Listening to/with Mar Paradoxo: a collective practice for sharing listenings

Visualizações: 238

Autores

  • Gustavo Branco Germano Universidade de São Paulo
  • Alexandre Marino
  • Daniel Tápia Federal University of Espí­rito Santo
  • Henrique Rocha de Souza Lima Anhembi Morumbi University
  • Lílian Campesato NuSom
  • Marina Mapurunga de Miranda da Ferreira Universidade Federal do Recôncavo da Bahia
  • Valéria Bonafé Universidade de São Paulo
  • Vicente Reis Universidade de São Paulo

DOI:

https://doi.org/10.33871/23179937.2021.9.2.1

Palavras-chave:

Listening, Otography, Experimental research practices, Raquel Stolf, Mar Paradoxo

Resumo

This paper presents an experimental methodology developed by the collective Laura: Place for Research on Aurality for approaching listening as a shared experience. As a motif for the application of this methodology, we take the work Mar Paradoxo (Raquel Stolf, 2016) as a proposition for experiencing multiple modes of listening. To contextualize our understanding of Stolf's work, we refer to the concept of otography as a way of approaching the listening experience as something that makes and is made out of traces. By means of the production, sharing, and analysis of listening reports, we outline different modes through which our listening navigates. These modes help us understand listening as an experience that is multi-mediated and relational, singular and situated. In the end, we emphasize the presence of the other in the listening subject, resonating the thesis that the listening activity is driven by a desire of making one's listening listened.

Downloads

Não há dados estatísticos.

Biografia do Autor

Gustavo Branco Germano, Universidade de São Paulo

Gustavo Branco Germano is a PhD student at the School of Communications and Arts, University of São Paulo (ECA-USP) and holds an MA in Music (2020) and a Bachelor in Music Education (2017) from the same institution. His current research project focuses on the relationships between art and documentation in Brazilian field recordings. In his Master's thesis, he investigated an understanding of listening as a compositional act with particular emphasis on musical works that don't involve the intentional production of sounds. He is a member of NuSom – Research Center on Sonology and of LAURA - Place for Research on Aurality. ORCID: https://orcid.org/0000-0003-4389-0085. E-mail: gustavo.germano@usp.br

Alexandre Marino

Alexandre Marino is a sound artist, teacher, researcher and sound designer. Co-founder of Al Revés netlabel, where he produces sound art projects and works as a recording, mixing and mastering engineer. Works with soundtracks and sound design for audiovisual projects and plays. Master in Musicology at ECA-USP and post-graduate degree in Music Composition in Contemporary Technologies at the Pompeu Fabra University (Barcelona - Spain). Works, since 2004, as an educator. ORCID: https://orcid.org/0000-0001-9072-494X. E-mail: alemarino@gmail.com

Daniel Tápia, Federal University of Espí­rito Santo

Daniel Tápia is a brazilian musician, composer and sound artist. He teaches music technology, film music and music education at the Federal University of Espí­rito Santo, where he also conducts the activities and production of its studio. Composer, classical guitarist, arranger and audio-musician, Daniel is the author of the book "O áudio musical e o áudio musicista" (musical audio and the audio-musician). With intense artistic practice as an audio-musician (mainly recording, mixing and mastering), he was a Latin Grammy Nominee in the year of 2018 and recently released his first album as a composer, called "Contrastes". He is now developing his post-doctoral research at University of São Paulo as part of NuSom, regarding the investigation of the artistic processes and education in audio. ORCID: https://orcid.org/0000-0002-3649-6197. E-mail: danieltpa@gmail.com

Henrique Rocha de Souza Lima, Anhembi Morumbi University

Henrique Rocha de Souza Lima received his PhD in Music from the University of São Paulo; MA in Philosophy from the Federal University of Ouro Preto; and his Undergraduation in Music Education from Federal University of Ouro Preto. He is currently a Professor in the course Technologies for Phonographic Production - Music Production, at the Anhembi Morumbi University in São Paulo-Brazil. ORCID: https://orcid.org/0000-0003-0082-2840. E-mail: hrsouzalima@gmail.com

