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SO! Amplifies: Maile Colbert, Rui Costa, and Jeff Cain’s “Radio Terramoto”

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Document3SO! Amplifies. . .a highly-curated, rolling mini-post series by which we editors hip you to cultural makers and organizations doing work we really really dig.  You’re welcome!

This November 1st will mark the 259th anniversary of the Great Lisbon Earthquake on All Saints Day, 1755, which destroyed a quarter of the city and beget consequential tsunamis and fires. “Radio Terramoto” is a soundwalk research and art project designed to bring this seemingly distant devastation into contemporary consciousness. Based on the idea of listening to sound from a past historical event, “Radio Terramoto” is a traveling audience immersive event. It’s inaugural procession, made up of the creators and audience members, followed a path from the Convento do Carmo down to the River Targus in Lisbon, Portugal. It was also performed this summer in the town of Viseu, Portugal, as part of the Invisible Places, Sounding Cities Symposium in July 2014.

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“Radio Terramoto” is a radio transmission from All Saints Day, 1755. We are not sure how or why the forty minutes were recorded, but having been discovered aaccidentallyit has proven to be an important record of the experience of the people caught in the earthquake. We follow our mysterious ghost recorder from the Convento, where people were gathered for mass. The first wave hits and the convent crumbles. As people run to the river, we follow their path as the buildings around us burst into flames and collapse. Upon reaching the river in a panic, we are only to be greeted by the water pulling out, revealing flopping fish and shipwrecks, pulling towards the ocean to fuel the giant wave that would finally overcome our poor recorder. From here, the transmission stops. (To read this summary in Portuguese click here).

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The end of the inaugural “Radio Terramoto” performance in Lisbon, 11/1/13

The project and research for “Radio Terramoto” asks the question, what can listening to the past reveal about the now, both in artistic practice and scientific research? Its site-based (yet mobile) sound design weaves between the present and the past and is based on research on the earthquake, using documents of first hand experiences and the first seismic and “earthquake”-proof architecture that came after what may be the largest earthquake recorded in history.

processionFor the original “Radio Terramoto” soundwalk in Lisbon, first performed November 1, 2013, we walked with the audience bearing a transmitter; the audience carried radios and cell phones tuned into the specific frequency of the transmission. The soundwalk also included hand-held sculptural octahedra created using a geometric framing system designed by Jake Dotson, assembled as a singular form approximating a Pombaline cage, the first modern earthquake resistant architecture. The radio transmitter, and other key electrical devices were suspended in these 1 foot 3 inch octahetra made of brightly colored sticks of wood held together with friction and tension. The large cage broke apart into the individual octahedra to aid in the transportation of equipment and in providing a visual wayfinding aide for the participants.

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“Radio Terramoto” procession, Maile Costa and Rui Colbert in the foreground, Lisbon, Portugal, November 1, 2013

Like Maile’s “Passageira em Casa,” a traveling intermedia work that explores the concept of “home,” “Radio Terramoto” changes to be site and context specific with each presentation.  When we led a performance in Viseu, Portugal, for example, we began at the Sé de Viseu, moved through the old city center, and ended at a small body of water off the Avenida Emídio Navarro.

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Planned future performances of “Radio Terramoto” include a version in Los Angeles that will unite the original team in collaboration with Jesse Gilbert. Gilbert created the program SpectralGL, a cell phone app  that enables sound to visually affect the landscape from the video camera as the audience member walks. As Los Angeles has its own fraught relationship with earthquakes, we expect this performance to be particularly resonant and thought provoking.

Images courtesy of the artists and Jennifer Stoever (Viseu shots)

Rui Costa is a sound artist from Lisbon, Portugal. He is a founding member and artistic director of Binaural/Nodar, an arts organization founded in 2004 and dedicated to the promotion of context-specific and participatory art projects in rural communities of the Gralheira mountain range, northern Portugal. Rui has been performing and exhibiting his work since 1998 in festivals, galleries and museums across Portugal, Spain, Italy and the United States and has been collaborating regularly with the Italian vocal performer Manuela Barile and the American intermedia artist Maile Colbert. Rui Costa is also a regular speaker in conferences and gives workshops dedicated to sound art. For more from Binaural/Nodar, please check out the organization’s soundcloudvimeo, and flickr.

Maile Colbert is a multi-media artist with a concentration on sound and video who relocated from Los Angeles, US to Lisbon, Portugal. She is a regular writer for Sounding Out!

Jeff Cain is an artist, designer, curator and director of the Shed Research Institute a multidisciplinary art, research, curatorial, and design studio in Lincoln Heights, Los Angeles.

