidade Urbana em Bicicleta where I’ve come to realize the importance of the bicycle as a social tool. 

It’s not just my main mode of transport, or my hobby, or my working tool. It connects me to the city and helps me bonding with everyone and everything around me. 

Inari Virkkala is a Finnish architect with a strong focus on social & ecological sustainability. During the last years she has worked as the director of urban development at the City of Kerava, architect at B&M Architects and as an entrepreneur with a communicative and social impact focus via VdV Architects and Nordic Works Architecture collective.

Tom Van den Steen is a student of life, currently living with his partner and her son in Bogotá, Colombia; a humanist, building bridges across cultures and knowledge; a systems thinker, using analytical skills and innovative methodologies to facilitate change processes; a communicator, translating complexity into digestible language and supporting others in bringing their message across in more effective and clear ways. 

8+ years of work experience in the international development and human rights sector in Europe, Latin America and Africa, with a particular focus on local development, multi-level and multi-actor governance processes and innovative partnerships.

Concert #5

16h30-17h30

Aleksandra Nygaard Djordjevic soprano

1.) Cançao 1 - Brites de Alemeida - Music by Sílvia Mateus, Original Libretto by Élio Oliveira - 2011
2.) Sequenza iii - Luciano Berio, Text from Markus Kutter - 1965
3.) Calliope - Music by Cecilie Ore - Text from Gertrude Stein - 1984

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Marie Takahashi viola d'arco
Ernesto Rodigues viola d'arco
Helena Espvall violoncelo
Hernâni Faustino contrabaixo
Mariana Carvalho piano 
Carlos Santos electrónica
João Valinho percussão

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CALL FOR MUSIC
Festival DME is pleased to announce a call for music integrated in the symposium ‘Culture and Sustainable Cities’, that will take place in November 16th to 18th, 2018, at Lisboa Incomum — http://www.lisboaincomum.pt/ . 
It will feature concerts, conferences, workshops and an audiovisual installation. 
This call is open to composers of all ages and nationalities. 
There is no submission fee.

Guests are scientists and artists from countries such as Portugal, France, Sweden and Denmark, among others.

We seek to provide a platform for debate and presentation of electroacoustic music that relate to the following categories: 

cat. 1 - soundscape and acoustic ecology;
cat. 2 - urban mobility and sustainability;
cat. 3 - environmental activism in art.

The Organizing Committee will be pleased to receive music proposals with the following characteristics:

- Electroacoustic music pieces with a maximum duration of 10 min.
- Up to 8 channels;
- Audio in .aif or .wav format;
- It is possible to send pieces with a video component (.mov or .mp4 formats);
- Only one piece per each category defined by the author will be admitted;
- Submissions should be signed by the author (authors) and pseudonyms will not be admitted.

SUBMISSIONS
All participants must register electronically and attach a ZIP file containing the following:
1. A short text indicating the submission category, including an explanation on how the music relates to that category (max. 400 words).
2. High resolution photography of the artist.
3. Short biography;
4. Program notes concerning the piece;
5. Signed consent letter where the author consents and authorises the promotion of their work excluding the cultural society AFEA / Festival DME / Lisboa Incomum of any fee, responsibility to associations, or copyright entities and grants permission to promote their work at the concerts, activities and radio broadcasts associated to the announced event. All pieces that are signed in a record company must state this in a letter along with the permission from the record company to be promoted through Festival DME's announced event.
6. Link to a downloadable full length composition in .AIF or .WAV format (we suggest Dropbox, Google Drive or OneDrive).
7. Attach a stereo copy of the piece in .mp3 format.

Proposals should be sent to [email protected] before October 7th, 2018, 11h59 pm (UTC).

The program and other information can be found at http://www.festival-dme.org/2018/08/culture-and-sustainable-cities.html.

The CALL FOR MUSIC will be peer reviewed by:
- António Sousa Dias (FBAUL, CIEBA)
- Dimitris Andrikopoulos (ESMAE-IPP)
- Jaime Reis (ESART-IPCB; ESML-IPL; INET-md - FCSH-UNL)
- João Pedro Oliveira (Universidade de Aveiro; INET-md; UFMG)