TAC BLOG

"Moments Later". Withing a minute series

grupotac@telefonica.net (Atilio Doreste) — Sun, 25 Jan 2015 09:27:00 GMT

Within a minute. Moments later from Jose Guillén on Vimeo.

Within a minute, is a collection of video art pieces. They can only take a minute. It is the only limitation. Field recordings and video: Atilio Doreste Audio processing and synthesizer: Jose Guillén. Ancient abandoned leper colony, Adeje, Tenerife Island.

resonar_un_lugar_2

grupotac@telefonica.net (Atilio Doreste) — Sun, 18 Jan 2015 09:37:00 GMT

Interpretación de un espacio por medio del sonido y la danza.

Sábado 10 de enero

Nuevo edificio Sección de BBAA ULL. Calle Radioaficionados s/n. Campus de Guajara.

Guillermo Horta
José Guillén
Yurena Darias
Zebenzui González
Atilio Doreste

Cámara en mano: Nabila Doreste.
Producción vídeo y audio: José Guillén, Atilio Doreste.

Organizado por AURICULAB
Laboratorio de Arte Sonoro, Grupo Taller de Acciones Creativas, Dpto. BBAA.
http://auriculab.wix.com/auriculab

resonar_un_lugar_01 releasing

grupotac@telefonica.net (Atilio Doreste) — Mon, 15 Dec 2014 14:56:00 GMT

Interpretación de un espacio por medio del sonido y la danza. Patio y Cubo_Salón de Actos. Nuevo edificio Sección de BBAA ULL. Calle Radioaficionados s/n. Campus de Guajara.

José Guillén_sintetizador
Tony Peña_guitarra eléctrica y flauta melódica
Atilio Doreste_grabaciones de campo
Yurena Darias_viola da gamba
Zebenzui González_guitarra preparada y electrónica

Organizado por AURICULAB
Laboratorio de Arte Sonoro, Grupo Taller de Acciones Creativas, Dpto. BBAA.

Entrevista y directo en Radio Bronka

grupotac@telefonica.net (Atilio Doreste) — Tue, 25 Nov 2014 10:26:00 GMT

En esta ocasión hacemos un pequeño experimento de radio donde contrastamos (o mezclamos) grabaciones de campo catalanas recientes, con sonidos de tránsito y desolación, para hacer así alguna reflexiones sobre la escucha atenta.

ESCUCHAR DESDE ESTE ENLACE

Entrevista en el programa de radio La Rebelión de los Antoxidantes

grupotac@telefonica.net (Atilio Doreste) — Tue, 25 Nov 2014 10:11:00 GMT

ENLACE: Rebelion de los Antioxidantes - Atilio Doreste - 14 11 19

GFR 082 VA | Green Field Recordings | World Listening Day 2014

grupotac@telefonica.net (Atilio Doreste) — Wed, 15 Oct 2014 14:07:00 +0100

01 - Balam Ronan - Preparando Café (03:44)

02 - Field Abuse (Claudio Curciotti) - Ramadam Karim (04:29)

03 - James Kwi – Bubbling (04:59)

04 - Juanjo Palacios - Filtraciones (05:07)

05 - Marcus Beuter - Car Wash (05:58)

06 - Marcus Neves - Itapoa - Brazil vs Croatia_Second Goal (05:00)

07 - Robin Parmar - Ribeira Tunnel (05:59)

08 - Pablo Sanz - 49°17’53N 18°45’39E (03:30)

09 - Atilio Doreste - Los Silos (06:00)

10 - Jean-Baptiste Masson - Wasp nest in the ground (04:22)

11 - Mikael Layoura - Rayane & Ilias Playing in The PATIO (05:35)

12 - Enrique Maraver - Parque Representativo, Ciudad de México (03:42)

13 – Alejandro Cornejo Montibeller – Catedral de Lima y Campana de las once (05:51)

14 – Artificial Memory Trace – Crowgress

15 – Apenino – Fuegos de Bouzas (03:08)

16 - Ricardo Paraíso Silvestre - Elevador da Bica (04:40)

17 – Ckatsiris – Thunderstorm Pagrati (03:32)