Lílian Campesato, NuSom

Lí­lian Campesato (b. 1981) is a Brazilian artist, scholar, and curator. Research Fellow at USP and research affiliate at NuSom since 2012. She works mainly in the following areas: sound studies, experimental music, sound arts, and feminisms. Her texts discuss listening, noise, experimentalism, and counter-hegemonic discourses in these fields. As an artist she explores voice and performance. Since 2017, she has developed the research project "Microfonias: intention and sharing of listening" in partnership with Brazilian composer and scholar Valéria Bonafé. Co-founder of Sonora: musics and feminisms, a collective network dedicated to the discussion and expansion of feminist expressions in music and the arts. ORCID: https://orcid.org/0000-0002-9935-3185. E-mail: lilicampesato@gmail.com

Marina Mapurunga de Miranda da Ferreira, Universidade Federal do Recôncavo da Bahia

Marina Mapurunga de Miranda da Ferreira is a PhD student in Music (Sonology) at the Universidade de São Paulo. She holds an MA in Communication from the Universidade Federal Fluminense. She works as a researcher in areas of sound studies and audiovisual. She is a researcher at NuSom – Research Center on Sonology and an activist in Sonora network – Music and Feminisms. She is a member of the Orquestra Errante. She teaches at Universidade Federal do Recôncavo da Bahia (Cachoeira, Bahia), and is coordinator of the SONatório – Laboratory of experimentation in sound. ORCID: https://orcid.org/0000-0003-2668-3981. E-mail: marinamapurunga@ufrb.edu.br

Valéria Bonafé, Universidade de São Paulo

Valéria Bonafé is a composer and researcher. She works in the areas of musical composition, analysis, sound studies and feminisms. BA in Music Composition, MA and PhD in Musicology, she studied at the University of São Paulo and at the Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart. Since 2017, she has developed the project Microfonias: Invention and Sharing of Listening in partnership with Lí­lian Campesato. Associated researcher at NuSom - Research Center on Sonology at USP, co-founder of Sonora: music and feminisms, and member of Laura - Place for Research on Aurality. Currently she is developing postdoctoral research supported by CNPq. ORCID: https://orcid.org/0000-0001-6105-6591. E-mail: valeriabonafe@valeriabonafe.com

Vicente Reis, Universidade de São Paulo

Vicente Reis is a Professor at the Center for Culture, Languages and Applied Technologies (CECULT) at the Federal University of Recôncavo da Bahia (UFRB), he teaches subjects related to audio recording, music production and media art. Master in Communication and Contemporary Culture (UFBA) and PhD student in Music at the University of São Paulo (USP). Acts as a sound designer in electronic games projects. ORCID: https://orcid.org/0000-0001-5763-6737. E-mail: vicentersfa@gmail.com

Referências

ADORNO, Theodor W. Typen musikalischen Verhaltens. Einleitung in die Musiksoziologie: Zwölf theoretische Vorlesungen. Frankfurt am Main: Suhrkamp, p. 13-29, 1962.

BONAFÉ, Valéria; CAMPESATO, Lí­lian. "˜Many Voices, Resonating from Different Times and Spaces"™: a Script for an Imaginary Radiophonic Piece on Janete El Haouli. Feminist Review, v. 127 p. 141-149, 2021. DOI: 10.1177/0141778920969598. Available at: <https://journals.sagepub.com/doi/abs/10.1177/0141778920969598>. Accessed on: 30 may. 2021.

BONNET, François J. The order of sounds: a sonorous archipelago. Translated by Robin Mackay. Falmouth: Urbanomic Media, 2016.

BORN, Georgina. Recording: from reproduction to representation to remediation. In: COOK, Nicholas; CLARKE, Eric; LEECH-WILKINSON, Daniel; RINK, John (Ed.). The Cambridge Companion to Recorded Music. Cambridge: Cambridge University Press, 2009. p. 286-304.

