We Walk Together – soundwalk (2020)

5 soundwalks, 5 cities, spatialized in 3rd order Ambisonics.

Authors: Rui Chaves, Eduardo Patrício, Laura Romero, Lílian Nakao Nakahodo, Luz Camara.
Score: Rui Chaves
Mixing, editing and spatialization: Eduardo Patrício
25’00’’ | Mixed-media

Published on Vortex Music Journal

http://periodicos.unespar.edu.br/index.php/vortex/article/view/4521

We walk together (2020) is thought as a field-recording score that asks would-be performers to think sonically about a place, to produce sound within that place, but also to reflect on the changes caused by the pandemic both at an environmental and subjective level. This collaborative endeavor is a continuation of my exploratory work in novel ways of curating sound artwork outside institutional frameworks. The resulting work, using a visual reference, is a multi-layered and multi-linguistic ‘sequence shot’: an audio piece that straddles the line between fiction, documentary and musical composition.

The sonic essay is a collaboration between a series of artists located in different parts of the globe: Rui Chaves (Loulé, Portugal, 25/06/2020), Eduardo Patrício (Koziegłowy, Poland, 17/06/2020), Laura Romero (Valencia, Spain, 06/06/2020), Lilian Nakao Nakahodo (Curitiba, Brazil, 05/07/2020), Luz da Camara (Evoramonte, Portugal, 19/06/2020).

PhD thesis – Spatial referentiality and openness: a portfolio of environmental based compositions (2016)

This is the result of my practice based research at Queen’s University Belfast (more specifically, at SARC), supervised by Dr. Pedro Rebelo and Dr. Paul Stapleton (2nd supervisor).
Here, you can find the full portfolio commentary in PDF, related posts and video documentation for each piece.

Abstract

Through a creative portfolio and an analytical and critical commentary, this research investigates the use of spatial references in the composition of semi-open environmental sound works. The portfolio explores a number of strategies to make use of spatial references as formal compositional components to enable more intuitive performance/reading experiences. The pieces present a number of electronically mediated scenarios in varied formats; concert, installation and mobile application. Counting on the intuitive way one tries to constantly identify surrounding spaces, each piece uses physical (performance/presentation spaces) and representational devices (illustrations, maps, video projections, spatialised sound etc.) to articulate and delimitate semi-open artistic experiences. Such ambiguous scenarios are enabled by both the unpredictability of elements of each work and the dependence on the subjective interpretations of the agents involved in the process. The creative processes presented here in a descriptive, analytical and critical manner attempt to make an artistic contribution and provide documental material for future reflection about related practices.

Download: commentary_PhD_thesis_Patricio_2016

Related posts: No Chords Attached; Come Across; Lock 1 memories; Sienkiewicz Pipes; Up the Hill; A Blue Bridge

Videos of the portfolio pieces:

No Chords attached (short version)

No Chords attached (full concert)

Come Across (short version)

Come Across (full concert)

Lock 1 Memories

Sienkiewicz Pipes

Up the Hill

A Blue Bridge (short version)

A Blue Bridge (full concert)

Up the Hill (2015)

 

Up the Hill is a multichannel sound installation based on field recordings made at Cave Hill Country Park and created specifically for the Soundscape Park in Belfast (a small park, open to the public during weekdays, a “permanent interactive sound installation”, hosting a great number of works scheduled from 9 to 5PM).

Up the Hill is a “miniaturised version”, a glimpse of the experience one could have walking around the much larger environmental sound system of Cavehill.

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