18 – Luís Antero – Ponte Medieval (03:20)

Artists: Various Artists

Title: Green Field Recordings | World Listening Day 2014

Time: 1:23:11

Style: Field Recordings/Soundscape/Sound Composition

Date: October 2014

Label: Green Field Recordings

Artwork: GFR

Original Photos: GFR

www.greenfieldrecordings.yolasite.com

(cc) VA/GFR

GFR 082

Radionoisers. República Ibérica Ruidista

grupotac@telefonica.net (Atilio Doreste) — Thu, 28 Aug 2014 12:16:00 +0100

Radionoisers, grabado y compuesto por Atilio Doreste en la Isla de Tenerife, es una propuesta de ruido y escucha hacia lo intangible desde las grabaciones de campo, traspasando las fronteras ficticias de dominio de las frecuencias. Conformado con dos pistas de 15 minutos cada una, son intervenciones en el paisaje sonoro de espacios abandonados y las interferencias de instalaciones eléctricas del entorno. Se convierte en dos historias en desarrollo, al mas puro estilo voyerista, por medio de dispositivos de radio trastocados. Una es interiorista, donde esta presente el detritus del suelo de lugares ocupados para la improvisación y deriva sonora, tales como una antigua leproseria, una casita de verano junto a la costa, y los restos metálicos de la cocina de un antiguo refugio en un parque natural. La otra está enfocada hacia el cielo, derivas de ruido antropogénico y de la ionosfera, donde las conversaciones de radio son espiadas en el limite de lo privado y lo legal, como son, por ejemplo, las conversaciones de los controladores de vuelo. Todos ellos, de alguna manera, ruidistas inconscientes en una gran orquesta simultánea entre las diferentes capas que nuestros oídos pueden acceder y lo que nos traen un puñado de transistores viejos y destripados. Las grabaciones han sido realizadas durante el año 2014 con grabadores Sound Devices 702 y Zoom H4n, micrófonos Rode NT55, receptor VLF, radios de onda corta, y transistores analógicos antiguos hacheados. La metodología empleada es la deriva artística y posterior composición por capas. Disfruten de este excelente y personal trabajo del canario Atilio Doreste.

http://republicaibericaruidista17.wordpress.com/2014/08/28/rir025-atilio-doreste_radionoisers/

Word Listening day 2014 STR16 Directions

grupotac@telefonica.net (Atilio Doreste) — Mon, 21 Jul 2014 10:07:00 +0100

[STR 016] WLD 2014 - Directions by Various Artists

Midnight in Tierra del Trigo. Aporee soundmap WLD 2014

grupotac@telefonica.net (Atilio Doreste) — Sat, 19 Jul 2014 00:46:00 +0100

Crepe. Word Listening Day 2014 releasing from Vacuamoenia.

grupotac@telefonica.net (Atilio Doreste) — Fri, 18 Jul 2014 19:44:00 +0100

Crepe - WLD2014 by VacuaMœnia

Algunos modos de hablar en Canarias

grupotac@telefonica.net (Atilio Doreste) — Thu, 19 Jun 2014 19:02:00 +0100

New releasing. Shifting Boundaries. Audiotalaia.

