linda-i was our first incursion into the exist nowadays in Russia for experimental bilingual format, seeking to reach readers music. around the world: we had people reading us from Sweden, Thailand, Angola, Senegal, In addition to the texts by our regular Iceland, China, Japan, Ireland. That issue, authors, we have four new contributions our second compilation of articles, had written especially for this linda-ii : the one foot in Sweden, since it included an already mentioned interview by Luis Felipe interview made by Sérgio Abdalla with Labaki and another three articles by special Swedish composers Eva Sidén and Jens guests. Aline Vieira shares her experiences Hedman. in the organization of the Perturbe festival in the city of Curitiba; Daniel Puig brings us This present issue is already our third an account of his participation in JIM2014, compilation of articles published fortnightly in Bourges, France; and Marcela Lucatelli by our authors in our website, once again in writes a poetic text, bilingual, trilingual, the bilingual format (English/Portuguese), multilingual to its core, multiplying the comprising the last three months of multi-territorial intention of this publication. activities. In this anniversary month for NME (3 years!), The trimestral compilation allows new we invite you to explore with us what we connections to be established between have been calling here electroacoustic these texts originally published in different culture, by reading linda weekly, attending iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii moments. In the specific case of this issue, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii our concerts and being part of our group of iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii some thematics seem to be particularly partners. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii recurrent: the composer in face of its work, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii And, linda-ii in hands, we wish you a most iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the search for new modes of listening/ iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii pleasant reading! iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii hearing and, with a special emphasis, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the existence (or not) of venues for iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii electroacoustic and experimental music. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii This time, we have a foot in Russia, as Luis iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii linda iiiiiiiiiiii Felipe Labaki interviewed Alexei Borisov, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Boris Shershenkov and Marina Poleukhina Luis Felipe Labaki and iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii to try to understand what kind of spaces iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Sérgio Abdalla iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii INDEX (8-12) The Sound of The (38-41) AUSCULTATE World Cup Bruno Fabbrini Lilian Nakao Nakahodo All literature about electronic music must be Escaping the good manners of texts about (42-45) Trad.li(e)btum written in German. If real Philosophy can only contemporary music, this linda-ii is not be good in German, why should it be different speaking to us in Greek. It speaks about (14-16) Why experimental? Marcela Lucatelli when it comes to our Elektronische Musik? the World Cup, about Vila Madalena, about Julia Teles Even the enlightened Musique Concrète hearts, about Cage’s 4’33”and many other (let us hope the two Pierres don’t read me light thematics that end up in complex (48-51) I paid for this little here) sounds better germanophonically, subjects with inspiring conclusions. In an (18-21) Music in the sound not to mention the wonderful easy reading, it makes ordinary the exercise expanded field Sérgio Abdalla Acousmaticspecternoisecomputational: of thinking about sound in the world, as if Luisa Puterman way better in German. the music of noises was always there, within a hand’s reach. (52-55) Perturb(Mut)e In that sense, this linda-ii (bilingual, by the way) is a complete failure! There’s no If I were them, I would make a version in (22-25) A PIECE WITHOUT A Aline Vieira German, no French, no preface by somebody German. COMPOSER who speaks German, but there’s a Russian Francisco de Oliveira (56-62) INVENÇÃO: S. Paulo’s story. Thank goodness. Venue for the New Music A daily user of sound, an aural and GUI (26-29) stockhausen Tiago de Mello (Graphical User Interface) Friendly militant, I still get shocked by this NME gang. I’ve “Festival” seen them composing in free softwares, Ivan Chiarelli (64-69) Bourges AND theremin, making videos accompanying a synth, images following timbres, txt files JIM2014 being transformed into music (from where (30-31) Lukewarm Daniel Puig I come from, music is wav, doc is Microsoft Natália Keri Word and mixing is done in Protools — with (70-80) From Russia: a colorful plugin, preferably) and, if that wasn’t enough, they now have come up with (32-35) Binaural walking DOM, ESG-21, RTM this magazine thing. Fernando Henna Luis Felipe Labaki Luis Felipe Labaki iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii 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iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii The sound of the WOrld Cup Lilian Nakao Nakahodo linda #15

ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii (...) World Cups are experts in anticipating things. I even saw the end of my childhood ii ii ii ii ii ii ii ii ii ii in a flash: it was on July 5, 1982. When ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Brazil and Italy began to play I was a iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii 14-year-old kid. At the end of the match, iiiiiiiiiiii turn the streets iiiiiiiiiiii a full beard had grown on my face, iiiiiiiiiiii into concrete deserts , iiiiiiiiiiii which makes it possible iiiiiiiii almost reaching my chest. And while iiiiiiiiiiii to experience iiiiiiiiii iiiiiiiiii my childhood entered the locker room iiiiiiiiiiii the most beautiful iiiiiiiiii tunnel and disappeared forever with Zico, iiiiiiiiiiii urban sound effect . Socrates and others from the crew, I tore iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii my first gray hair (...) iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Joca Reiners Terron, in The end of the iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii childhood. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Have you noticed how personal memories houses, places like restaurants and gas the spotlight: silence or noise, depending the sound - and not just from the object seem to earn a seal of quality when mixed stations, on tv, internet and AM radio. The on one’s state of mind, situation and point itself. to important social events? I think that the 2010 World Cup, though, was the Cup of of “view”. Intercultural accents, prejudices World Cup, especially when experienced indifference - not that it passed unnoticed, and emotions, to include a bit of the torcida Based on this guide book, I would say that “from the inside”, is a kind of event that but it represented an isolation period, a semantics, are also presented in different there is an unusual sound effect, which praises our memories - like a backdrop studio-confined stage of life. The 2006’s ways, through sound expression. From the can only occur every four years in some that supports individual experiences was emotionally turbulent, punctuated acoustic perspective, it is a sound that, in countries that have developed a more and connect them to an exciting cultural by encounters and clashes between the its collective result, presents a peculiar and affective relationship with soccer. Augoyard moment around the globe. matches. And so on. rich design: valleys of expectant silence are and Torgue call it “envelopment”: the feeling broken by near levels of white noise - many of being surrounded by a sound body that The 2014 World Cup is a special one because From the aural perspective though, which voices together becoming unintelligible, has the ability to create an autonomous, it is being held in Brazil. Ok, that’s so last is our main focus here, the large scale however nuanced - while peaks burst in big dominant over all other substantial features year, you might be thinking. But really, as collective events, besides being a potential plays or failures. of the moment. Thus, “most often it provokes we could feel on the fly, it affected our lives landscape for memories, are also special reactions comparable to bewitchment - in a direct and chaotic way. I’m sure several occasions to perceive extraordinary sound In their excellent book Sonic Experience: staggering, delightful. The accomplishment colleagues also had some level of hardship phenomena. The outstanding sound mass A guide to everyday sounds (translated of this effect is marked by enjoyment.” in their lives due to changes in ongoing of fervent supporters is one of the few (if not to English in 2009 by Andra McCartney In this effect, the sound source is diffuse projects and deadlines in order to keep up only) human sounds that are audible over and David Paquette), Jean-François and present everywhere, surrounding the with the games. Some also had to dribble great distances without the use of external and Henri Augoyard Torgue present a listener from every way. delayed construction sites throughout the devices or electronic amplification systems. taxonomy for phenomena they call sonic/ streets, changing plans day by day due to I live five blocks from the main stadium in sound effects. In the book, they propose I don’t even care about soccer. But, like an the matches’ schedule. Anyway, being in my city — Curitiba, one of the 12 stadiums an analytical tool, created from the need ordinary supporter, I hoped the Brazilian Brazil or not, in favor of or against it, every that held the WC games -, and I know when for a classification of aural experiences in team would win. And I hoped that the World Cup is a striking topic in the world of a team scores a goal three seconds before the everyday scale, taking into account the victory would come in a hard way, with personal events. the radio tells me. unique morphological features of the urban overtimes and penalties. Because these environment. Those phenomena are termed are the matches that turn the streets into 4’33” As an example, this year’s World Cup, for me, As in John Cage’s , staying tuned to the effects, as they result from the relationship concrete deserts, which makes it possible 1 is closely related to a new creative challenge sonic background of the soccer matches puts between observer and the object that emits to experience the most beautiful urban and a different vacation trip, watching every us on another level of communication: it is sound effect, in my opinion. The celebration game in a different way - different cities, one way of perceiving the background behind of the goal, specially at the finals, is an

1 goo.gl/YMUW0Q iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiii exclamation mark for the ears, breaking a iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii COM ING SOON , iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii routine of uncertainties and pluralities. It iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii ARTISTS WORLD CUP iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii is a moment to enjoy a spontaneous festive iiiiiiiiiiii This article was written before the fateful iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii with anna kinbo m iiiiiiiiiiiiiiiiiiiiiiii sound, produced by any sound tools available iiiiiiiiiiii match between Brazil and Germany. iiiiiiiiiiiiiiiiiiiiiiii within a hand’s (or mouth’s) reach, from iiiiiiiiiiii On that day, besides the silence on the every direction, on a monumental scale. A iiiiiiiiiiii streets, there was silence in the heart of iiiiiiiiiiii rich body of sound2 , spread and reinforced Brazilians.. ii ii ii iiiiiiiiiiii along the corridors and walls of the empty iiiiiiiiiiii city. Quite distinct from the constant drone ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii ii iiiiiiiiiiii we are used to on urban environments, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii created by the non-stop traffic. iiiiiiiiiiii iiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii If you would have enough detachment to iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii stop watching the match and going to the iiiiiiiiiiii Lilian Nakao Nakahodo iiiiiiiiiiii street during the final matches, you could is a pianist, sound designer, audio editor, iiiiiiiiiiii have an unforgettable listening experience. researcher of sound mappings. She watched iiiiiiiiiiii An experience that touches the heart not a single live soccer game in a stadium when iiiiiiiiiiii only because of the emotional content she was a child. She slept the whole time and iiiiiiiiiiii intrinsic to the game, but, beyond that, woke up only when the crowd celebrated a iiiiiiiiiiii because it’s a pure expression of ubiquitous scored goal. iiiiiiiiiiii collective catharsis, stated out loud: a rare iiiiiiiiiiii and engaging unison, reminding us that we soundcloud.com/lilian-nakahodo iiiiiiiiiiii are cultural beings that converge and are iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii moved by certain things, such as a fantastic iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii goal - whether we like soccer or not. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii 2 iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iii Listen for free at iiiiiiiiiiii goo.gl/7mt9ge iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii nmelindo.bandcamp.com iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Experimental isn’t a music genre, but still, it Many things that I’ve been listening to, on Why experimental? is a recurring word in our environment of soundcloud and other websites, I can’t frame independent electroacoustic music, maybe or determine whether it is experimental or the most used one. Depending on who says not. For example Antye Greie’s2 sounds. it and who listens to it, the communication In each track she renovates herself, I came up with a few hypothesis: works, one can imagine what to expect. But she doesn’t seem worried to label it as Julia Teles we can’t expect universality in such a wide experimental. Some tracks have a pop- • experimental is everything we linda #16 and vague word. music approach, with covers, mash-ups, compose from a practical experience, some are totally noisy, and that’s it. as an experiment, a test? Even I myself use this word to describe a kind of music that, in my mind, I know more or I know some people who don’t like the term ii ii ii ii ii ii ii ii ii ii • experimental is everything that tries less how it is, but I have the impression that experimental, and I do understand them. ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii to escape the rules and patterns of It may give the impression that the person iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the word is overlooked many times when I an established musical language? It may give the impression iiiiiiiiiiii speak to people who don’t work with music using it doesn’t know what he or she is or in close fields. doing, having just experimented something iiiiiiiiiiii that the person using it • experimental is noisy? and gotten a random result. This way, iiiiiiiiiiii doesn’t know what he It is hard to judge between experimental or • experimental is what is intended to the music and the musician may not be or she is doing , iiiiiiiiiiii iiiiiiiiiiii non-experimental, because there isn’t only be fresh, new, and maybe improvised? taken seriously, as if the composer didn’t iiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii having these two rigid options, there is a whole just experimented iiiiiiiiiiii iiiiiiiiiiii have control over the work or procedures. • experimental is what doesn’t want to spectrum of possibilities and sonorities, something iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Sometimes I dislike the term too, because fit into specific categories and, thus, in addition to different understandings of iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii and it seems to keep us away from everything to have some independence, is put on the term. Maybe because of the absence gotten a random result iiiiiiiiiiii else being produced in the world, putting this wide category? of better words, we still use this one. Or us apart and identifying us as a different maybe because this way we can insert more One of these days someone asked me to group that doesn’t mix with others and • experimental is the opposite of pop? variety to the group we are referring to – it name a female experimental musician. uses its own vocabulary, when in fact it’s Is it music without a constant beat? can be instrumental music, electroacoustic, I thought about Laurie Anderson, the the opposite, we do want to mix with other improvisation, minimalist, noise – all of it 1 • experimental is to subvert the use kinds of musicians and we are not always so composer of “O Superman” , that I’ve been without having to justify of specify. listening to lately. My friend answered: She of tools and instruments, it is the different/weird (at least I speak for myself). unexpected? isn’t experimental, she’s pop! And I thought Maybe in the future I can plan a composition that she may be “pop”, but to me she sounds • experimental is everything someone and accomplish it, and it may correspond a lot more experimental than may others. chooses to call experimental? Then I thought about this word, experimental. What does it mean? 1 goo.gl/CLqsPl 2 goo.gl/XKfJHH almost perfectly to the project. Today, I iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii still can’t do it. I end up experimenting and iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii generating a lot of musical materials, in iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii order to choose the ones that fit better in iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the work, intuitively. For that reason, I think iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii that I consider my music experimental, in iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii this sense of testing. Maybe one day that iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii changes and I’ll stop using the term, even iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii though I don’t consider it offensive, just too iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii vague. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Julia Teles is a composer, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii thereminist and sound editor. She composed iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii and designed the sounds for lenz, um outro, a iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii theater play performed by 28 Patas Furiosas. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii She works with sound edition and effects for iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii movies and other musical projects, including iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii soundtracks. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii soundcloud.com/juliateles iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii

