A blue bridge (2015)

A Blue Bridge is a soundwalk based audio-visual piece for 16 channels. The piece presents readings of a particular urban space in the city of Belfast through an interactive performance that recreates a soundwalk, juxtaposing and superimposing layers of sound, light and memories. It proposes a semi-open concert situation, conducted by a performer that leads the audience through a reconstructed soundwalk composed of fragments of several recordings of the same route, crossing a footbridge over the river Lagan (Belfast-UK).

A custom Max MSP patch manages 1 video file and 16 audio channels divided in two layers: 8 fixed (“real” sounds layer) and 8 manipulated and processed in real time (“imagination” layer). The fixed layer contains several stereo recordings of the walks done in different times of the day, edited to create a number of sub-layers. This approach allowed me to assemble a number of complex sonic environments that resemble the original ones, but expanding them from stereo to an 8-channel surround scenario.

During the performance, these 8 channels are played back synchronously with the video. In terms of content, this first layer presents manly background, ambient sounds, without too many distinct sonic events being heard.

The second audio layer (“imagination”) contains heavily edited recordings, presenting mostly foreground sounds that can be manipulated and brought to the foreground by moving around a wirelesses control sphere (sending OSC messages to Max MSP).

In the following performance excerpts, recorded in the Sonic Lab at Queen’s University, the 16 channels were mapped onto 32 channels with speakers in 3 levels: bellow, above and at the audience level.

Full video from Sonorities Festival 2015 (Queen’s University Belfast, UK):

Come Across (2012-2013)

 

Come Across is a soundwalk based performance. The work presents a listening focused preparation strategy that involves multiple simultaneous soundwalks, mapping, audio and video recording. Such preparation stage leads to a concert performance that re-enacts the soundwalks by drawing on map in an exercise of listening and reminiscing.
The work was developed collectively by Diogo Alvim, Eduardo Patricio and Rui Chaves (Unlikely Places ensemble).

In 2012, in 10-minute long a poster session part of Global Composition Conference in Darmstadt, Germany, we talked about Come Across’ general concept and presented a short video documentation with excerpts of a rehearsal realised in the Sonic Lab at the Sonic Arts Research Centre (Belfast).  This was a good opportunity to evaluate other people’s response to the work’s proposal and it helped us to format the version for a future performance.

In 2013, we (Unlikely Places) performed the piece during the Sonorities Festival in Belfast.

Later the same year, in Lisbon, as part of Echoes#2* programme, the Unlikely Places Ensemble realised a related four-day workshop (from 19 to 22 September).

* Echoes is a program for the city of Lisbon that aims to put together thoughts, experiences and interventions on the relationship between LISTENING and PLACE (2013).

https://youtu.be/vOBFJW9fmio

 

http://www.jenniesavage.co.uk/intermission/intermission.htm

 

Sienkiewicz Pipes (2013)

Sienkiewicz Pipes is an environmental sound based immersive installation. The piece was inspired by a field recording made on Sienkiewicz Street  in the city of Poznan, Poland, in mid-2012.

Sound and light pulses are controlled by the user in a small room equipped with a quadraphonic sound system.

Sienkiewicz Pipes was presented twice. First at  ICMC conference 2013 in Perth (Australia) and, later, at SAE 2013 in Kent (UK).

http://www.gallerycentral.com.au/sienkiewicz-pipes-by-eduardo-patricio/

Click to access SAE2013-Programme.pdf

 

No Chords Attached (2012)

Developed by Diogo Alvim, Eduardo Patricio, Pedro Rebelo and Rui Chaves, No Chords Attached “(…) is a site-specific piece that explores the physical, temporal and poetic strategies between two mobile remote performers and a pianist in a more conventional performance space (Chaves 2013, p. 35)”. It proposes a non-conventional performance situation combining soundwalk and instrumental music, making use of a feedback system that enables sonic relocations and superimpositions between contrasting physical spaces.

http://www.socasites.qub.ac.uk/unlikelyplaces/?page_id=21

 

Full concert video:

https://youtu.be/jMjsIwGKCzQ

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