grupotac@telefonica.net (Atilio Doreste) — Tue, 27 May 2014 21:38:00 +0100

[at072] Atilio Doreste

Shifting Boundaries

In this troubled world of the field recordings is always great to get a breath of fresh air. We are constantly defining the genre or even discussing if it is a genre by itself. Since the democratisation of the technological aspect of field recordings things have got more and more uptight and perilous. Now a days, you cannot cough without a wake of opinions behind it. So, being aware of the current situation and the abrupt irruption of field recordings in the “market”, the new album by Atilio Doreste, is in my humble opinion, a breath of fresh air. I’m completely unsure about the originality of the work but I’m certain that in the Spanish context it is a very interesting breakthrough. “Shifting Boundaries” explores the possibility of another way to understand field recordings as a canvas or a creational or inspirational environment that can alter our creative and sonic process of work. The album has been conceived as a series of fragments recorded live in various locations. In each location Doreste performed live a series of improvisations using small battery-powered circuit bended instruments and radios. Through an improvisational approach, Doreste performs accordingly to what he sees and hears. His intervention activates acoustically the spaces, while the very environment alters the way we listen to the sonorities of the circuit bended tools. Both elements, the environment and the circuit bending blend together forming a very short but consistent compositions in which, movement, noise and the surroundings are playing a strange and uncanny composition that alters the way we understand field recordings and the core idea of what Rocha Iturbide names electroacoustic soundscape. Doreste pulls aside all the canonic ideas about not altering the soundscape and embraces a far more interesting field that blurs the limits of what we understand as field recordings and our capability of using them as a canvas or a creational framework. Apart from the obvious, Doreste is also talking about a lived experience and a site-specific way to understand free improvisation. The author is confronting the idea of field recordings as documentation. Being aware of the site-specificity, the author is giving the same power or relevance to the recording and what its being recorded. Microphones are instruments, so as the soundscape, the environment, the acoustics of the space and all those radios, five elements shifting boundaries, blurring limits and making this world of field recordings a bit more fun. _ Here we leave some images from the process of work and locations involved in this project.

IMPROVISACIÓN, FINCA SAROGA 2014

grupotac@telefonica.net (Atilio Doreste) — Mon, 24 Mar 2014 08:48:00 GMT

Entrevista a Pep Mata

grupotac@telefonica.net (Atilio Doreste) — Sun, 16 Mar 2014 11:56:00 GMT

FUNDACIÓ LLUÌS COROMINA. ARTS NATURA PERSONES. 2014. www.grupotac.net

Releasing Radio Chaos and Nature. Post Global Records

grupotac@telefonica.net (Atilio Doreste) — Tue, 19 Nov 2013 18:02:00 GMT

Atilio Doreste - Radio Chaos and Nature

http://www.post-global.com/releases/post008.html

Radio chaos and nature is a result of long walking consisted of field recordings, radio emission and noise. It is a natural trip on Tenerife Island where all this recordings are done. A trip on important mystical spots through this distant island. The aim of these recordings is to get a whole picture on this spots, but also feel their mysterious energy. Birds, bugs, hums, radio noises and other sound interruptions... Delicate amalgamation of natural soundscape and distant noise signals; as a tiny reminder that there is something haunted around us, that we cannot see. At the end of the whole release you’ll have impression like you have been to those places. So lets the trip begin…

Ucanca. It is a moon-like valley that is located right in Teide National Park, near the peak of the volcano and the crowded valley of Orotava. The piece is a direct overlap receptions global shortwave radio and VLF emissions without interference from electrical nearby devices.

Herques. Important archaeological site where stood the old Canarian their mummies in hopes of his eternal life. From the top, some kind of large raptor bird gives confirmation of the recording opportunity.

Crater. Inside the crater of one of the ancient volcanoes of tacoronte some VLF signals are expected. However, the experience is not easy as the climb is hard since almost day is done and you lose the good time listening to such sounds. Sunrise feeling with the wind in the trees and birdsong, noise and ticks climbing through the legs the thorny brambles concave center.

Chamoco. Barranco de Badajoz, whose ancestral name is Chamoco, is a place full of mysteries and legends, but especially a place full of aesthetic and environmental values. The Local soundscape (full of wild canaries birds) acquires an attractive in listening to birds due to their low noise, and be shielded by high walls. There is deep Waters galleries that serves to many part of the island.

Radio chaos and natura belongs to “Limits and derivès” series.

"shorewalks". Sonic Terrain.

grupotac@telefonica.net (Atilio Doreste) — Fri, 15 Nov 2013 20:33:00 GMT

[STR 007] shorewalks by Atilio Doreste

VA | Green Field Recordings | World Listening Day 2013

grupotac@telefonica.net (Atilio Doreste) — Fri, 25 Oct 2013 20:13:00 +0100

Como vem sendo hábito desde 2010, o ano em que se celebrou pela primeira vez o Dia de Ouvir o Mundo, a netlabel portuguesa dedicada ao universo das gravações sonoras de campo - Green Field Recordings - tem convidado os artistas do seu catálogo, e outros que se queiram juntar, para celebrar o dia 18 de Julho através de edições especiais. Assim foi com a primeira colectânea “VA, O Colecionador de Sons, World Listening Day 2010/2011

(http://greenfieldrecordings.yolasite.com/audio-2012.php); com a edição de 2012

(http://greenfieldrecordings.yolasite.com/audio-2012.php) e agora com o lançamento deste novo trabalho sonoro, tornando a juntar à volta da Green Field Recordings e do Dia de Ouvir o Mundo mais 32 artistas e suas respectivas peças sonoras. Espero, sinceramente, que seja do vosso agrado. Um muito obrigado especial a todos os artistas participantes!