something similar to the everyday time and the silence (in the musical field) to the Music in the expanded field experience of perception in which the center of their pieces, Cage and Brancusi present man is accepted as being different invert the creative logic. This inversion from the child he was and simultaneously creates new criteria and other formal/ recognised as being the same. In a certain conceptual possibilities linked essentially way, this is a human mechanism to reduce to the problematics of the constructed/non- Luisa Puterman the time-space phenomena into something constructed and of the natural/cultural. closer and more comprehensible. linda #15 All these new compositions and movements This need of expanding the fields seems to protagonized by Luc Ferrari, Alvin Lucier, be a manner (a bit radical) of reviewing the Fluxus, La Monte Young, Cornelius Cardew terms which confront the constructed of and many others, made the notion of music the non-constructed and the cultural of the a bit obscure. The ideia that a term could natural, circumstance in which sculpture universally gather and authenticate a given The vast place of music, seeded by the possibilities of music, the term endured and music seem to be suspended. Here set of particles was replaced by the need of indetermination of innumerable elements, an elasticity test that, from World War it is necessary to make it clear that the covering such heterogeneity to the point of certainties, methods and parameters, is II on, included practically all types of problematics within these dichotomies are compromising semantic integrity. However, analogous to the imprecise and generous sound experimentation. As examples of discussed in various knowledge spheres it is visible that we still know what music 1 field proposed by Rosalind Krauss in experimental music, electroacoustics or by many authors. And, besides being an is, because there is some ineffable thing her text Sculpture in the Expanded Field2 , sound art, these manifestations questioned intriguing, infinite and extremely important that takes responsibility for the unification and subverted the old parameters and, thus, published in 1979 in the October magazine3 . matter, it is here just as a provocation. of these sound ideas. Krauss believes this enabled the music category, just as painting mutual agreement happens in historically The following words intend to dialogue with In these expanding flows one can say that and sculpture, to become infinitely pliable. built borders that are subject to temporal- the ideas built by Krauss on the semantic the composition 4’33” by John Cage and spatial changes. But this opinion is exclusive expansion to which the term “sculpture” According to Krauss, these operations that the sculpture Infinite Column by Constantin and directed to the sculptural production, was subjected. amplified the meaning and the categorical Brancusi symbolize a resumption and may perimeter of the so-called classical media because in the musical field this agreement During the twentieth century, curious present a new critical paradigm alternative maybe exists in a sensorial sphere, more are a reflection of the historicist thinking to the historicist one. These two works share creative efforts were labeled as music: that looks and understands the new through inclined to the sound stimulus per se and its the same reasoning: that by glorifying and performers pushing pianos and breaking an evolutionist perspective. In this context bodily consequences. bringing the base (in the sculptural field) violins; scientists amplifying brains, the new is familiar and in a certain way better cardiovascular rhythms; artists, arduinos, accepted and comprehended consisting birds, frogs, planes and trains passing of gradual mutations of known forms. among other innumerable actions that Thus, the historicist perspective works the superposed themselves to a categorical 1 Rosalind Epstein Krauss (1941, USA) is a historian and art critic. new and the different through processes 2 notion of the term music. In an act of that mitigate exactly the innovation and The full text can be at: goo.gl/DNJ42x broadening and enlarging the semantic the difference. In this procedure there is 3 Journal founded in 1976 specialized in theoretical writings about art.. Music, as any convention, pursues an internal not the landscape. The combination of the logic. In sculpture, this logic is bounded to exclusion processes linked to architecture the idea of monument, “object” that lies in a and landscape became responsible for given place and expresses a given symbolic expressing the expanded field’s paradigm. message about a fact or a feature. In a In a diagram, this idea is represented way, various compositions also carry these according to the image below, and, in a characteristics. There is nothing mysterious hypothetical and probably flawed analogy about this logic, apparently understood and with music, the terms may be replaced by used as a source of innumerable musical silence, sound, and music. and sculptural works. But conventions are ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii alive, and they change, thus with time the iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii logical system begin to fail or simply to be music is something iiiiiiiiiiii insufficient in an expanded context. Maybe it hasn’t been made clear that music or ii ii ii ii ii ii ii iiiiiiiiiiii Luisa Puterman iiiiiiiiiiii iiiiiiiiiiii you stumble upon any sound exercise is a possible sculptural lives and works with sound. Her researches 4 iiiiiiiiiiii iiiiiiiiiiii In the 1950s Barnett Newman said: when you perceive promise. Its reverberations, reflections, and and projects explore stories, possibilities, iiiiiiiiiiii iiiiiiiiiiiiiiiiiiii “sculpture is something in which the sound of air movements are responsible for composing problems, places, and other aspects about you stumble upon when you take distance iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii gestures that shape the air. It is likely that if iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii composition and sound perception. to observe a painting”. This ironic attempt iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii Barnet Newmann’s commentary was about iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii in defining what is sculpture punctuates iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii music, it would be “music is something you iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the beginning of the theories and theorems stumble upon when you perceive the sound iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Krauss created to understand new of air”. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii productions and its relations to the sculpture At the end of her text, Krauss emphasizes iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii category. In this process she identified a the fact that the expanded field happens iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii way built on a kind of ontological absence in a given moment of the History of Art. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii and a kind of definition through negation. Besides that, she says it has a structure iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii In these way of thinking, sculpture became that needs to be constantly mapped and iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii something that was inside or in front of a questioned, always in dialogue with new iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii building that was not the building itself, or critical paradigms that are not restricted iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii something which was in a landscape but was only to the logic of negativity. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii

4 Barnett Newman (1905-1970, USA) was an important american painter. A PIECE WITHOUT A COMPOSER Francisco de Oliveira The abdication or refusal to such project (that is, of total control) took place quite linda #16 instantaneously. First in instrumental music, Stockhausen – he himself a central character of the Elektronische Musik –, ii ii iiiiiiiiiiiiii ii iiiiiiiiiiii ii ii iiiiiiiiiiiiii iiiiiiiiiiiiii iiiiiiiiiiii ii ii iiiiiiiiiiiiii ii iiiiiiiiiiii iiiiiiiiiiii from his Klavierstück V (1954) on, would iiiiiiiiiiii ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii elaborate compositional strategies which iiiiiiiiiiii It would iiiiiiiiiiii aimed to make explicit the very variability iiiiiiiiiiii rather sound to me, iiiiiiiiiiii of the human performer: that a note played iiiiiiiiiiii for the first time , iiiiiiiiiiii on the piano would be kept sustained until iiiiiiiiiiii as a piece iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the pianist couldn’t hear it anymore; that iiiiiiiiiiii written iiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii certain passages would be played “as fast iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii by no one as possible”; that the surface form of a piece iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii would vary according to decisions taken by iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the performer during the very execution of such piece (1956’s Klavierstück XI is probably the most well-known example)... In the early days of the Elektronische Musik, In (purely?) electro-acoustical music – not around the early 1950s, composers would to mention live electronics or improvisations celebrate making music in which the final with digital interfaces – the itinerant result – the sounding music itself, with recordings of Luc Ferrari, as well as the its timbrical and rhythmical nuances – general understanding of the work involved would be controlled and established by the in sound diffusion as a creative one (and composers themselves; a music no longer variable, according to the characteristics subject to the intrinsically human variations of a presentation) were some of the ways of the performer. By that time, Boulez would through which electroacoustic composers compare this new métier of the composer would propitiate the participation of the to that of the painters, in which one creator other in their pieces. alone would be responsible for the oeuvre, from its conception to the brushstrokes. iiii ii ii ii ii ii ii ii ii Around December 2010, for a project rather sound to me, for the first time, as a the farm’s site etc. –, but by now the score between us and other souls.. iiiiiiiiiiii iiiiiiiiiiii developed along with Tiago (de Mello, here piece written by no one. Or else (I think it’s doesn’t need the composer anymore in iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii from NME ), I wrote a marimba and piano more accurate this way): a piece without a order to mean, to dialogue, to give way to iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii duo called para o Heri e para a Karin (“to composer. the other’s work (be it another composer, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Heri and Karin”), which was then played by a performer, conductor, electroacoustic iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii fellow performers Heri Brandino and Karin Since then, this perception has been recurrent performer...). By now the score is music; ii ii ii ii ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Fernandes, in their Argoláguas Duo. There in other pieces I write, progressively earlier without a composer. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii was a solo piano passage that I indicated in my creative process: usually, as soon as the score is done. I believe this is one of the two greatest graces iiiiiiiiiiii Francisco de Oliveira (through the score) to be played “mezzo composes. M. A. in musical composition piano, invariable”. Just before recording, involved in musical composition: that the iiii ii ii ii ii ii ii ii ii product of our work is free from us at the (Unicamp), currently develops a PhD in USP Karin complained that she would need and lectures in UNIR (Universidade Federal some dynamic variation in order to give In my last texts for linda I’ve been talking same time as it establishes a connection meaning to such passage. First, I insisted about a collective dimension of musical de Rondônia). composition: as we compose, we perceive that she should play it as it was written; as I iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii had no consistent reason for that indication, and operate meanings from other iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii though, at some point I let her play as she composer’s oeuvres and, by operating such wished. meanings, we act upon such pieces. (We could think of Western Music as a huge Better that way. If such “mezzo piano, garden, worked by many gardeners: a invariable” had no structural meaning in tree won’t stop growing because Scarlatti the piece, wouldn’t I solely restrict her job stopped pruning it; and it certainly will be as an interpreter by demanding it? Wouldn’t available to being further taken care of by it mean to inhibit the other’s participation in Haydn, if he wishes.) the piece? Once the score is ready, it contains I remember having an unprecedented feeling intelligence within itself. Of course such hearing Heri and Karin rehearse this very intelligence carries in it something of piece earlier in the day we would record it: I the composer in question – just like the certainly knew the piece, I knew how it was mountain carries its geological process made (it was a brand new piece by then), and cheese carries in its flavor the quality but I couldn’t feel that what I was hearing of the pasture, the health of the cattle, the was actually composed by me. It would purity and impurities of the air and water of