______. On nonhuman sound: sound as relation. In: STEINTRAGER, James A.; CHOW, Rey (ed.). Sound Objects. Durham, N.C.: Duke University Press, 2019. p. 185-210.

CAESAR, Rodolfo. O tí­mpano é uma tela! Catálogo da exposição Arte & Música, Rio de Janeiro: Caixa Cultural, 2018

______. Som não é uma coisa em si, e sim o transporte de coisas que vazam. Revista Música, [S.l.], v. 20, n. 1, Dossiê Sonologia, p. 295-308, 2020. DOI: 10.11606/rm.v20i1.170730. Available at: <https://www.revistas.usp.br/revistamusica/article/view/170730>. Accessed on: 30 mai. 2021.

CAGE, John. Silence: lectures and writings. Middletown: Wesleyan University Press, 1961.

CAMPESATO, Lí­lian; BONAFÉ, Valéria. La conversación como método para la emergencia de la escucha de sí­. El oí­do pensante, v. 7, n. 1, p. 47-70, 2019. Available at: <http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7543/6753>. Accessed on: 30 may. 2021.

CHION, Michel. Audio-vision: sound on screen. New York Chichester, West Sussex: Columbia University Press, 1994.

DANTAS, Paulo. Being in the Field: process, narrativity, and discovery in the field-recording work of Thelmo Cristovam and Alexandre Fenerich. In: CHAVES, Rui; IAZZETTA, Fernando (Ed.). Making it Heard: a history of Brazilian sound art. New York; London: Bloomsburry Academic, 2019. p. 153-166.

DELEUZE, Gilles. Le bergsonisme. Paris: Presses Universitaires de France, 1966.

GERMANO, Gustavo Branco. A Escuta Como Ato de Composição. 2020. Dissertation (Masters, Arts). Programa de Pós-Graduação em Música - Escola de Comunicações e Artes - Universidade de São Paulo, São Paulo.

LASTRA, James. Sound Theory. In: LASTRA, James. Sound Technology and the American Cinema. New York: Columbia University Press, 2000. p. 123-153.

LEAVY, Patricia. Method meets Art: Arts-based research practice. 3rd edition. New York: The Guilford Press, 2020.

LÉVY, Pierre. Qu"™est-ce que le virtuel? Paris: Editions La Découverte, 1995.

LIMA, Henrique Rocha de Souza. Desenho de escuta: polí­ticas da auralidade na era do áudio ubí­quo. 2018. Thesis (Doctoral, Arts). Programa de Pós-Graduação em Música - Escola de Comunicações e Artes - Universidade de São Paulo.

LIMA, Henrique Souza; GERMANO, Gustavo Branco; CAMPESATO, Lí­lian; ESTEVES, Lucia Nogueira, MAPURUNGA, Marina; BONAFÉ, Valéria, REIS, Vicente. Between Control and More-than-Human Events: The Listening Experience in the Light of Speculative Pragmatism. AM Journal of Art and Media Studies, v. 24, p. 29-39, 2021. DOI: 10.25038/am.v0i24.419. Available at: <https://fmkjournals.fmk.edu.rs/index.php/AM/article/view/419>. Accessed on: 30, may. 2021.

KAHN, Douglas. Noise, water, meat: a history of sound in the arts. Cambridge: The MIT Press, 1999.

KIM-COHEN, Seth. In the blink of an ear: toward a non-cochlear sonic art. New York: Continuum, 2009.

NANCY, Jean-Luc. Listening. New York: Fordham University Press, 2007.

NENDU;–ouvir-se. Raquel Stolf. [S.d.]. Available at: <http://www.nendu.net/?p=191&lang=pt>. Accessed on: 30 mai. 2021.

SCHAEFFER, Pierre. Traité des objets musicaux: essai interdisciplines. Paris: Seuil, 1966.