As usual since 2010, the year that celebrated the first World Day of Listening, the Portuguese netlabel dedicated to the world of field recording - Green FieldRecordings - has invited artists from their catalog, and others who want to join to celebrate the July 18th through special editions. So it was with the firstcollection “VA The Sound Collector, World Listening Day 2010/2011(http://greenfieldrecordings.yolasite.com/audio-2012.php), with the 2012 edition (http://greenfieldrecordings. yolasite.com/audio-2012.php) and now with the launch of this new sound work, making the join around the Green Field Recordings and the World Day of Listening over 32 artists and theirsound pieces. I sincerely hope that you all enjoy this compilation. A veryspecial thanks to all the participating artists!

Luís Antero | Green Field Recordings

+ info:http://ia801007.us.archive.org/19/items/VaGreenFieldRecordingsWorldListeningDay2013/Gfr069_pdfBook.pdf

http://greenfieldrecordings.yolasite.com/audio-2013.php

SismografoSeries Vol.13 Juanjo Palacios

grupotac@telefonica.net (Atilio Doreste) — Tue, 1 Oct 2013 13:28:00 +0100

SismografoSeries Vol.13 Juanjo Palacios by Sismografoseries on Mixcloud

Xisterna Levra (excerpt 01) [Impulsive Habitat] By Zigo	1
A Sud [AudioGourmet] By Honore Ferraille	2
Dunes [Linear Obsessional Recordings] By Chris Whitehead	3
Xisterna Levra (excerpt 02) [Impulsive Habitat] By Zigo	4
Organ Lesson [Green Field Recordings] By Michael T. Bullock	5
Making Tracks [LEA ediciones] By Dallas Simpson	6
Camino Real en San Miguel de Abone [Green Field Recordings] By Atilio Doreste	7
Albufera [48 Laws] By Edu Comelles	8
Sueño de una noche de Primavera [self-released] By Microplex	9
Linkage (excerpt 01) [LEA ediciones] By Dallas Simpson	10
Tiempos Muertos [LEA ediciones] By Kamen Nedev (Acoustic Mirror)	11
Chair Library [self-released] By Paco rossique	12
Oostructem [Auditalaia] By Elias Merino	13
Linkage (excerpt 02) [LEA ediciones] By Dallas Simpson	14
Las máquinas también lloran [Teslaradio] By Chinowsky Garachana	15

Participación en Sonic Terrain World Listening Day 2013 Compilation

grupotac@telefonica.net (Atilio Doreste) — Tue, 23 Jul 2013 08:56:00 +0100

[STR 004] WLD 2013 - Society by Sonic Terrain

El total de 300 minutos de grabaciones de campo de todo el mundo AQUÍ

Presentación del libro cartonero SPREE de Ernesto Suárez

grupotac@telefonica.net (Atilio Doreste) — Tue, 2 Jul 2013 00:27:00 +0100

Cartonera Island. Con Antonio Jiménez Paz. En Librería de Mujeres. SC de Tenerife, 21 de junio de 2013.

Our presentation at Sound Diaries. University of Oxford

grupotac@telefonica.net (Atilio Doreste) — Tue, 4 Jun 2013 19:14:00 +0100

LIMITS AND DERIVITIVES; ECHOING LIMITS, PROPERTY SIGNS AND WAYS TO OCCUPY COMMON HERITAGE. CREATIVE PHASE OF I+D SONAR:CC PROJECT[1]

TAC: Creative Actions Workshop. La Laguna University (Spain).
Atilio Doreste. Professor, and Researcher at Institute of Political and Social Science, La Laguna University. José Luis Crespo Fajardo. Postdoctoral researcher, The Ruskin School of Drawing & Fine Art. University of Oxford. TAC Research Group: Creative Actions Workshop

TAC: Creative Actions Workshop (Taller de Acciones Creativas) is a research group promoted by the University of La Laguna, registered at the Agency for research and innovation in the Canary Islands (Spain).