2013, a biennial event, alternating with the house. Besides his musical work, stockhausen “Festival” Darmstadt summer courses (which take Stockhausen was also a prolific writer: as place on even years). Although still nine of today, the publisher has in its catalog ten days-long, the event presents concerts volumes of the Texte zur Musik, and the 11th every night, besides masterclasses, is being produced. In them, there are many seminars and open rehearsals. In the 1970s, Karlheinz Stockhausen theoretical articles, essays, interviews and Ivan Chiarelli the like, in which the composer talks about conceived a festival dedicated to his own The Stockhausen Foundation2 is the entity linda #16 music, where young musicians would come his work and occasionally his life. Scores that administers all of the composer’s and texts published by other editors (such to Kürten to study and learn about his creative legacy. According to it’s statute (it oeuvre. After a three-month preparation as Universal Edition, Vienna, and DuMont has been ratified as a non-profit organization Buchverlag) may be acquired through the period, they would go out on a world tour in 1994), its purpose is “the advancement for another six months. composer’s publisher. One can say that his of musicology including the stimulation of work exists in a state of feedback of itself, Nearly thirty years later (in 1998), the first music culture based on the creative oeuvre propagating itself over and over in different edition of the Stockhausen Courses Kürten of Professor Karlheinz Stockhausen”. ways. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii was presented: nine days of studies Scores, books, recordings (in audio and iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii dedicated exclusively to the stockhausenian video), support material (tapes and similar), One might criticise the composer on iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii repertoire, under the tutelage and guidance everything Stockhausen is managed by it. his intent to control all aspects of his creative production and its related rights iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii of interpreters who had learned the works It is true that Stockausen’s life and work seem iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii (as Tom Service says in one of his texts, from the composer himself. The result of to, somehow, revolve around his own figure iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii “his apparently obsessive control of his studies and rehearsals was performed in – not as an individual, but as a creator and iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii publishing, performing and recording concerts at the facilities of the Stockhausen educator. His compositions are published by iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii 4 Foundation. 3 rights” ). Stockhausen’s image may iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the Stockhausen-Verlag publishing house, result somewhat ludicrous in that sense, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Meeting successful results, the courses which together with the Foundation, helps the composer at the center of the world, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii established themselves as an annual promoting the study and performance of his someone who relates everything he does to iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii event. However, due to the large number music, not only in Kürten, but world-wide. his own production. One might also criticise iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii of interested musicians who sought it in These are recorded in audio or video, and him for his role as “leader” of the post-war iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii a year-round basis, a partnership with then mastered and sold by the publishing avant-garde – as does Cornelius Cardew, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the Stockhausen Foundation was set. It iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii made possible to offer study positions for 1 goo.gl/79n4h2 iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii interpreters for longer periods than those 2 iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii of the courses. On account of that, the goo.gl/7DFouE iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii event – now called Stockhausen Concerts 3 goo.gl/qfyrtA iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii and Courses Kürten1 – will become, as of 4 goo.gl/kIMQZC in his critique of the European avant-garde lives exclusively out of his/her production; what and how to to do it, and to live on what iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Stockhausen serves imperialism5). all need to rely on “being” something else, they consider their profession. So, if on iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii either in the industry – as technicians, the one hand Stockhausen actually does iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii However, he might just have been the one professors, conductors, instrument players, seem (sound?) somewhat ludicrous, alien, iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii composer who, in the past 70 years, best producers –, or out of it. egocentric (in the etymological sense of iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii knew how to create financial independence the word), on the other I find it curious that iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii ii ii ii ii ii ii ii ii ii ii as a composer, capitalizing on his production one of the musicians who best knew how to iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii and on his position as the spearhead of a “defend his space” (market-wise) is often iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii musical vanguard. Stockhausen depended criticized for it. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii little on “complementary” occupations iiiiiiiiiiii it is important iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii as a professor, a conductor or a musical iiiiiiiiiiii to pay attention to one Then again, it is important to pay attention iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii technician – jobs that have kept music as an detail: iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii to one detail: what keeps composers going? iiiiiiiiiiii iiiiiiiiiiii Ivan Chiarelli pesquisa occupation at the service of others since the iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Creating an ensemble, group or collective relações entre forma, narrativa e researches times of Mozart and Beethoven. what keeps iiiiiiiiiiiiiiiiiiii iiiiiiiiiiii isn’t all that different from the ideal relations between musical form, narrative composers going ? iiiiiiiiiiii conceived by Stockhausen in the 1970s. and the imaginary for his M.A. at UNESP In recent years I’ve heard of musicians who iiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii When musical creators start operating (São Paulo State University). An artist-in- create their own groups, ensembles and iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii companies in order to insure a little edge residence at the Casa das Caldeiras, he was collectives (and it is not unusual for them iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii more to their income, isn’t that on the same a fellowship student at the CNDM (Madrid) to have a composer among their crew), iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii path as the foundation and the editor that invited by the Spanish Ministry of Culture, and searching for some musical space or niche iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii bear the German composer’s name? an awarded composer at the Música Nova that allows them to live professionally. I iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii festival (Brazil). He’s also part of the NME and care if you listen magazine6 has published iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Ultimately, I voice doubts related to the social (invisibili)cidades music collectives. aspects of the composer’s – and, to different a lot of articles on that topic (here7 is a And even though music professionals talk degrees, the musician’s – profession. Are list of articles tagged “entrepreneurship”, of professionalizing their numbers and we, indeed, aliens? many of which sound a lot like self-help demanding society take their métier more soundcloud.com/ivan-chiarelli material). That music is a difficult field, seriously, relatively few of us actually achieve iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii anyone in it knows; however, it seems to the conditions of doing what they will. Even iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii be particularly problematic for composers. in pop music, few get to be a Prince, a Miles iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii From all the ones I know personally, no one Davis, a Tom Jobim, with the right to decide iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii

5 goo.gl/B3xWtY 6 goo.gl/KVRDG6 7 goo.gl/uJqTIR

What are the words of the sounds? What iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Lukewarm sentences do they form? What kinds of text iiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii arise from music made of sounds? iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii When we thought of producing a magazine iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii on electroacoustic culture, we decided we iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Natália Keri couldn’t fill it only with words: sounds were iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Natália Keri, 27, from necessary. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii #14 São Paulo, has a degree in journalism from linda iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii We invited Natália Keri to think what words the University of São Paulo. Currently, she iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii come from what sounds, the stories of pursues a Masters Degree in Communication iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii written after the Presque Rien no. 1: Le lever each sound progression, the punctuations Sciences at the same institution. She co- iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii 1 authored of the book “O poder e a fala na cena du jour au bord de la mer , by Luc Ferrari of every silence. We also invited 10 iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii paulista” (Power and Speech in São Paulo’s iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii composers to write music that would be iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii Theatre), from 2008, on theatre censorship, in iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii set to text. These contributions are over, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii connection with the Miroel Silveira Archives. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii and it is giving birth to a book-double_CD iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii She works on communication since 2005, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii to be released this year. ii ii ii ii ii ii ii ii ii ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii currently at the São Paulo Municipality’s press ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii office. She’s been collaborating with Tiago de ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii iiii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Mello since before the foundation of the NME . iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Like many others, he is the way he is. He likes to be just like most people. It used to give him ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii relief to think that lots of people at that same time turned on the TV in a desperate pursuit of ii ii iiii ii ii ii ii ii ii iiii iiii iiii ii ii ii ii ii ii ii ii ii ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiii iiiiiiiiiiiiii ii ii ii iiiiiiiiiiiiii ii ii ii ii iiiiiiiiiiii ii ii ii ii ii ii ii noise. All in order to avoid having to decipher the name and surname of silence. ii ii ii ii ii ii ii ii ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiii iiiiiiiiiiiiii ii ii ii iiiiiiiiiiiiii ii ii ii iiiiiiiiiiiiii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii What he does not know is that even then he’s alone. He happens to occupy, ingenuously, a iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii single point in time and space; besides, he reigns over everything around him by his own iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii unique interest. He would never imagine himself so bold and so creative. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii It’s funny how the most unexpected moments he returns to an old corner where he kept in iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii sloppy jars tiny pieces of a good time. Days when the hours moved in a sluggish circling and iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii every spent second had precision and flavor. He nestled in certain delicate sounds, undifferentiated to many, which brought within them a sunny memory. Something intimate and precious, like those little noises made by the other with whom one lives. When the world frightened him - an increasingly common situation -he 1 Listen to Presque Rien no. 1: Le lever du jour au bord de la mer, by Luc Ferrari, at goo.gl/Sjp1TF snuggled up in this atmosphere that brought a warm, soft, but never silent comfort. 2 Read the EAM’s classics each 2 weeks at goo.gl/WuXfNn maybe, a smartphone, that in this case The opening espionage sequence from binaural Walking could be almost a synonym for camera). The Conversation (1974), by Francis Ford Earphones are earphones, as common Coppola, came to my mind. Nowadays, as smartphones, but in principle they binaural microphones wouldn’t substitute reproduce – and not record – sound. And the ultra-directional microphones used by that is why earphone-recorders are the the sound-snipers, but someone pretending Luis Felipe Labaki In my conversation with Sérgio on linda#10, perfect disguise if you want to record to listen to his iPod while walking the dog, we talked about music made based on even though it would be a far less amusing #13 an observational soundscape, based on linda the idea of the “novelty of a support”, of non-intervention: everyone thinks you’re image, would probably do better in the the fascination by some new technology. listening to some music, not hearing eavesdropping job than that spy with the Recently, I found myself a new support. anything that goes on around you and not brown shopping bag and the white earphone Nothing new to the world, but to me, who wanting to be bothered. And nonetheless hanging from just one side, insistently had never used it: I bought a pair of binaural you are precisely in a tight state of alert drawing close to the spied couple. microphones. Not an eight-thousand-dollar towards the sounds surrounding you, It all gets more awkward when it comes to dummy head by Neumann, but a far more maybe even making a little detour from talking to someone. For the interlocutor, modest pair of earphones. your route to follow some interesting noise there is something unsettling about talking The learning period with a new tool is usually somewhere else. to somebody who doesn’t seem to be listening and, for the person recording, the interesting. I followed the path that seems to ii ii ii ii ii ii ii ii ii ii initial reflex would be to take off at least me to be the usual one: recorded a few things ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii one of the phones from your ears, just as if at home, some various everyday actions, ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii you were listening to music. It’s a different and then started to walk around. During this iiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii experience from recording a conversation period, a lot of material is produced. Many iiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii with a directional microphone pointed fifteen, thirty-minute walks filling up your iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii towards the speaker. Even though the hard disk. And some frustrating moments There may be something iiiiiiiiiiii sound recordist may probably be wearing also: earphones fall from your ears, files iiiiiiiiiiii dishonest iiiiiiiiiiii headphones, at least he still has something are packed with distorted sounds while iiiiiiiiiiii about iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii identifiable as a microphone on his hands; you still haven’t learned to set the correct iiiiiiiiiiii binaural walking around the binaural recordist does not. recording levels for each different situation, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii and so on. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii There may be something dishonest about

