‘Invisible Architecture’ research project by Chrs Galarreta & Janneke van der Putten
In ‘Invisible Architecture’ the acoustic architecture of a specific space is explored through its surrounding sounds, its subtle acoustic phenomena and the human voice. Resonances and reverberations are emphasized and prolonged through vocal interaction with sound space and not-conventional different microphone techniques. The aim of this project is to make the acoustic reflections audible, more than the direct source that generate it. This process unfolds a microtonal and vibrating field of sounds. The frequencies, amplitude, modulation of sound textures, as well as the breathing voice rhythm, the position of the microphones and its types, are responding to the qualities of the chosen site and its acoustic characteristics. This version was developed in the tower of Île de Vassivière, France, during van der Putten’s residency at the Castle, Centre international d’art et du paysage, where she invites Galarreta to make a site-specific research together, this colaborative project is the mix of their shared interest. The piece ‘Vocal and Acoustic Reflections in a Tower 1’ will be released as part of music compilations by labels Aloardi (Peru), Suda (Argentina) and by AndesTapes (Luxemburg). A vinyl with two compositions by Chrs Galarreta made with the live recordings in the tower will be released in spring 2014. The next step is do this research in different locations involving exploration of spaces, performances, workshops, etc.
About the participants:
Parallel to her artistic practice, Janneke van der Putten has been focusing on a vocal training dealing with singing prolonged tones. Through the technique of AKAR, originating from the classical Indian Dhrupad tradition, she embodies this knowledge of how listening, breathing, small tone fluctuations and body posture are interrelated.
In some of his sonic compositions and live performances, Galarreta researched the filtering of sound through the physical structure of some spaces (concept that he develops in his “HiperOido” project). He investigated a way of how the listener – composer – performer can be composed (instead of composing) by the harmonic frequencies, tones and effects that emerge during a prolonged exposure to reflected sounds.
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