TAC's objectives are exploring the poetry of nature, and encourage learning and creativity through experience. Its main focus is researching the landscape of the Canary Islands, which is approached from interdisciplinary perspectives such as literature, philosophy, architecture, and the Visual Arts.

The SONAR:CC Research Project

The SONAR: CC Project is funded by the Research, Innovation and Information Society Canary Office. This research project explores, identifies, selects, registers, geolocates, interprets and archives diverse elements of the sonic landscape that makes up the intangible cultural heritage of the Canary Islands.

The aim is the safekeeping and diffusion, through registration and storage, of at least 300 sounds representative of the natural and cultural environment of the Islands, and identifying their components so that the sound identity of the archipelago can be preserved. The project seeks to contribute to the preservation of intangible heritage and its diffusion through digital recording, in high-definition multichannel formats, for a subsequent edition, organization, analysis, and filling.

Projects and current initiatives: Registering the intangible

Here we will explain how these sound pieces have emerged as results of the project “SONAR: CC: soundscape, identification and digital recording of the intangible heritage cultural of the Canary Islands.”

Project 1: Limits and Dèrives

The phonographic acousmatic experience in the Canary Islands can be frustrating if we expect to encounter perfect, clean situations; the way in which common spaces are experienced becomes more complex because of the structuring of property. Sounds are difficult to isolate on these islands where plots of land come one after another, constantly leaving warning and power-over-boundaries signals behind. Traditional footpaths are the ancient footprints of communication in between towns. The first settlers traced these paths while shepherding over the centuries in the strictest sense of the conception of the Spanish poet Antonio Machado, who wrote, “the path is made by walking.” Most traditional paths were destroyed by the ravenous practice of occupation and construction and consigned to oblivion by generations of town councils and the laying of street asphalt. There are some traces left, especially in the least accessible lands, including those that became “Royal Roads.” Those roads had to be of a certain width and zigzag in order to accommodate the hardest places to access.

Project 2: Fortunae

Fortunae is a piece of several sound records created within the framework of the SONAR: CC project. It is the result of a sound journey with uncertain destinations in the Canary Islands, and is based on the idea of following the medieval concept of Rota Fortunae (the wheel of fortune) as a literary notion of the spirit of nature and the chance of destiny. Therefore, rather than a collection of sounds, one should consider this work a file of circumstances.

We’d like to sketch a defense of the sound as a heritage resource, based on the general impression that sound for almost nothing has interest except for poetry. Factors such as the harshness of the cranes on the docks, the ringing of bells or the blowing of the wind against the canvas of the greenhouses, is something that we find reflected utmost subtlety in scenes described by minstrels, spokesmen and poets of all time. Literature and oral storytelling have always been concerned about the importance of these details to know the character of a particular place. For this cause, it seems reasonable ―now, that it is possible― trying to capture the real sounds with recording devices. As Veit Earlmann clearly said, throughout history oral communication –the orality- has been the central point of interest in any analysis of data, so we have ended up in a sort of anthropological deafness.

Project 3. Murmur

This project was carried out in locations on the Monte de las Mercedes, in Tenerife, a strategic location where the Alisios winds from the Atlantic Ocean reach the mountain. The vegetation of the Anaga Natural Park is thousands of years old, some species dating back to the age of the dinosaurs. The sound of the wind is overwhelming and loaded with feelings of cold and loneliness. Occasionally you hear the singing of birds, or the bursting of fireworks at a party in a nearby village.

Project 4. Interstices. Noise: image vs. Sound

This fourth project is an attempt to confront the visual and the acoustic. In photography and sound art, there is a need to form a base or background that works as a medium. The dynamic range in photography with the acoustic wave registry in sound recording can be related to one another. It is a kind of search for a meeting point, a synesthesia.