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Wayback Sound Machine: Sound Through Time, Space, and Place-Maile Colbert

Six Years in Nodar: Sound Art in a Rural Context–Rui Costa

SO! Amplifies: Eric Leonardson and World Listening Day 18 July 2014

SO! Amplifies: Carleton Gholz and the Detroit Sound Conservancy

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Document3SO! Amplifies. . .a highly-curated, rolling mini-post series by which we editors hip you to cultural makers and organizations doing work we really really dig.  You’re welcome!

I founded the Detroit Sound Conservancy in 2012 in order to preserve what music producer Don Was has called “the indigenous music of Detroit.” I also did it to preserve my own archive of Detroit sound related artifacts – oral history interviews, recordings, vinyl records, cassette tapes, 8-tracks, posters, t-shirts, buttons, articles, clippings, books, magazines, zines, photos, digital photos, notes, jottings, and other miscellaneous ephemera — knowing that if I could not help preserve the materials of an older generation of musicians, producers, DJs, writers, collectors, and fans, my personal archive and passions would not weather the storms (literal and figural) of the early 21st century – PhD or not. After a year or so of organizing virtually from Boston where I had found academic work teaching media & rhetoric, the DSC had its first major success with an oral history project for Detroit music, funded through Kickstarter.  Donations allowed us to throw a great party in Boston, form the non-profit, and push me home to work on the DSC full time.

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The results of the move have already manifested themselves. This summer we had a successful conference at the Detroit Public Library — the first of its kind — dedicated to Detroit sound.We will hold another next year on May 22 dedicated to the key role of Michigan in general, and Detroit in particular, in the emergence of the modern soundscape.  We plan to have the call for papers out this fall.

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October 14, 2014, interview with historian / musician Larry Gabriel and myself at #RecordDET, image courtesy of the author

In addition, we currently have an organizing/promotional night called #RecordDET at a downtown coffee shop  called Urban Bean so that we can continue to both record interviews and playback the sounds / stories we are learning from. So far we’ve interviewed a retired disco / house DJ, a record retail and radio veteran, and two blues historians and musicians.

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The long-term goal is to use the stories and sounds to propel us into a more sustainable future for Detroit’s sonic heritage. Recent local floods  have reminded Metro Detroiters just how vulnerable we are and continue to be. We must preserve or our sonic dreams will perish.

I imagine the DSC as the sonic dream weaver. As one of our inspirations, the Black Madonna in Chicago, says: We still believe.

Carleton Gholz (PhD, Communication Studies, University of Pittsburgh, 2011) is the Founder and Executive Director of the Detroit Sound Conservancy, a lecturer in Communication at Oakland University in Rochester, Michigan, and President of the Friends of the E. Azalia Hackley Collection at the Detroit Public Library.

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SO! Amplifies: Mendi+Keith Obadike and Sounding Race in America

SO! Amplifies: Regina Bradley’s Outkasted Conversations

SO! Amplifies: Eric Leonardson and World Listening Day 18 July 2014

SO! Amplifies: Mendi+Keith Obadike and Sounding Race in America

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Document3SO! Amplifies. . .a highly-curated, rolling mini-post series by which we editors hip you to cultural makers and organizations doing work we really really dig.  You’re welcome!

Several years ago—after working on media art, myths, songs about invisible networks and imaginary places—we started a series of sound art projects about America. In making these public sound artworks about our country we ask ourselves questions about funk, austerity, debt and responsibility, aesthetics, and inheritance. We also attempt to reckon with data, that which orders so much of our lives with its presence or absence.

We are interested in how data might be understood differently once sonified or made musical. We want to explore what kinds of codes are embedded in the architecture of American culture.

Big House/Disclosure

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The first sound art project in this vein that we completed in 2007 was entitled Big House / Disclosure. Northwestern University commissioned Big House / Disclosure to commemorate the 200th anniversary of the abolition of the British slave trade. We began researching Chicago’s recently (2002) issued Slavery Era Disclosure Ordinance, which states that any business seeking a city contract must publicly disclose (without penalty) its historical relationship, if any, to the slave trade. In that project we interviewed 200 citizens in the Chicago area about that city ordinance, how they (or their ancestors) arrived in this country, the origins of house music, and imaginary plantations, as well as their opinions about the legacy of slavery in their lives. Their answers were woven into a 200 hour house song & public sound installation on the Northwestern campus.

