//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?

Giuseppe GAVAZZA | IT |

Installation

The garden of hidden voices / Il giardino delle voci nascoste

Abstract
Il giardino delle voci nascoste In an open space, hidden among the plants of the garden, I will install a couple of dozens of pocket-speakers that will spread strange voices (artificial sounds created with the physics modelling synthesis program Genesis) that will resonate like freaky animals, cryptic signals from outer worlds, unusual musical instruments, unintelligible voices, … The same pocket-speakers orchestra might be used in a site&situation-specific installation that will be performed-in a location to be chosen- following a collective score based on audio recordings made during the Symposium.

Giuseppe Gavazza, laureate of the University of Turin, studied Composition, Direction, Piano, Musicology and Electronic Music graduating from Conservatory of Milan with, among the other, Azio Corghi, Paolo Castaldi, Marco De Natale, Guido Salvetti. He has collaborated for years with European research centres like LIM Milan-University, CSC-Padua University, Experimental Studio SWF-Freiburg, Ircam-Paris. Since 1999 he is resident composer at the ACROE-ICA Polytechnique Grenoble where he completed a PhD in 2018. His dissertation, based on compositional use of software GENESIS, is titled, Physical model synthesis as tool for music composition. He currently teaches Composition at the Cuneo Music Conservatory and is permanent researcher at AAU Cresson, Grenoble. For several years has been organizer of contemporary music, arts and new technologies and musical theatre for children collaborating with Luciano Berio, Sergio Liberovici and Giulio Castagnoli. His compositions have successfully participated in international competitions, are published by international publishers, recorded on CDs and broadcast internationally. Over the years, as an artist in residence, Gavazza has developed collaborations with visual artists, film and theatre directors, video makers, poets, choreographers and dancers, writers, photographers realizing about 150 collaborative projects. “My goal – as musician, artist and researcher – is to find new spaces and occasions for my music” G.G. October

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