binaural walking around. Actually, I felt myself much more intrusive than if I had a camera pointed to the people surrounding me. After all, a camera is a camera (or, But this is all about just one specific kind of this “race to the maximum realism” that iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii binaural recording, which is also just one is probably the oldest and most frequent iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii of the first moments of the relation one argument used by publicity campaigns iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii establishes with a new tool. Who knows promoting new recording and reproducing iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii what is going to be made with all this audiovisual systems. It is the same kind iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii recorded material afterwards. of thought involved in the development of iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii multi-channel sound reproduction systems iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Because of these experiences, I ended up for movie theaters, at the same time iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii researching and founding some examples of ultra-complex technologically and under- iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii binaural recordings of which I wasn’t aware explored creatively, as I discussed in my text iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii before. Among them, Lou Reed’s Street Andei pensando sobre o surround (‘I ‘ve been iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Hassle (1978), considered to be “the first thinking about surround sound’] on linda#1. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii binaural pop record”, and a 1986 recording iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii of Iannis Xenakis’ Plêiades by the Les But the most unexpected part of this research iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Percussions de Strasbourg, performed in the was stumbling on the term “Autonomous iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii presence of the composer. Also, Pink Floyd’s Sensory Meridian Response” and finding iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii The Final Cut (1983) employs a technique out that binaural microphones have been iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii called holophonics, a system patented in largely used by the ASMR community. iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the 1980s that supposedly creates a “more For those not aware of what ASMR is, I iiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii realistic sonic tridimensional sensation” suggest you just search for “asmr binaural” iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii than other binaural systems. However, from on YouTube and choose one of the many iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii what I found throughout the Internet about channels with dozens of videos, many more iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii it – and from the examples I listened to -, than half an hour long, full of breathing, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii there seems to be some controversy over mouth clicking and whispers. iiiiiiiiiiii iiiiiiiiiiii Luis Felipe Labaki exactly how different the system is from the studied Audiovisual in the Universidade de ones that were created before it, even in Compared to them, the Virtual Barbershop São Paulo, where he currently develops terms of recording procedures. seems to be the binaural recording’s Early his Master’s research on the writings of Cinema, the vaudeville of the binaural. Dziga Vertov. He works as a director, editor, And, whatever the answer might be, I have soundtrack composer and translator. many doubts concerning the need to iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii evaluate a binaural experience in terms of vimeo.com/luislabaki iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii To make contemporary music nowadays the Caldo party at the Casa das Caldeiras. – experimental by its very nature – is The group is in constant dialog with the paradoxically a challenge, one that grows contemporary scene, avoiding the rigidity of even bigger if those involved in its production the concert-hall format. + than 50 active + than 80% of assume isolationist positions. That’s Such expansion is the foundation for , composers premiered music why NME (Nova Música Eletroacústica) linda insists in establishing itself as a place for a weekly magazine on electroacoustic and production, diffusion and dialog, focused on experimental culture. Besides its regular electroacoustic culture and music. The group writers, who publish every fortnight, the aims to expand the horizons of contemporary magazine invites musicians from all around artistic production and its many audiences, the country to talk about the contemporary by means of new formats and venues for its scene in their own cities, collaborating to performances, building bridges between the creation of a much-delayed outlook on Brazilian and foreign artists and their own experimental music in Brazil. Complementary audiences. to that outlook, sound artists with different backgrounds and origins collaborate with In nearly three years (to be completed next the magazine, helping break the barriers August 18th), the group has proposed of an experimentalism moored off of music renovations in the musical scene of its home academies and studios. state São Paulo. The ( ) NMEchá NMEtea This bilingual edition keeps reaching beyond rd series, now in its 3 edition, invites composers national borders. We hope to show a different to create works inspired by different infusions, face for current Brazilian music, while at the which are then served to the audience same time showing Brazilians a sample of during concerts. NMEolhos installation the breadth of contemporary music’s creative NME occupied a public square at State University horizon in the world today. of Campinas for more than two months, with 10 speakers performing works composed for It’s been almost three years, and it’s still lindo! it through an intelligent software. And the concert-installation NMElounge put together {: electroacoustics, railway soundscapes and the sonic universe of the dance floors, the + than + than 10 albums 60 concerts in highlight of the contemporary arts core of released 5 different cities One of the coolest things that ever happened iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii AUSCULTATE to me was when I became a doctor. It lasted iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii too little time, it’s true, but it was a magical iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii moment. I was all set for an endoscopy iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii when a woman in a white lab coat came iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii to me saying the sedatives would kick in a When it comes to medicine, I – like (almost) BRUNO FABBRINI few seconds and promised me I wouldn’t every teenager (boy) – fantasized about remember anything after it, nor would I feel #14 nurses and wanted a stethoscope. Nurses linda any pain. Comfortable and a little numb, I eventually became a terrible nightmare – thanked her. She then asked me what I did reality crushes any fantasy, it is a known fact for a living, and I murmured “musician”. My –, but I’m still hooked on the stethoscope. sight was already fading out and, in a semi- lethargic state, I was surprised to see when Doing my homework, I ascertained it is she widened her eyes with an unavoidable made of a flexible, Y-shaped latex tube expression of happiness/pride, and replied with eartubes, eartips that fit in your ear “Physician? So you’re one of us! How nice!” (and are good for isolating outside sounds) I tried to answer her but I was already gone, and a chestpiece, that can be of one of and after I woke up I never saw her again. two types: bell or diaphragm. The bell is composed of a shallow chamber, open on iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the side that touches the patient’s skin; the I would never dare to be a physician. I hate diaphragm consists of a shallow chamber, blood. I hate hospitals. I hate getting sick. I and the extremity that touches the patient is hate medicines, and I surely hate needles. covered by a membrane. To choose between Heartily, I like music. I also like the heart’s them you just need to switch the side of the music. I know it sounds tacky, but I don’t device, and its use is determined by the mean this gentle little heart <3. I mean the position from which one wishes to capture actual, famous cardiac muscle – th-thump, sound – closer to the lungs, to the heart, th-thump, th-thump, th-thump. and so on. The route followed by the heart’s vibrations starts on the thorax and follows all the way

out until it reaches the surface and hits the iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the same for all stethoscopes, with the iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii stethoscope. In the bell, the skin functions iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii physician placing its diaphragm in the as a membrane, resonating and amplifying area he intends to auscultate the sounds iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii sounds; in the diaphragm, vibration is Back to the heart: the cardiac cycle creates a produced, and based on the reproduced iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii transmitted to the rigid membrane, which wave that propagates through the thoraxic audio-waves a diagnosis can be reached. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii itself resonates more and more intensely, wall, producing a frequency spectrum On itself, it renders the technique too iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii acting as an amplifier. that vary from 1Hz (or even less!) to more dependent on the physician’s experience iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii To wrap up the basics of the device: the than 1500Hz, and whose amplitude lies and concentration to verify low-intensity around 80dB. That means that to the 2 iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii membrane’s diameter is a determining noises. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii factor in the listening. The larger it is, human listening range at its most perfect, the lower the frequencies it resonates; which registers sounds between 20Hz The phonocardiogram allows to document I’m ultimately thinking of all the effects that oppositely, the smaller the membrane, the and 20000Hz, most of the low sounds the temporalization (timing), the relative music has on this muscle. Be it through higher the frequencies. To listen for low are lost. That’s where the machine that intensity, frenquency, tone, timbre, metaphors of love, greatness or strength sounds, the bell is recommended; for high registers the sounds produced during an and precise location of the different (this music is so strong!), it is rhythm sounds, the diaphragm. electrocardiogram (ECG or EKG) comes into components of the cardiac sound in an (literally measured in beats). Or also action: the electronic oscilloscope, which objective and repetitive way.3 through its reverse, generated by the very iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii gave rise to my technical interest in the beats, blood-flow, translation of stimuli in Through the use of that technique, physicians topic. It was during an exam, following and longings and wishes, I somehow feel closer Cardiac auscultation consists in obtaining will be able to detect and diagnose diseases listening to the the sound of the heart of a to my lab coat colleague. Th-thump, th- cardiac sounds related to the impacts of and irregularities such as tachycardia, family member, that I got interested in the thump, th-thump, th-thump. blood in the several different structures subject and started thinking more about fibrillation, mitral valve prolapse, murmur, of the heart, resulting in an acoustic bodily music, and how important it may be asystole and several other irregularities iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii manifestation, from which certain to detect and treat diseases. that you probably never heard of (nor would iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii parameters allow for an analysis with want to). By means of low pass filters that iiiiiiiiiiii iiiiiiiiiiii BRUNO FABRINNI the objective of obtaining a wide set of With the development of electronics, reinforce and amplify low, inaudible to the grew musician, graduated in audiovisual physiological information for a possible there came to the market electronic ‘naked ear’ frequencies, new diagnostic and cinema, composes, decomposes diagnosis.1 stethoscopes that incorporated some possibilities appear. and recomposes sounds, words and extra functionalities when compared images. Integrates Baoba Stereo Club, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii to the regular stethoscopes, such Duly trained, more experienced physicians iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii as variable amplification, analogic are quite valued in their profession, for out (invisibili)cidades and NME . of a few heartbeats they are able to establish and digital filters, and computer iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii complex diagnosis, tuning heart and ear in communication. The working principle is iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the same beat to work in unison.

1 2 e 3 Quotes from “Graphic analysis of cardiac sounds”, by Clóvis Sinval da Silva Menaré and Eduardo de Araújo (2011), the translation is ours. Trad.li(e)btum :censor the body and you censor breath and speech at the same time: :::::write yourself:::::

Marcela Lucatelli :your body special for this linda-ii must be heard

The Laugh of the Medusa:::OVcoCaLLeXppOnneNZaDboOrbraAdoYnSe MnnaAntYk, sSyNaPuRrezZZZN ON AEcXysT / ao mesmo tempo //////// peryNceptYnSeMannTRzZFraQcKuAnnnTKkzZ /// no seu soar, seja ele rastro vocal de tal escritura? /////// olHAoaNAoLhA no pryZmo facial //////// de um narcyzo sujo //// EccÔnYX de uma língua-leite :::::: joRRrAzZG0zynNEGrAfrrrRRronte //////// algo para seus ouvidos escutarem <<

itself. #infrontof iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii me:limbo iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii AY e eu e oNano rebusZsque-sy \\\\\\\\\\\\ KzARRANQKSEARRISZ:QUE-SȪ limbo iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii limbo like me iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Besides, you’ve written a little, but in secret. And it wasn’t good, because it was in secret, and (meloless) iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii because you punished yourself for writing, because you didn’t go all the way, or because you iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii wrote, irresistibly, as when we would masturbate in secret, not to go further, but to attenuate limbo iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the tension a bit, just enough to take the edge off. And then as soon as we come, we go and iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii limbo like iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii make ourselves feel guilty-so as to be forgiven; or to forget, to bury it until the next time. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii revelocífer d’hypercrueldade relacional \ iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii sob ímpeto organizatório, o rastro iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii EqI_vOcALy~kOZ!?:::!:?!::!??::::? já é outra coisa \\\\\\\\\\\ amnerya d’ynFraKqcRóPpyaS~ à _ víbrIo de um -vdeszexspelho acoustyco rez\encarnado : y Ü y nVaGYdo INAUGruNhRAL ::::: não aquele de iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii todos e de ninguém / limbo c iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Marcela Lucatelli limbo like é respiratrix por dekromposzysomn, cantoklastya e tranzmediakt. Faz o que WRMNKRPSZNMV’zS / se percebe (como?) perceptor / A-/\ And in limbo front stick is of the adoram falar de ( s-) tem que ser feito. Foi selecionada pelo 47th silence Internationale Ferienkurse für Neue Musik para integrar o primeiro grupo de composer- pegar o kuckuck pelo cangote, quem quer ? performers do festival. Não escreve aqui para reportar mais do que para fazer furo. Câmbio e ligo.