We used custom built software to trigger changes in the sound (drums, bass lines, chords, etc.) of that installation as the stock prices of companies like Lehman Brothers and Wachovia Bank (listed by this city ordinance as having profited from slave trade) rose and fell in 2007. In addition to the sound installation there were a number of performance scores and graphic scores to be performed in the project. The graphic scores were performed at the Stone (John Zorn’s music venue) by bassist Melvin Gibbs, turntablist Val Inc, percussionist Satoshi Takeshi, and pianist Shoko Nagai in New York. The book and album for this project (recorded with percussionist Guillermo Brown, cornetist Taylor Ho Bynum, cellist Okkyung Lee and percussionist Tim Feeney) were released by 1913 Press.

https://www.youtube.com/watch?v=8Bdh5ykfHEE

American Cypher

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In 2012-13 we created American Cypher. This project looked at American stories about race and DNA. The stories included narratives about Barack Obama, geneticist James Watson, Oprah Winfrey, and two men in the criminal justice system. At the center of the project was a multi-channel sound installation made from a small 18th century bell that belonged to Sally Hemings (a woman enslaved by Thomas Jefferson and, as indicated by DNA testing, mother to his children). The bell was recorded and altered. It was tuned using DNA information (microsatellite STR analysis) from the Jefferson and Hemings families. That analysis gave us a pitch set that was used to compose the piece. The project was commissioned by Bucknell University’s Samek Gallery and Griot Institute. The exhibition was mounted at the Studio Museum in Harlem and later traveled to the Institute of Visual Art at the University of Milwaukee Wisconsin.

<p><a href=”http://vimeo.com/81574324″>Mendi + Keith Obadike: American Cypher – Samek Gallery and The Studio Museum in Harlem</a> from <a href=”http://vimeo.com/user12307441″>Keith Obadike</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

Free/Phase

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Free/Phase is our latest project for 2014-15. This work uses the archives of Columbia College’s Center for Black Music Research (Chicago, Illinois) as its foundation. With this work we are doing conceptual remixes of African-American freedom songs found in the archives. We are thinking about how this music has been used over the past couple of centuries and all that is encoded in these songs musically, politically, and spiritually. There are three nodes to this project. These nodes will be presented and produced in several venues throughout the city of Chicago and will include audience participation.

1) Beacon

“Beacon” is made up of a distributed site-specific sound installation that “rings” morning, noon, and evening, playing a short melodic phrase from specific spirituals found in the CBMR archives. Each spiritual chosen contains musical & lyrical messages that could have been used for pre-emancipation navigation on the underground railroad or inspiration.

2) Overcome

“Overcome” is a video work that is inspired by ways that music was used during the American Civil Rights Movement.

3) Dialogue

“Dialogue” is comprised of “listening posts” throughout Chicago. A number of DJs engage audiences in a discussion about the canon of African-American freedom songs.

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Across this series, we hope to invite new ways of thinking about the archives that hold information about our existence—the records of profit during the era of American slavery, the relationships marked in our genetic information, and the strategies for survival encoded in our music. Our work in this area reflects on the information that sometimes vanishes from view, whether because it is ephemeral or because it has been buried. We hope our sounding the archives invite new ways of listening to the past and the future at the same time.

Mendi + Keith Obadike make music, art and literature. Their works include The Sour Thunder, an Internet opera (Bridge Records), Crosstalk: American Speech Music (Bridge Records), Black.Net.Art Actions, a suite of new media artworks (published in re:skin on M.I.T Press), Big House / Disclosure, a 200 hour public sound installation (Northwestern University), Phonotype, a book & CD of media artworks, and a poetry collection, Armor and Flesh (Lotus Press). They have contributed sounds/music to projects by wide range of artists including loops for soul singer D’Angelo’s first album and a score for playwright Anna Deavere Smith at the Lincoln Center Institute. You can find out more about them at http://obadike.com.

Featured image from authors’ website.

tape reelREWIND!…If you liked this post, you may also dig:

Wayback Sound Machine: Sound Through Time, Space, and Place-Maile Colbert

SO! Amplifies: Regina Bradley’s Outkasted Conversations-Regina Bradley

Or Does it Explode?: Sounding Out the U.S. Metropolis in Hansberry’s A Raisin in the Sun-Liana Silva-Ford

Sound Off! // Comment Klatsch #19: Take Us to the Bridge!

Sounding Off2klatsch \KLAHCH\ , noun: A casual gathering of people, esp. for refreshments and informal conversation  [German Klatsch, from klatschento gossip, make a sharp noiseof imitative origin.] (Dictionary.com)

Dear Readers: Fall is almost upon us and the SOCK is back! Today’s question asks you to think of this time of year, when one season moves to the next, a time of beginnings, endings, and flux. –J. Stoever, Editor-in-Chief

When and how has a particular sound eased an important transition, personally or historically?

Comment Klatsch logo courtesy of The Infatuated on Flickr.

 

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