The results of this project can be seen in the book Revelos del Paisaje (Revelations of the landscape). This book expresses the poetic relationship between photography, lomography, sound capture, the landscape, and the walker.

Project 5: Wide iris Recordings; Broad spectrum signals and free improvisation (with Juan Matos Capote)

This project is focused on the collection and distribution of a series of sound pieces through improvisation on the rural roads of the Canary Islands. The aim is to convert the soundwalk itself into a creative action. Along the route, participants practice deep listening and amplification of surrounding sounds through various devices. In this way, we try to emphasize the importance of sound and recognize the acoustic nature of natural spaces, in order to demonstrate the cultural and heritage value of these places.

To sum up, Sound capture, as already mentioned, might not matter for anything except poetry. And poetry and creativity is certainly what project SONAR: CC deals with: sound as a formal resource for the development of artistic creation.

BIBLIOGRAPHY

- DORESTE, Atilio. Intersticios urbanos: reflexiones a partir de un caos. Ciudades (im)propias: la tensión entre lo global y lo local. Centro de Investigación de Arte y Entorno. Valencia 2009.
- DORESTE, A.; DE LA CRUZ, R.; RODRIGUEZ, A. J. Recorridos intersticiales sonoros desde la escucha técnica amplificada, una reflexión entre la creatividad y el patrimonio. Actas del X Congreso Argentino De Antropología Social. La Antropología Interpelada: Nuevas Configuraciones Político-Culturales En América Latina. Editorial de La Facultad de Filosofía y Letras, Universidad de Buenos Aires, 2011.
- DE LA CRUZ, R.; RODRIGUEZ, A. J.; DORESTE, A.; Paisajes Sonoros y Patrimonio Cultural Inmaterial, Convención Sonora “La Fonoteca Del Mar”, Pasos, Revista De Turismo Y Patrimonio Cultural. E-Mapping the Landscape of Knowledge in Tourism, La Laguna, 2012.
- DORESTE, Atilio. Un mapa sonoro de Canarias. Congreso Internacional Arte y Sociedad. Servicio de publicaciones de la Universidad de Málaga. Málaga, 2011. ISBN:13:978-84-694-9295-6.
- DORESTE, Atilio. Revelos del Paisaje. Cuadernos de Bellas Artes /06. Sociedad Latina de Comunicación Social. Santa Cruz de Tenerife, 2012. ISBN: 978-84-15698-00-5/84-15698-00-3.
- DORESTE, Atilio. Aquello que llamamos silencio. Segundo Congreso Internacional: Arte y Sociedad, el Discurso de la Sociedad Digital. Servicio de publicaciones de la Universidad de Málaga. Málaga, 2011. ISBN: 13:978-84-15547-90-7.
- MATTHEUS, W., Improvisando; La libre Creación musical. Turner Música. Madrid, 2012.

http://www.sound-diaries.co.uk/symposium-2013/

[1] Special thanks go to our helpful friend Katherine Spears

MURMUR review in The Field Reporter

grupotac@telefonica.net (Atilio Doreste) — Tue, 4 Jun 2013 08:29:00 +0100

Murmur. ATILIO DORESTE
(Very Quiet 2013)

Review by Chris Whitehead

The dérive as envisaged by Guy Debord is not a meaningless wander governed by chance. It is directed by decisions made by the participant who chooses the route according to psychogeographical currents, whatever they might be. Originally particularly appropriate to urban environments with clear lines of movement and directions of flow, the derivé is a technique of discovery that can seemingly be adapted to many situations.

This is a download release under the Very Quiet Records imprint, a label that has devoted itself to intriguing and varied explorations of low volume listening. Murmer is by no means the quietest of their catalogue. Others have focused on the sound of a freezing microphone or the arid, unpopulated desert of Australia for example, but Doreste’s recordings are of the lush, breathing forests of Tenerife.

Forever the wind is the primary motif. Birds call and hinges creak, we travel with Doreste across the terrain and our ears meet new atmospheres, but all within this universe of air which permeates everything. I am reminded of Andrei Tarkovsy’s film Mirror: A progressive wave disturbs the crops and moves through the field as a portent or natural manifestation of psychological change. Wind cannot be seen, but it reveals itself by reacting with physical objects: Trees, twigs, leaves which it brushes past like a ghost.