diversas com Hélène Cixous, Kamau marcelalucatelli.co Brathwaite e Rodolfo Valente / pleura a Pedro Paulo Rocha iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii

Special SerieS: experimental music in brazil

[?] Did you know that every other week you [?] New music is not a privilege of the 1%, nor can find out a little more about Brazilian of the wealthy elite – we’re everywhere, and experimental music? Its history and its we are more than just a few! present? Its authors and sounds? [?] Learn more about us and listen Since February, a series of articles is being [?] to our different musics at: written especially for linda. Friends from all [?] [x] linda.nmelindo.com the nation’s capitals were called upon to tell [X] us how are things really going on there. [X] [?] [x] [X] iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii [?] [?] [?] [x] iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii [?] Jonas Feliz iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Francesco Meneguzzo [X] [x] iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii [x] Heather Dea Jennings iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Beto Mejía iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Alessandro Santana iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii [X] [x] [x] iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Paulo Rios Filho iiiiiiiiiiii iiiiiiiiiiii Thelmo Cristovam iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii [?] [?] Bruno Abdala iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Eric Barbosa iiiiiiiiiiii iiiiiiiiiiii [x] iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Valério Fiel Da Costa iiiiiiiiiiii iiiiiiiiiiii [x] iiiiiiiiiiii iiiiiiiiiiii Thais Montanari iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii [...] iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Flora Holderbaum iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Lilian Nakao Nakahodo iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Magno Caliman iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Dámian Keller iiiiiiiiiiii iiiiiiiiiiii make. Is there an inferior limit for how soft offstage, by bill, by debit), it is expensive, but I paid for this little sound can your sound be? its action, its music, its act on stage (in the scene), are less costly than the movements, Is the least movement controlled, result of for example, of our body, or, let’s say, of a power over the body, or, on the contrary, it truck. comes from atrophy? A body which is the Sérgio Abdalla The world has got some big sound. Really big loudspeaker, which is the body of one who But we were not talking about wanting sounds. Music, cars, people speaking. And moves a computer mouse, which is the body to reproduce a truck’s sound, but about linda #16 then one decides making more music. More of one who sings, anyway, bodies. wanting to make an itty-bitty sound. a little sound. sound of nothing at all. Nothing at all has a The loudspeaker is already an atrophy (or a sound that soft. The problem may be that The world has got lots of sound. “In the bloodcurdling control) of the musical body. our system cannot bear reproducing or last five minutes, there were 150 sounds”. It is the least movement that is possible. listening to something that soft, that piano, The quantifying would exclude the most In what we call an acoustic instrument, that weak. We may need more depth in the subtle sound, would always exclude the a movement generates an agitation in a digital analysis, writing, and reproduction, unimportant sound. For, as we know, it is vibrating body that generates a vibration we may just need a very silent place, we may ii ii ii ii ii ii ii ii ii ii unimportant. How much sound have we in the air, by analogy. We have a movement need just comprehension – to comprehend ii ii ii ii ii ii ii ii ii ii already lost with this? which we don’t understand as analogy that this baffling and bad sounding thingy ii ii ii ii ii ii ii ii ii ii (the instrumental attack, the touch, Then one decides making music, probably is the sound we want for sure, comprehend ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the scream, anything), and which loses to be lost among other things. I talked that it is this very little sound. All of this is iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii energy – the instrument may move itself, This little softy music iiiiiiiiiiii about this in a piece I called “Uma variedade expensive. 1 may have non-sounding parts (essential, iiiiiiiiiiii could be immoral : iiiiiiiiiiii do lixo” (in english, “A kind of trash”) , however, to its structure), and none of this Still, the big sound, loud, strong, violent, iiiiiiiiiiii it spends everything iiiiiiiiiiii characterizing thus the music contained in is sound – and, then, another movement ignorant (it ignores the size of the place iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii this piece of music. which we understand as analogy. With the where it is sounding, ignores the listener’s iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii loudspeaker, we just see analogy. It receives size, ignores, in general), out of control, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii The question is not that we have too much electrical energy (expensive, costly) and seems to us to be more expensive. We pay iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii sound, and that, then, we should silence moves itself (very little) in an analogous way in cash, generally, for it. We pay for the lack iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii ourselves, but: do you think you can compete to the vibration that we need in the air. In of control. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii with all this sound? Who could? the scene, in the stage where it is located, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Would it be the case for us to make more it loses less energy and makes more sound. There is this image of music as the production iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii noise? Would it be the case for us to make a of lack of control by technical means. Being iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Or much less sound, still losing less energy. different sound? There is a relation between a kind of liberation (be it of the sound, be iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii The loudspeaker is paid on advance (or energy spent and noise made. So, there is iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii always a limit for how much noise one can iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii 1 goo.gl/90Zbmj it of the musician, be it of the soul, be it of the others) to reach this almost nothing, this The loudspeaker is the chosen one, the ideal iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the bodily fluids and of the energies in the disappointing something. Even if we think means for an infinite spending that hides iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii body that dances to the music), the music is of noisy music (s), there always remains a itself and generates almost nothing. Making iiiiiiiiiiii iiiiiiiiiiii Sérgio Abdalla liberation after some control, some funnel, little of the image of the music in an isolated loudspeaker music, even if it may happen in does: electroacoustic, instrumental, that makes it pass among everything that place – music that asks for a lot of attention lots of different ways, always indicates that, audiovisual, improvisational pieces; sound could have passed. from the listener, music that gives almost in this investment, the player died a little bit editing/design at the Confraria de Sons & nothing, that ends in nothing. on the other side, and that we need to die a Charutos (São Paulo); live-electronics for the If we think about on what side are the little if we want to make this almost nothing Filarmônica de Pasárgada. Integrated the responsibilities, the duties, the debts, in “Silence isn’t sexy – it’s actually very pass. groups Basavizi, Dito Efeito and mal. the case of the loud sound they are all (or reactionary”, says the title of a text by they are mostly) on the side of the producer, Pedro Oliveira2 . Reactionary would be the iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii soundcloud.com/sergio-abdalla the musician or whatever – they guarantee silence we ask from the other, when it is iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii more. When we talk about an itty-bitty the nuisance of the other that we want iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiii sound, they are shared, or rather multiplied. to silence. The silence to which we force If one wants to hear the weak sound, one ourselves in order to make a little softy has to be silent (and it is asking too much, sound maybe a ritualistic way of spending yes, always, asking for one’s silencing). almost everything in an almost nothing, as is, for example, buying a very expensive More than silencing, one has to be willing piece of jewelry. If silence is a form of private to listen to something which doesn’t move, property, the soft sound is a terrible way of which gives you almost nothing, which ruining it with almost nothing. The silence brought almost nothing, which spends one asks for us in order to be able to hear almost everything on its effort on being soft the soft sound is a very expensive payment and controlled. we ask of those who are present. Rituals We may understand that one part of are always very expensive. electroacoustic music’s game (and also This little softy music could be immoral: it of what is not named this way but shares spends everything, asks for an enormous this same infinitely expensive operation expense from the others, and let those who – that of making just a little bit of sound – cannot spend it go away. It comes as an as its objective) is this (almost immoral) obscenity. Its waste, moreover, hides itself operation of working a lot and asking for a under the apparent ease with which the lot of work (to spend a lot, from us and from loudspeaker moves.

2 goo.gl/hNeesw Universities’ discourse and by the power regimes already PERTURB(MUT)E established in other fields. Also the musical/noise and artistic regimes lack meetings and initiatives of this kind. Perturbe is a self-dependent festival. The use of this term is a reference to the concept used by the artist Newton Goto, who Aline Vieira Disturb is an imperative: a watchword, order in his turn was inspired by Werner Herzog. Differentiating and disorder occupying the same place. itself from the concept of “independent”, in which a given special for this linda-ii production seems to come out of nowhere and doesn’t Noise is the limit of hearing. Performance make its creation process (means of production) explicit, is the act that doesn’t fit into a word, the idea of self-dependency puts forth the importance of bumping into the unsignifiable. Deriving self-management. There are self-feeding circuits that from researches developed in both fields, nonetheless articulate themselves with other circuits. From Gustavo Paim – also a member of the Meia- this comes the importance of meeting, of mediation. Far Vida label – and I had the idea of using a from being an event that doesn’t depend on the efforts of festival as a moment of interaction, meeting the ones involved in it, the festival relies on its own network and presentation of our experiments. created to make it happen. There are many people helping ii ii ii ii ii ii ii ii ii ii And so, a noise and performance festival to organize the festival while it is taking place. ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii named Perturbe [Disturb] takes places th th iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii In 2014, Perturbe took place from July 25 through July 27 annually in the city of Curitiba, State of iiiiiiiiiiii iiiiiiiiiiii the idea of iiiiiiiiiiii in the Wake Up Collab laboratory-house. It was the edition Paraná, conjugating dissonant languages iiiiiiiiiiii self-dependency iiiiiiiiiiii with the largest number of projects, in a total of 36. We had and expressions both politically and iiiiiiiiiiii puts forth the importance the help of Gustavo Torres in the organization and especially poetically productive. The event occurs iiiiiiiiiiii iiiiiiiiiiii of self-management with the installations. since 2012 and from 2013 on it grew to the iiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii size of three days of encounters, receiving We believe in an event that proposes actions different from iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii propositions from all over the country. static observation. This year, the workshop of analogic circuits iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Among them are exhibitions, installations, ministered by Tiago Rubini had full attendances and ended iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii workshops, videos, sound presentations up being extended for another day, which demonstrates that, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii and performances. Since 2012, 61 projects besides the existence of a growing production of noise, there iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii from 8 states of Brazil have been presented is also a growing interest for research, for the autonomous iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii in the festival. production of equipments or even for the basic knowledge iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii of electronic experimentation. Other sound activities (Braço iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii The kick-start for the festival came from Armado, by [Conjunto Vazio] [in English, [Empty Set]] and iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the idea of stimulating creative tendencies Esse Meu Ruído Que Te Mata [in English, This Noise Of Mine iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii related to noise and performance, That Kills You], by Manolo Kottwitz) were taken to the streets iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii overlooked by the cultural industry, by the and wandered through the center of Curitiba. In addition to the presentations, each event The festival Perturbe 2014 ended on the For those interested in knowing what has iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii is an experiment. We try to build a hybrid night of July 27th at my home, when a already taken place in Perturbe and following festival that could not be appropriated mini-radio suddenly went off all by itself, future editions of the festival, you can find iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii by hegemonic groups. That’s why it’s with a very loud white noise sound. It was everything in the website of Meia-Vida: iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii important to have the presence of proposals not connected to any power source. It was meiavida.hotglue.me/PERTURBE iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii that disturb, for example, the patriarchal inside a bag, which was inside a purse. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii order of the cultural productions. It’s iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii fundamental to admit that there is a social iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii structure oppressing especially women, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii restraining their involvement with music iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii and technology. Even among those who iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii were exponents of the electronic music, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii there is not too much visibility for the sound iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii production of women. We stimulate and iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii valorize actions by not-men (all editions iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii included these actions) and we hope that iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the number of these participations will iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii increase each festival. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Making noise consists not of making noise, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii nor listening to noise, nor seeing noise, nor iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii feeling noise. Making noise is the folding of iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii making, of hearing, of vision, of touching. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii The potentiality of objects and spaces always iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii brings us its own noise: the power network, iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the walls, the floor, the ceiling and the iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii number of bodies occupying the space. It’s iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii not different when it comes to performance. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Aline Vieira The instant of each act can seize itself and is part of the Meia-Vida label and organizes conduct the action. Sound carves time, the Perturbe festival. She participated in action carves the being and image carves the projects Cama Desfeita, Nenhures and space. Each movement disturbs the static Corpo Código Aberto, and performs under state. Order and disorder occupy the same the stage name of Excria Reverbera. place. iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Invenção: S. Paulo’s Venue for the New Music Tiago de Mello linda #17

