//Unheard_Landscapes - listening | resonating | inhabiting 10th FKL/ENP/AAU_CRESSON International Symposium on Soundscape BLOIS | October 27 -30

Unheard landscapes: this metaphor leaves space to imagination, to the un-thought, to the un-known, to past and future, as well as unexplored sound scenarios. It also reaches the field of auditory perception, the acoustic domain. Sound, through auditive qualities, acoustic phenomena, design practices, artistic creations, and listening experiences, offers an inspiring transversal entry onto landscapes and ambiances. Beyond the discussions on “soundscape”, approaching ordinary environments through sounds increases the awareness of our own capacities to feel, while we inhabit and move across different worlds. From an ecological perspective, resonance appears a key word, too. It puts sound and space together. It implies the idea of a plurality of bodies, things and living beings vibrating all together, sharing common contexts of time and space. The act of listening bypasses the passive meaning it usually receives. It contains in itself a completely unexpressed potential, connoted with «project», «pro-action» and «active decision» by individuals. What will be the sounds of the future and the soundscapes in which we will live, or would like to? How can listening practices evolve, how will we listen or how differently could we listen to the world around us, tomorrow? Inhabiting the world brings to us questions about how we want to manage our being in it. How do we want to inhabit the world sonically? How sound and listening do actually affect our way to inhabit it? Have we lost some of our abilities to resonate with the world? What remains to be heard? Where could the practices of listening and attuning take us to?

Anton ROCA | IT |

Paper

Lucciole / Lucioles

Abstract

Fireflies Anton Roca Context Lucciole (Italian) - Lucioles (French) - Cuques de llum (Catalan - my mother tongue) In 2010, once arrived in the small Italian village of San Romano, I built my studio and the Rad’Art art center. I took great care of the land attached to this building. Over time, fireflies have made a gradual comeback. Each spring, erratic lights twinkle in constellations, and the space is filled with the fragile ghostly dances of fireflies in a frenzied aerial choreography: Images are formed, intermittent brazing, flapping appearances, and disappearances. Fireflies echo the survival of the precarious insect due to the current state of our civilization. Its gradual disappearance, which took place in the last decades of the twentieth century, is now finding a trend reversal, which can be seen in its gradual return. Now that I have found them, I want to create a framing, as a tribute to nature's capacity for regeneration and an archive of these millions of light sparkles, and this, fixing them on video recording to translate light pulses into sound pulses. Project description For the realization of the project, these moving lights are captured by video cameras. During a residency at Avatar (Quebec, 2018), a piece of software was created specifically to transform these flickers into sound pulses. By my framing, each light pulse comes to mark a point. Each of these pulses detected by the shooting of the camera finds correspondence with a sound, and this, by considering its luminous intensity, its duration or its longevity of illumination, its size, and its position, both in the frame (surface) and in-depth (distance of the pulse). The score / the concert To constitute the score, my research is carried out so that the video camera aims at the spatial movement of the fireflies in the landscape. The score was therefore written by the fireflies in real-time and precisely defined by their spatial arrangement, therefore three-dimensional and temporal. It is then a matter of a relationship with space, a kind of nocturnal "open-air". Given the spatial condition of the evolution of fireflies, the transcription of light pulses (points on the score) into sound pulses, is regulated by the same principles that govern Euclidean space. The arrangement of the loudspeakers in the concert spaces will also be designed with this in mind, by recreating the spatial conditions of the fireflies for listening. In this sense, a three-dimensional listening session would be desirable.

About

The work of this autodidact artist is characterized by an interaction between life experiences and artistic ones. His artistical action rises up from thought and observation and, in order to translate the result of this reflexive condition, he uses an interdisciplinary method through all the expressive resources of contemporary art: photo, sculpture, actions, sound research, which share the space into the installations, mainly proposed. The final result is poetic which goes over the aesthetic and adds an ethical aim: Art as the transmission of sense and in which the role of the artist is seen as a collective value. Practicing a nomad conscience of art, he travels through Europe since 1977. In 1986 opens the mental permanent factory, an imaginary state for listening, and opened to collaborations with artists from any kind of research area. In 2012 opens in Mercato Saraceno (FC), Italy, the Rad'Art Project, a space dedicated to contemporary artistic research at the international level, based on exchanges of artists in residence. His work is today present in public and private collections from Alcover to Budapest; from Roma to Berlin; from Cesena, where he lives, to Québec.

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