The climate of the Canary Islands is moderated by these north easterly trade winds, known locally by the name Alisios. They, together with the cool Canary current, maintain a comfortable temperature a few degrees lower than might be expected at the latitude. This lack of extremes allows many micro-climates to coexist, and the dérives employed here move through soundscapes as a visitor might move through the rooms of a large house.

Atilio Doreste pulls away from the traffic of the island and into the forest beneath the gently whispering leaves. The sound from the road peters out and we enter a new place, as if beneath a surface and enveloped by moving air, a tide of wind ebbs and flows and Doreste breathes heavily as the effort of his derive becomes apparent. By not erasing the sound of his footsteps, the clink and clatter of equipment and the unzipping of garments or other pieces of kit, the artist is placing himself in the landscape audibly and without apology. In his words ‘I accept my own impact on the site and reveal the reality of the creative process’.

By its very nature this method relies on physical movement, climbing, walking, breathing, direction, reaction, motion. The recordist is the conduit through which the subtle events that determine the pattern of the drift are filtered, therefore to leave him out of the finished edit would be disingenuous.

There are two tracks here, each one around 15 minutes in length. the first from Anaga Natural Park and the second from Meriga Dam, La Gomera. Listening to these honest, pure recordings has a cleansing effect leaving a cooling, invigorating impression. As Atilio Doreste says, ‘We choose and create the boundaries of our sonic environment’.

http://thefieldreporter.wordpress.com/2013/06/03/murmur-atilio-doreste/

Miércoles 4 de junio. Inauguración en la Recoba Pintura 2013 (itinerario)

grupotac@telefonica.net (Atilio Doreste) — Tue, 4 Jun 2013 08:20:00 +0100

DORESTE/MATOS. LEPER COLONY. FIELD RECORDINGS

grupotac@telefonica.net (Atilio Doreste) — Tue, 14 May 2013 14:20:00 +0100

DORESTE/MATOS EN MICROYOPIES 2013 (64 MINIATURAS SONORAS DE MÚSICA Y GEOGRAFÍA)

grupotac@telefonica.net (Atilio Doreste) — Mon, 13 May 2013 18:09:00 +0100

Microtopies 2013 (64 miniatures sonores de música i geografia) by VVAA Microtopías es un conjunto de miniaturas sonoras específicamente creadas para una convocatoria universal anual lanzada por Gràcia Territori Sonor para conformar una edición especial del programa radiofónico Música i Geografia (FM Barcelona, Ràdio Pica y Ràdio Gràcia). En Microtopies 2013 han participado 64 artistas i grupos de 11 países. Las miniaturas recibidas no han sido sometidas a selección y han sido incluídas en el estricto orden de recepción.

La escucha de estas piezas lleva a un viaje apasionante por una geografía múltiple en la que conviven muchas líneas de exploración sonora: minimalista, concreta, grabaciones de campo manipuladas, radio-art, síntesis, sampler, improvisación, circuit-bending, collage, drones...

Gràcia Territori Sonor quiere agradecer a todos los artistas que desinteresadamente han contribuido a hacer realidad este proyecto... ¡Gracias por hacer realidad estas Microtopías!

ENGLISH Microtopies is a compilation of sonic miniatures specifically created for an annual universal call for projects proposed by Gràcia Territori Sonor for a special edition of the Música i Geografía radio program. 64 artists and bands have participated in Microtopies 2013 from 11 different countries. The miniatures received haven't been subjected to a selection process and have been included in strict order of receipt.

Listening to these pieces you are transported on a thrilling journey through a varied geography where many different lines of sonic exploration coexist: minimalism, musique concrète, manipulated field recordings, radio-art, synthesis, samplers, improvisation, circuit bending, collages, drones...

Gràcia Territori Sonor would like to thank the artists that have contributed charitably to make this project a reality…Thanks for making these Microtopies!

credits released 17 May 2013 Mastered at GTS Estudi Microtopies 2013 cover created by The Hrönir Factory from an image by Manuel de Val

http://www.gracia-territori.com/