TOWARDS SOUND

.What gives the impulse for a composition? How does one work with sounds that do not yet exist?

TOWARDS SOUND collects visible traces of creative processes geared towards all sound based arts
.It investigates diverse approaches of rendering sonic imagination tangible and shares them with the public
in traveling, participative exhibitions called 'The Rampant Wall'.

The Fleeting Archive keeps expanding and welcomes its recent contributors!

Simina Oprescu

Mehrnaz Khorrami

Daniela Mastrandrea

Deletions on the audible Patagonia.
Territorial mappings and essays.

I work on the construction of an invariably on-going repository. It is composed of multiple records that I gather from experiences whilst traveling through different Patagonian landscapes. From it, I seek to produce plural and collaborative stories about Patagonia as a possibility to the consolidated nineteenth-century views of the region, which associated it with the idea of dessert, emptiness, silence and eternity. Therefore, I project alternative motifs, sounds, words, colours, textures, themes.

I share with Towards Sound the fragments of the process of this poetic-perceptive research that deals with the possibility of imagining the sounds of instruments that have been silenced by the disappearance of their players. In the set, composed of written and graphic notes, I trace the first approximations to the melody of the koólo, a mouth musical bow of the Tehuelche people (Patagonia), whose last performer died in 1991. Some authors describe the melody as “similar to the sound of the wind”[1], whilst others refer to “a soft iridescence of harmonics”[2]. In this initial work, I explore the disturbance of the air and the vibration of the wind in the environment; I delve into the concept of iridescence as a possible sound brand of the territory.