Previously, on linda, I have been discussing some venues for experimental music with which I had contact. I talked about Fylkingen, the 80-years-old concert hall in Sweden that is sponsored by the government. I talked about Audiorama and its genelecs, also in Sweden, and its programme that may not be the most busy one, but has a huge quality. I also talked about the sad Brazilian case of the (apparently) extinct Plano B. I could have talked about other Brazilian cases, such as Ibrasotope, or from abroad, such as Splendor, Celeste or Zaal 100. But today I would like to talk about Invenção [‘Invention’] - São Paulo’s venue for the new music. Invenção is a combined effort by the Public Authorities and the Civil Society that, by means of a contract establishing Invenção as a cultural NGO, allows the existence of a democratic venue of artistic coexistence, among other different aspects of being experimental. Origins ii ii ii ii ii ii ii ii ii ii ii The detachment point came with the 1st The executive actuality ii ii ii ii ii music field. Also, there has been offered an ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii Meeting for the New Music in São Paulo, ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii educative program through the association that came to happen in the shop in August with high schools of the city of São Paulo, Back in the 2000’s, Invenção was an second- 2011, with different collectives from the city. As I said before, Invenção nowadays is seeking to smooth the first contact with hand shop, near Praça Benedito Calixto, a maintained as a NGO. Its legal entity new artistic languages, not only musical. trendy area in São Paulo. Nilton Hélio, the The shop itself kept selling, mainly during was created as a Friends of Invenção Urban interventions, artistic performances, owner, collected “weird music” (as he used the working hours. But once or twice a Association, which permits it to establish multimedia installations: all the culture to call it) discs, tapes, CDs. He had inherited week, during the night, musical meetings agreements both with companies interested often overlooked in the educative programs the shop from his family, and since then he and performances started to get more in sponsoring its activities as well as with of Arts Degree in Education have found in had been managing it with the divestiture frequent, bringing not only new audiences the different levels of government. The Invenção a place where they can grow. needed. All kinds of things were sold there: (not only those specialized, but also curious government started to see Invenção as clothes, some furniture, old comic books, people invited to the shows through the a chance to remedy part of its debts to social networks ) but also new artists, who collections of sunglasses, shoes. Just experimental culture, by means of the The artistic actuality ii ii ii ii ii ii saw in that venue the chance of having both between us, it’s not a bad business, having creation of a new venue for the cultural ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii a second hand shop in that neighborhood! new ears able to hear their music and the expression and meeting of the youth of São possibility of starting new collaborations. Paulo. The biggest problem, the reader must be Nilton used to throw some parties in the considering, is the definition of the spectrum shop, both for arranging some money and And that was how Invenção spontaneously This last year, Invenção was established as came into existence, with no initial project, of the programme presented there. After to have around a very particular group a Culture Spot by the Ministry of Culture, all, what is this so-called “música de of paulistanos: the ruidistas [from the modeled by the active action of its actors. The which allows its integration with other spots furniture on sale was used to accommodate invenção”, this “invention music”? As we Portuguese word ‘ruído’, which translates also interested in art innovation throughout have said, Invenção came into being little as ‘noise’] – musicians with different the audience, who in between performances the country. Exchanges with artists from had the chance to catch a glimpse of the by little, with presentations of musicians backgrounds, getting together in jam other states, not only musicians, have connected to different backgrounds, but sessions at the parties, which reminded of books in the shelves or even buy a scarf become frequent, giving fresh air to the to give as a gift. Many said that the sale of which all shared this friendship with Nilton the old days of free jazz: cluttered, anarchic, local art scene. and his interest in new music, in its many but still unique, both in time and space. old stuff (and its consequent re-use) was a metaphor for the musical production that And because of Invenção’s agreements with significances. That is, its origin is related These musical performances became bigger developed there. the government as an NGO, programs of more to friendship than to a clear devotion and bigger than the parties themselves, musical formation have been offered to to musical invention. which began to give them some autonomy. musicians who are interested in acting in this

Much to our own surprise, this continues infrastructure is made available, as well as has been providing solutions each time The truth ii ii ii ii ii ii ii ii ii ii ii to be one of the premises of the venue. a minor share of the general budget, to help more practical, as well as allowing the ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii However, in order to turn it into something with advertising. A small amount can be paid anticipation of other problems, which are more professional, as well as to make to the artists through the tickets sold, but it is then avoided. The friendship that gave birth The truth is that Invenção, São Paulo’s venue its relations stand on proper grounds, a necessary to make an important note here: to the whole movement is made present in for New Music, does not exist. The truth directive artistic body was created, meeting the directive body of Invenção is committed the friendliness of the meetings, as well as is that experimental music in São Paulo is every two months to make artistic decisions to making its programme accessible, not in the respect towards the heterogeneity still confined to small isolated actions, and and analyze the activities developed in only by means of low entrance fees but also of ideas and positions. The possibility of still does not constitute a public policy, be the venue. This artistic body doesn’t have by having the programmes scheduled to unilateral decisions allows even ideas that it directed only to the maintenance of the a fixed number of members and, at the days and starting/ending times adequates were not consensually agreed upon to have present scene, be it directed to making present time, is comprised of thirteen for visitation, even for those who live far their chance of coming to life. it grow. We may mix our dreams with our artists connected to the history (and to away. possibilities, but a venue dedicated to the actuality) of Invenção as well as of the experimental music in the biggest city of new music in São Paulo. The first nine The remaining programme, as well as the South America is possible and necessary. biggest part of the budget, comes from The future ii ii ii ii ii ii ii ii ii ii members were agreed upon in a meeting ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii Possible because there is enough money in the beginning of the last year, and every collective decisions of the artistic body. Besides ideas that may appear in the invested in culture in order to maintain six months new members can apply to We cannot predict the future. However, from bimestral meetings, other propositions a space dedicated to the new musical the artistic body, providing they have had what we have been seeing, it is possible to may come up from email exchanges and creation. Possible because this music has some relevant participation in the previous imagine that, thanks to Invenção, it may put to the vote in the meetings. Usually, this its public and authors, that is, because year’s artistic scene. The member’s first be possible to maintain this musical scene projects become not only isolated concerts, there is a demand for it! obligation is to attend the venue frequently and make it grow, reaching new audiences but a programme of medium duration, and, mandatorily, to attend the meetings. and fidelizing many of them. It seems to me Necessary because among UNESCO’s including not only musical performances, that only a public policy of medium and long fundamental cultural rights there is the It is up to the artistic body to decide but also round tables, workshops and duration could take experimental music out right to experimentation. If not to the upon the elasticity of the programme’s educational courses. of the shadows, just like this movement we arbitrary creation of culture, at least to the spectrum. Each member can, unilaterally, are now noticing thanks to the existence of appreciation of what is being done. And I propose and present an event every two From my perspective, as a member of the Invenção. insist on that same point: there are people months. For this events organized by the present artistic body of Invenção, I have who make and listen to this music, and this members independently, the venue’s whole been noticing how the personal meeting alone makes it legitimate! of artists for the discussion of problems

We exist! And that should be enough for iiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii decisions on a Public Policy to be made, and iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii not the musical taste and the beauty that iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii many see in other places… iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii The problem with experimental music seems iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii to be that it has music on its name. Dance iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii and theater (even experimental) have been iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii receiving governmental support both in iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii the city and in the state of São Paulo, not iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii because the governors themselves are iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii sympathetic towards it, but because they iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii sell themselves as ugly ducks, unable to iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiii ii ii iiiiiiiiiiiiii ii ii ii iiiiiiiiiiiiii ii ii ii iiiiiiiiiiii ii ii ii ii maintain and develop themselves without iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiii ii ii iiiiiiiiiiiiii ii ii ii iiiiiiiiiiiiii ii ii ii iiiiiiiiiiii ii ii ii ii the state’s support. Music, however, iiiiiiiiiiii iiiiiiiiiiii Tiago de Mello probably because of the Music Industry, is a musician. He directs NME , and was seems to be able to support itself by the responsible for actions that aimed to create, laws of the market: if it sells, it means it spread and present electroacoustic culture to is doing well, great. If it doesn’t sell, the a broader audience. Has released one solo CD author is to blame for not being able to – cadernos, tdm – another with his duo with make something that someone would like Sérgio Abdalla – Drama, mal –, and took part to buy. By this train of thought, there is no governmental financing for authors like in some of NME ’s compilations – NMEchá#1, Felipe Dylon or Vinny, who someday made NMEaniversário#1, NMEaniversário#2. Has something that sold, but now have fallen studied Music Compositon at Unicamp, and is into Industry and Media ostracism. Great. currently on a Cultural Management MBA at But from this to simply not having any FGV. Recently, he has been working on 2 new kind of grant dedicated to non-commercial projects, to be released in 2014 – Eu? Turista music, related to invention, there’s just no no MIS? and Old West News. possible reason. Let us live and experiment! For a venue for the new music in São Paulo! demellotiago.com

iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Bourges is a medieval city that preserves The noticeable presence of brazilians, some beautiful buildings and houses of the among francophones and participants of Bourges and JIM2014: th th 12 century, many others of the 15 century other nationalities, showed the quality and (as the one where I stayed) and an immense potential that we have in the field. Mikhail stones, art, tecnology and dazzling gothic cathedral, cultural Malt, a brazilian composer, researcher and heritage of humanity, on top of the hill around professor at IRCAM, Paris, where he has which the community has organized itself. been living for many years, is the scientific and an ecology of ideas An international event on electroacoustic director of the Journées and among the music in Bourges signals in a certain way keynotes, Marcelo Wanderley, professor the absence of Festival Synthèse and the at McGill University in Montréal, Canada, The small town of Bourges, in France, Daniel Puig IMEB (Institut International de Musique and an international authority in gestural special for this linda-ii hosted this year the Journées d’Informatique Musicale, or simply JIM2014. Some Electroacoustique / Bourges), ruled out of control. Attending from distance, via Skype, discussions in the corridors and talks the french cultural budget in 2009 and 2011, Didier Guigue (UFPB, Federal University of brought forth the choice of the name of the respectively, even after a big mobilization of Paraíba), Fernando Iazzetta (USP, University event and the inadequate translation into the international community in its favor1 . of São Paulo) and Jônatas Manzolli french of what was originally the expression The studios of the festival, where many (UNICAMP, University of Campinas), computer music — is it possible to speak important international artists worked, are presented part of their current and cutting of a musical informatics? — but stressed still active as part of ENSA. Roger Cochini’s edge research. All presentations are ii ii ii ii ii ii ii ii ii ii the richness of what emerges out of it: a presentation on them was at the same time available online at the Journées’ website, in ii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii community that deals with questions of the curious, interesting and inspiring, specially text and video2 . iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii informatics aimed at music and its products, for its educational programs, for which it The softwares presented during these days, Taking a step away iiiiiiiiiiii that is preoccupied with its problems and develops courses, tutorials, patches and show a significant part of the state-of-the-art iiiiiiiiiiii from its powerful lenses, specific developments, and aims at finding even specific electroacoustic instruments in the field and cover different applications iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii I can look at solutions for the music that is produced — physical instruments — concerned and developments in electroacoustic iiiiiiiiiiii an iiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii \ today with the electronic means available. with opening up the listening of children culture. I’ll try a quick description of each iiiiiii electroacoustic body… Retrieval, transformation, sonification, and youngsters of nearby schools to the one of them, more or less in the order they iiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii notation, languages, applications for sonorities that pervade most of todays were presented, hoping to enable an easier iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii musical production, studio reports, analysis, musical production. approach of whoever is interested. Although iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii analysis and preservation, and composition, some insiders vocabulary is needed, it is were the themes that divided the three days of the meeting at the École Nacionale Supérieure d’Art (ENSA) — a construction that is yet another example of the neat architecture spread through the region. 1 goo.gl/3j03HZ 2 goo.gl/5hdq4s (in English and French) worthwhile looking at the presentation and processing between different machines, form. Two solutions for the documentation, Fernando Iazzetta spoke of current research links available through the URL previous without compatibility problems. dissemination and preservation of music at NuSom (Research Centre on Sonology, at linked. with electronic means, or mixed music, the University of São Paulo), and its approach Cecilia, an “old” sequencing software, were presented, including the REKALL around the concept of transforming spaces, Guido is a software for musical notation was presented in its version 5, with the software, a very useful tool for any kind of context, forms and actions, in music and through coding, extremely flexible and with possibility for the users to write their own music production. technology. options for contemporary music notation. audio effects in Python. Easy to use, it allows live-streaming and The conTimbre library, for orchestration with In my presentation, at last (literarily so, real-time render of the score. The HOA library was presented with its new extended techniques, gives the possibility since it was the last one in JIM2014), I tried possibilities for sound spatialization and of notatiing and hearing the desired to show how I have implemented concepts ReactiveML implements interactive scores, graphical objects in Pd, with examples of effects, based on common musical notation from systemic thinking in the formalization with a non-linear logic, and its functioning the inspiring Chocolat extension. softwares. of a Max/MSP patch, that shows interesting is based in events understood as bots in The i-Score library implements the possibility results in the interaction between performer the programming, using OSC and INScore, The cage library, for Max/MSP, extends in and live-electronics. with PureData (Pd) as the basis for video of rendering of interactive scores in video, an impressive way the bach library, in the rendering and sound synthesis. as part of the OSSIA (Open Scenario System implementation and synthesis of techniques The keynotes by Marcelo Wanderley, about for Interactive Application) project. of spectral music through this software. motion capture as basis for performance The new version of Iannix, with its history tied Didier Guigue presented the last analysis and interactive applications to Iannis Xenakis’ UPIC, was a highlight. The Closing these presentations, the results development, and Peter Synclair, about new way it reacts in real-time to sound and developments of his SOAL library for the of the LoMus contest, for free and open analysis of the complexity of orchestration sonification and arts, in the field of sound image, and its application to self-organizing source software, which had the applications art, were other highlights of JIM2014, as strategies, in their formal dynamics and 3 systems, as in robotics, for example, are ArgoPd, Egregore and FScape as winners . well as the concerts, with first rank works truly impressive and can be seen on the perceptual consequences. Jônatas Manzolli talked about his and performers. Part of the compositions video of the presentation. The Raed library for Csound brings practical presented were a result of the composition and effective possibilities for the analysis developments in the implementation of T-Calcul applies a mathematical approach systemic thinking and complexity studies contest around the use of a specific interface via the theory of tiles for the understanding and synthesis of arab music in its different for performance with live-electronics, the microtonal approaches. in works such as “continuaMENTE” and of rhythmical structures in music. “re(PER)curso”, and about his current P-Soft. FaustLive presents a very intelligent solution A group of the University of Lille (France), research in the field of topomorphic Today, the music that we make and hear for sound synthesis over networks, using showed their software developments for sonification. are intimately tied to the electro-electronic Jack and NetJack, and distributing the the authomatic analysis of the sonata apparatus developed since the last century,

3 More at goo.gl/OqkzHc (in French) without our awareness of this fact, at many is grasped by its possible echoes in the human. On the au revoir to Bourges, at the times. Different recording and reproduction future, in all types of music. Dealing with same time witness to these achievements systems, digital code, miniaturization of applications, mathematical formulations, and other loses, the stones on the streets circuits, information retrieval, transmission programming, studios, compositions, and buildings remembered me, that it is in and reception technologies… It is also tied performance, concerts, sonification, sound our daily lives that we build something that to research on sound and perception, ways art, is like pointing to a music that is still crosses centuries. of understanding our relationship to what on the making, fixed into being, as Félix we call music. These and much more, when Guattari says, inside processes that happen they appeared in our societies, did not have in an ecology of ideas, a social ecology their aims prescribed. It was their use and an environmental ecology, inside our iiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii that determined how they are today. That relationship with our environment. Contrary iiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii configured much of the way we understand to various trends, like the commercial and iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii and make music. To scroll through the capitalistic trend, this music has the power iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii presentations at JIM2014 is like looking at of the discovery process as its greatest iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii a small ecology, ideas being developed in force. Attending to JIM2014 (with the iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii their different consequences, like small financial support of UNIRIO, to which I am iiiiiiiiiiii iiiiiiiiiiii organisms, that affect each other and very grateful), was for me an opportunity to iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Daniel Puig multiply. It’s almost like looking through witness this movement and force — in its is a contemporary music composer currently a microscope, on which it is difficult to sound results, technological and human, based in Rio de Janeiro. He studied at UFRJ grasp the organism. Taking a step away in the people I met, in conversations and (Universidade Federal do Rio de Janeiro). from its powerful lenses, I can look at an exchanges. Despite the high costs of such an Performances of his works include those electroacoustic body… academic gathering, its results are justified at Bienal de Música Contemporânea do in this scenario. And it is impossible not to Rio de Janeiro, Darmstadt Music Festival, This whole movement, in an almost home-like think of all similar initiatives that happen Holländisches Klangfest, among others. environment, very well organized, linking in the whole of Brazil, and throughout the historical tradition in electroacoustic music world, and in how we need to value them, to the most recent developments, shows as product and producers of a diversity danielpuig.me the power of these researches for the music that may contribute for societies where that is practiced today and for everything all ideas, new ideas, have their place to iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii that may happen in the field. My imagination grow and bring novelty forth, sonorous and iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii ii ii ii ii ii ii ii ii ii

From Russia: DOM, GEZ-21, RTM LUIS FELIPE LABAKI, in Conversations with: Alexei Borisov Boris Shershenkov Marina Poleukhina special for this linda-ii

I’ve spent some twenty days in Russia between June and July this year. It was my second trip there. Since I was in Moscow and Saint Petersburg, I decided to visit some places to start to get a grasp of what kind of space is there in those cities for what we have been referring to on linda as “música de invenção” (‘invention music’). I went to three different events, two in Moscow and one in St. Petersburg, and in all of them I

talked with one of the organizers in order to understand how does one produces an experimental music concert over there. КЦ ДОМ / CC DOM music scene in Russia who started his LUIS: For how long have you been organizing Moscow other venues like that or even some career still in the early eighties, in the the Noise and Fury festival? Besides that, in place dedicated exclusively to experimental RUÍDO and FÚRIA ii ii ii ii ii ii ii Soviet Union days, as a guitarist in the what kind of events of experimental music music? Or is it a matter of looking for a ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii first new wave band of Moscow, Tsentr do you take parte or organize in Moscow venue for each new project? and in other cities? (‘Center’). Later, he formed the group BORISOV: The DOM Cultural Center is the The first place I’ve been to was the DOM Nochnoy Prospekt, initially an electropop BORISOV: The first Noise and Fury festival main venue for experimental, electronic, Cultural Center (Культурный Центр duo that later on became a “post- took place on 2000 at the Dom CC (I played improvised music in Moscow. It’s the main ДОМ; “dom” means “house” in russian), industrial/electronic/experimental” solo at this festival). Since 2003 I am a specialization of this place. All other venues where I saw the second day of the Noise quartet. Since the nineties he has been director of this fest. In the nineties I was are quite occasional places for some of our and Fury (Шум и Ярость) festival, already performing solo and with a series of responsible for the series of concerts experimental projects. Sometimes it could in its thirteenth edition. The CC DOM projects and collaborations of live Electric Future (with Vladimir Ratskevich be also local contemporary art museums, is a wide place on the ground floor of a electronics, noise, industrial, improvised and Dmitry Uhov). Sometimes I take part in galleries, small theaters, bars, book stores small building, with different ambients: music, rock and other styles, having taken the organizational process of such festivals or private locations.... there are some chairs lined up in front part in a long list of festivals in many as Details of Sound, Monofest, as well as in of a small stage area, a higher platform countries in Europe, Asia and America. different concerts and tours of Russian and LUIS: Is there some kind of governmental to the right with some extra tables and a He also runs a record label called N&B international artists in Moscow, Petersburg, funding for experimental music in Russia? bar that is open throughout the concerts. Research Digest with one of his long-time Yaroslavl, Kaluga, Vologda, Kazan, Kiev, I mean, is it possible to apply for grants or financial support for specific events, such I estimate that there must have been collaborators, the finnish artist Anton etc... as festivals and so on, or even some kind of some fifty or sixty people there, with ages Nikkila, and he maintains a website with LUIS: So there are other important festivals support for the composers themselves? varying from twenty to sixty years old. news about the experimental scene in of noise, electronic and etc. happening in Russia, shum.info. In the festival’s second and last day, there Russia regularly? BORISOV: Unfortunately we don’t have any were both foreign and russian artists grant system for experimental music. Sometimes it’s possible to get money from performing, with quite diverse styles: BORISOV: The biggest festival of such kind is SKIF – Sergey Kuryokhin International the Moscow government, the Ministry of there was some guitar + live electronics Festival in Petersburg. The same crew is Culture, some commercial sponsors or improvise, circuit bending (with three responsible for the Electro-Mechanica and foreign foundations for bigger events/ encores!), analogic tape loops with Ethno-Mechanica festivals in Petersburg. festivals, but not so often and usually it takes Super8 film projection and even a new Also, I could mention the Long Arms much time and efforts to get any money soundtrack to Dziga Vertov’s Enthusiasm festival, which takes place at the DOM CC from them...There are no organizations in (Entuziazm, 1931). in Moscow. Russia supporting local musicians touring After the concert, I talked briefly with its abroad, like in Germany, France, Norway or LUIS: From what I understand, the DOM CC Switzerland, for example... curator Alexei Borisov, and we agreed is not dedicated exclusively to experimental to make an e-mail interview afterwards. music, but it seems to host quite a few LUIS: What about the academic electronic Borisov is a veteran of the experimental concerts of this kind of music. Are there in music? Is there some interaction between this circle and the people composing outside ГЭЗ-21 / GEZ-21 ii ii ii ii ii ii ii the Conservatory? ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii BORISOV: As far as I know, academic In Saint Petersburg, I didn’t have electronic music in Russia is quite isolated any indication of places or events to and does not have many possibilities to perform. People could be more active go, so I decided to use the easiest abroad or work more in theatre or take part way to look up for them: I googled in some multimedia projects. “experimental electroacoustic music saint petersburg”. Not by chance, the first search result was the ESG-21, the Experimental Sound Gallery (Галерия Экспериментального Звука), part of the art center “Pushkinskaya-10” (Арт- Центр «Пушкинская-10»), in the central region of the city. The program that day was a workshop ministered by the Polish composer Dariusz Mazurowski, who had already performed there a few days before. The workshop was an introduction to some composition and improvisation techniques, like using plug-ins to process instruments in real time, granular synthesis, acoustic treatments for electronic sounds and so on. There were some ten people there, each with their respective instruments, which were recorded and processed during the night and used for a final collective improvisation. When it was all over, I talked with Boris Shershenkov, the sound director of ESG-21.