STOLF, Maria Raquel da Silva. Laboratórios de Escuta. AusArt Journal for Research in Art, UPV/EHU Press, Spain, v. 3, n. 2, p. 203-215. 2015.

______. Página Gravada. Art & Sensorium, Paraná - Curitiba, v. 3, n. 1, p. 13-28, 2016b.

______. Perguntas, anotações [sob exercí­cios de escrita e escuta]. Revista Apotheke, Santa Catarina, v. 5, n. 1, p. 114-125, 2019.

STOLF, Raquel. Entre a Palavra Pênsil e a Escuta Porosa: [investigações sob proposições sonoras]. 2011. Thesis (Doctoral, Visual Poethics). Instituto de Artes, Universidade Federal do Rio Grande do Sul, Porto Alegre.

______ (Composer). Mar Paradoxo. Florianópolis: céu da boca; Editora Nave, 2016a. 2 CDs (101 min).

______. Sob/Sobre Notas-Desenhos de Escuta. Arteriais, Pará, v. 3, p. 108-116, 2017.

______. notas oblí­quas [sob uma coleção de silêncios]. Vazantes, Ceará, v. 2, n. 1, p. 169-177, 2018.

SZENDY, Peter. Écoute: une histoire de nos oreilles. Paris: Minuit, 2001.

______. Surécoute: esthétique de l"™espionnage. Paris: Minuit, 2007.

______. The Otographer. Preface to BONNET, François J.. The order of sounds: a sonorous archipelago. Translated by Robin Mackay. Falmouth: Urbanomic Media, 2016. Available at: <https://www.urbanomic.com/wp-content/uploads/2016/01/Bonnet-Szendy-Preface.pdf>. Accessed on: 30 mai. 2021.

SZENDY, Peter; DONIN, Nicolas. Otographes. Circuit: musiques contemporaines, [S.l.], v. 13, n. 2, p. 11-26, 2003. Available at: <https://www.erudit.org/fr/revues/circuit/2003-v13-n2-circuit3625/902271ar.pdf>. Accessed on: 30 mai. 2021.

TUURI, Kai; EEROLA, Tuomas. Formulating a Revised Taxonomy for Modes of Listening. Journal of New Music Research, London, v. 41, n. 2, p. 137-152, 2012.

ULTRA-RED. Five Protocols for Organized Listening. Berlin: Koenig, 2012. Available at: <http://www.ultrared.org/uploads/2012-Five_Protocols.pdf>. Accessed on: 30 mai. 2021

WRIGHT, Mark Peter. The Noisy-Nonself: towards a monstruous practice of more-than-human listening. Evental Aesthetics, [S.l.], v. 6, n. 1, p. 24–42, 2017. Available at: <https://eventalaesthetics.net/Back_Issues/V6N1_2017/EAV6N1_2017_Wright_NoisyNonself_24_42.pdf>. Accessed on: 30 mai. 2021.

Downloads

Publicado

30.11.2021

Como Citar

Germano, G. B., Marino, A., Tápia, D., Lima, H. R. de S., Campesato, L., Ferreira, M. M. de M. da, … Reis, V. (2021). Listening to/with Mar Paradoxo: a collective practice for sharing listenings. Revista Vórtex, 9(2), 1. https://doi.org/10.33871/23179937.2021.9.2.1

Edição

v. 9 n. 2 (2021): Revista Vórtex

Seção

Dossier "Creative practices in Sound Art"

Licença

Copyright (c) 2021 Gustavo Branco Germano, Alexandre Marino, Daniel Tápia, Henrique Rocha de Souza Lima, Lí­lian Campesato, Marina Mapurunga de Miranda da Ferreira, Valéria Bonafé, Vicente Reis

Creative Commons License
Este trabalho está licenciado sob uma licença Creative Commons Attribution 4.0 International License.

Autores mantêm os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Licença Creative Commons Attribution que permite o compartilhamento do trabalho com reconhecimento da autoria e publicação inicial nesta revista.

Métricas