LUIS: What is the origin of this place? BORIS: There are concerts almost every classes in the conservatory, but today this is variations, ritual ambient… that is, not- day, except when… well, it depends of the just one of the aspects that anyone working BORIS: It all started twenty five years ago. Well, popular music. And there’s also free jazz in attendance, if there’s people here to see it. with composition has to study. its many formats… it started probably even before that, because There are also some more or less regular initially the art center “Pushkinskaya-10” projects. For example, there is a school LUIS: But these composers coming from LUIS: Last question: do you receive any kind was a squat, that is, an abandoned building of improvised music functioning here, for the conservatory background usually come of governmental financial support? in the center that was occupied by artists. musicians willing to familiarize themselves here, or…? And in Russia this is the first precedent of BORIS: We do not receive any kind of with some variations, extended techniques… BORIS: I’d say they usually keep themselves direct financial support from official a squat that has received an official status, some quite well-known musicians- still in the nineties. Today there are many apart from it. But there are composers who representatives. This place exists by its improvisers teach here. And frequently are interested in what goes on here, that own means, because of the enthusiasm of different artistic groups here, artists that there are also many well-known musicians have their workshops, that live here, that come, listen, find something for themselves, the people working here and also of some, from this electroacoustic improvisation organize their projects here… we could say, “sponsors”. For example, create here and that have some expositive genre coming here, like Keith Rowell, Noid spaces where they can display their and LUIS: And is there some place where someone who is interested in what we do that (Arnold Haberl), Klaus Filip… In Russia, in a given moment comes and says, “Here’s other’s works. And besides the art galleries there is the Тени Звука (‘Shades of Sound’) this academic electroacoustic music is there is also a theatre workshop and the presented regularly? some money, buy yourself something you festival, which was born here in ESG-21 and need”. The only support that allows us to Experimental Sound Gallery, a concert hall later on started to take place also in Moscow. BORIS: As far as I know, no. From time to time continue existing is that the art center exists dedicated to electroacoustic, experimental Kurt Liedwart is responsible for it, and he’s there are concerts, often with musicians or here in very favorable conditions and we and, well, “underground” music. the curator and creator of the muscovite composers coming from different places, pay a very low rent. Thanks to that we can, label of improvisational and electroacoustic LUIS: And it already exists for a long time? but there is not a special venue for that. basically, survive in this format, because music Mikroton. Also, there is the Intonema ESG-21, in this sense, is an absolutely what goes on here doesn’t have any kind of BORIS: Yes, the project is fifteen years old. label, from Saint Petersburg. We’re having two anniversaries this year, unique place, because it was created since commercial motivations. But as long as the the twenty-five years of the art center LUIS: We were talking earlier about academic the beginning specifically for experimental art center exists, we can continue to do our and the fifteen years of ESG-21, which we electroacoustic music. Do the people from music, for which, in those days, there were work. celebrated with a small festival. The ESG- this circle come here? practically no venues at all. And this was 21 was founded on the 5th of May of 1999 one of the first ones. Now there are many BORIS: Well, I was talking earlier about the venus in this club format, where anyone by Sergei Busov and Nikolai Sudnik, and division between the electroacoustic music initially it was in another building, but after can go, and there are places where this that exists in an… let’s say, underground kind of music is performed. But the ESG- a few years it was transferred to this one format, like what we have here, and the and exists here already for quite a long time. 21 managed to unite many aspects of academic music that has absorbed the music. First of all, there is improvisational LUIS: And with what frequency do you electroacoustic innovations from the and electroacoustic music, but there are organize concerts here? middle of the twentieth century as a part also some absolutely different projects for of its educational program. There are a few which there were no venues before also, institutions, there are electroacoustic music like ambient, drone ambient and its different REAL TIME MUSIC ii ii ii ii ii ii ii Moscow Conservatory just a week before MARINA: Basically, doing some side jobs… Considering an end ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii that. I asked her about the Conservatory’s unfortunately, you make some stuff that, ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii relation to the concerts they organize. well, is not related to your professional In Moscow, I also went to a concert specialty. You do stuff that is disconnected I’ll end these impressions on Russia with organized by a group of composers that MARINA: The conservatory is very from what is most important. the last question I asked Alexei Borisov. In a friend of mine knew. It took place in occupied… with its own means, its laws and face of all of this, I asked him how did he Marina also reiterated what the others had the Central House of the Architects regulations, that is, connected more with see the transformations of the Russian said: it is very difficult to get any financial (Центральный Дом Архитекторов), in a teaching questions and its own existence. experimental music scene throughout the support, either from the government or hall where usually there are also some art As to contemporary music, we ourselves years he has been active, from the eighties from private sponsors. On this subject, exhibitions. The space and its acoustics organize a few events, we try to find a way up to now. What is different nowadays? Denis Khorov, also a composer, joined reminded me a lot of a similar room in to do it, and there are many composers. our conversation and made a few BORISOV: Of course, music changed a lot. Now the Instituto Tomie Ohtake, in São Paulo, Actually, it all seems to happen apart from comments that could be related to a all categories of electronic/experimental/ where in 2013 we organized the NME13 the conservatory. There is a scene going discussion brought up by Ivan Chiarelli improvised music are available in Russia. – músicas ressonantes, espaços sonoros on, but I would say it is very spontaneous, in his text Um lugar por onde começar We have already a few generations of (‘NME13: resonant music, sound spaces’) not regular. Basically, there is what we (‘A place to start’) on #12, which also vanguard musicians and sound artists since concert. Actually, the audience and the organize ourselves, or what someone else linda relates to the Stockhausen-entrepreneur the late 50s... And also all types of music overall atmosphere there reminded me manages to do in one or another available figure he exposes in his text for this are still “legal” in Russia. In Soviet times, of the NME events. venue. But, besides that, there is now the Academy of Contemporary Music in the linda-ii . Denis complained about the lack for example, rock was prohibited as well as some other challenging styles of modern The concert was called Real Time Music, city Tchaikovsky. [The official name of the of a basic education on management, PR music. Now we have different specialized a “concert for eighteen musicians- project is International Academy of Young and producing in the composition courses. labels, distributions, promoters, venues, improvisers and a generator”. Each Composers (Международная Академия According to him, this perpetuates festivals, etc... Of course, there are still many participant (there were not only Молодых Композиторов)]. I think they are this “volunteer” fashion through which problems and difficulties, like everywhere I musicians, but also a few poets, who already on their fourth edition, organized experimental music manages to make its guess... But artistic life is going on, and this participated reading some texts) had its way, always depending on the efforts of by the composer Dmitri Kurliandsky, and is good... own corresponding figure in a PureData it is quite an important event, since there people willing to work for free. All in all, patcher that chose randomly from one to are many Russian students that, for various basically a very similar situation to what four figures at a time. The corresponding reasons, cannot travel to Europe. So it is we have in Brazil. musicians should then improvise solo, as really great, because in the Academy you can a duo, trio or quartet for two minutes. study with different teachers, take classes, and after that you compose a musical piece In the end, I spoke briefly with the and an ensemble performs it. organizer of the event, composer and improvisator Marina Poleukhina – which, LUIS: And do you live just as a composer? Or by the way, had finished her studies in the how do you manage to make a living? iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii • Mikroton – label: goo.gl/hZexPN For further information: ii ii ii ii iiiiiiiiiiii Located in Saint Petersburg, ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii ii • Intonema – label: goo.gl/2UGvpj iiiiiiiiiiii Russia, consists of following • Marina Poleukhina: goo.gl/g3iGwk iiiiiiiiiiii • CC DOM – official website : goo.gl/9GzFxA iiiiiiiiiiii programs: • GEZ-21 – official website : goo.gl/rHXH9g • russian experimental scene news blog: iiiiiiiiiiii Program “Art-Buffet” goo.gl/gWDbeS iiiiiiiiiiii • N&B Research digest (label): goo.gl/yIvQKF Atmosphere and heroes of St. Petersburg iiiiiiiiiiii underground, open discussions, videos, iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii music, food, tee, coffee. Permanents iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Program Experimental Sound themes: “Topography, Ethnography and iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Gallery (ESG 21) Anthropology of underground”. Curators I. iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii Live-concerts on Mondays, Tuesdays, Fridays Aktuganova and E. Klobukova. On Saturdays iiiiiiiiiiii Art-Buffet works as Philosophic café iiiiiiiiiiii and Saturdays. Electronic, noise and other iiiiiiiiiiii non-commercial music, experimental For all who are interested. It follows the iiiiiiiiiiii projects of well-known musicians and traditions of European Philosophic cafés: iiiiiiiiiiii young artists. Places and discussions for open discussions on different subjects. iiiiiiiiiiii musicians and audience in atmosphere of Curators A. Vlasov, and A. Mitrofanova. iiiiiiiiiiii underground. Curator S. Busov. Program “Art-Club” iiiiiiiiiiii Program Cyber-Femin Club Thematic artistic evening-party. Presentations iiiiiiiiiiii Meetings, seminars, exhibitions and concerts of groups of artists and projects, which are iiiiiiiiiiii for all those interested in feminism. Curator developing contemporary culture and art in iiiiiiiiiiii I. Aktuganova. St. Petersburg. Curators I. Aktuganova and iiiiiiiiiiii L. Ponamarchuk. iiiiiiiiiiii Project of FFC (Factory of Found Clothes) and iiiiiiiiiiii of Cyber-Femin Club: “A Girls World” Program “Free University” iiiiiiiiiiii The workshop’s purpose is to show audience Special seminars and lectures by the leaders iiiiiiiiiiii what it is to be a girl. FFC is dealing in genre of today’s cultural life in St. Petersburg. iiiiiiiiiiii of performance with unique new made old Curator Andrey Khlobystin. iiiiiiiiiiii clothes. N. Pershina-Jakumanskaya. iiiiiiiiiiii Film program “For those who iiiiiiiiiiii Program “NEWS” look up” («Для глядящих iiiiiiiiiiii Program was created for the purpose of вверх»)

iiiiiiiiiiii introducing different kinds of subcultural Consists of Russian, European and American iiiiiiiiiiii artist groups to each other and to give the underground films and video art of XX iiiiiiiiiiii present underground a space and a possibility century. iiiiiiiiiiii for publicity. Curators I. Aktuganova and L. Curator C. Vjazankin. iiiiiiiiiiii Ponamarchuk. iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii

Artistic direction by NME

Tiago de Mello, executive director, editorial director and layout Authors:

Sérgio Abdalla, publisher, Portuguese redaction director and marketing director Aline Vieira, Bruno Fabbrini, Daniel Puig, Francisco de Oliveira, Ivan Chiarelli, Julia Teles, Lilian Nakao Nakahodo, Luis Felipe Labaki, Luisa Puterman, Luís Felipe Labaki, publisher and English redaction director Marcela Lucatelli, Natália Keri, Sérgio Abdalla e Tiago de Mello.

Bruno Fabrinni, Julia Teles e Natália Keri, press office Interviewees: Aleksêi Boríssov, Boris Cherchenkóv e Marina Poleúkhina Bárbara Scarambone, collage (pages 8, 23, 56 e 70)

Promoted by: ESG-21 To reach the authors or the magazine: Editora Medita nme@nmelindo.com

Follow us at: linda–ii, 08/18/2014 fb.com/nmelindo NME , linda electroacoustic culture since 2011 iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii 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