Long Wave Sythesis<\/em><\/a>, una instal\u00b7laci\u00f3 sonora comissionada pel festival que explora la repercussi\u00f3 de l\u2019infras\u00f2 en el paisatge. L\u2019infras\u00f2 \u00e9s inaudible per l’o\u00efda humana per\u00f2 perceptible a trav\u00e9s de vibracions a l\u2019entorn i en el cos.<\/p>\nAlguns rostres cansats contemplen el paisatge canviant a mesura que l’autob\u00fas travessa la ciutat penetrant a les perif\u00e8ries industrials cap al Zanzibarhaven, Amsterdam Westpoort, on es troba ubicada la instal\u00b7laci\u00f3. D\u2019altres s’embranquen en converses sobre les diferents perspectives dels infrasons inspirats per les confer\u00e8ncies impartides per Raviv Ganchrow, Jonathan Hagstrum i Hilel Schwartz al llarg del mat\u00ed. L’autob\u00fas aparca davant d’un arbre que indica el cam\u00ed a seguir: en ell, una cinta a\u00efllant negra sost\u00e9 un p\u00f2ster A3 arrugat en el qu\u00e8 amb prou feines es pot llegir la tem\u00e0tica del festival: The Geological Imagination<\/em>. Fa sol per\u00f2 bufa un vent fred i intens que penetra la pell. En sortir de l’autob\u00fas tothom s’afanya a posar-se la gorra i la bufanda; encongits en les seves grans jaquetes d’hivern, inicien la marxa amb els sentits en alerta. Als voltants del port hi ha grans vaixells mercants, un canal d’aigua inquieta, vigoroses turbines e\u00f2liques, xemeneies fumejant, maquin\u00e0ria industrial inactiva, colossals munts de grava, canyars agitats, arbres sense fulles i f\u00e0briques omnipresents. Emmarquen un espai designat per les autoritats holandeses locals com “naturalesa temporal”.<\/p>\nL’herba del vast camp, humida i hivernal, s’assembla a la palla. No tots estan preparats per al fang; un del grup agafa unes bosses de pl\u00e0stic i improvisa unes fundes per les seves sabatilles. Despr\u00e9s d’un curt passeig s’albira la instal\u00b7laci\u00f3: sis contenidors de vaixells d’un vermell vibrant, cinc d’ells agrupats i un sis\u00e8 a la banda esquerra sostenint un subministrament d’energia verda adherida al sostre. Caf\u00e8 i te a l’interior per ajudar a entrar en calor als nouvinguts. Un so greu i penetrant com la batuda de l’h\u00e8lix d’un vaixell es percep des de la dist\u00e0ncia. No se suposava que l\u2019infras\u00f2 era inaudible? El so \u00e9s una resson\u00e0ncia d’una v\u00e0lvula de pressi\u00f3 que prov\u00e9 dels ‘altaveus’ instal\u00b7lats dins de la s\u00e8rie dels cinc contenidors, dissenyats especialment per emetre baixes freq\u00fc\u00e8ncies. Emeten arxius sonors d’enregistraments a temps real d\u2019infrasons a Bardufoss, Noruega, propagant l’espai geogr\u00e0fic amb ones llargues de baixa freq\u00fc\u00e8ncia en un rang de 4 a 30 Hz; la majoria inaudible. De mitjana, l’o\u00efda humana pot escoltar sons en el rang de 20 Hz (0.02 kHz) a 20.000 Hz (20 kHz). Els infrasons s\u00f3n ones amb freq\u00fc\u00e8ncies molt baixes, tons d’entre 4 i 16 Hz, que nom\u00e9s es poden percebre a trav\u00e9s de vibracions en el cos. Aquesta reproducci\u00f3 d\u2019infras\u00f2 no \u00e9s una reproducci\u00f3 a l’\u00fas, “el principi t\u00e8cnic est\u00e0 basat en generar camps de so en lloc de fonts de so” com el mateix Raviv va explicar en una investigaci\u00f3 on-site<\/em> a l’antic aeroport de Kirkenes en els extrems n\u00f2rdics de Noruega. \u00a8La coordinaci\u00f3 de fase i amplitud en un grup de transmissors permet la producci\u00f3 de territoris ac\u00fastics en lloc de reproduccions de so”. Raviv explica que es tracta d’una propietat f\u00edsica que connecta amb la noci\u00f3 de paisatge, ja que en emetre el so a l’exterior deixa de ser una c\u00f2pia mim\u00e8tica per passar a ser un element mediador<\/em>, que ofereix punts d’entrada a aspectes dels voltants que d’altra manera no serien accessibles.<\/p>\n![\"b)](\"http:\/\/a-desk.org\/wp-content\/uploads\/2015\/03\/DSC_0943.jpg\")
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Quan el grup s’aproxima a l’empla\u00e7ament, es dispersa i cada persona continua per la seva banda. Amb una intensa atenci\u00f3 s\u00f2nica, comencen a interactuar amb la pe\u00e7a, escoltant a prop dels altaveus, al seu darrere, al costat, fent enregistraments amb els seus tel\u00e8fons, enganxant el seu cos als contenidors i intentant identificar les seves sensacions corporals. La percepci\u00f3 general entre els assistents \u00e9s la d’arribar amb l’escolta al l\u00edmit d’un so que cau i llavors continua vibrant. Jeff Kolar, de l’emissora Radius<\/em> (Chicago) comenta que percep sensacions simult\u00e0nies, no nom\u00e9s vibracions de so de gamma baixa, sino tamb\u00e9 ones llargues, “quan arribo molt a prop puc sentir un to molt alt que se superposa\u201d. Un dels Mark Meeuwenoord, professor de comunicaci\u00f3 i multim\u00e8dia de la Universitat de Ci\u00e8ncies Aplicades Avans, esmenta que l’experi\u00e8ncia \u00e9s sobretot corporal, \u201c\u00e9s com estar en un vaixell, una sensaci\u00f3 flotant, tot el teu cos s’incorpora en el context\u201d. La pe\u00e7a crea aix\u00ed diferents capes d’audici\u00f3, a l’interior i a l’exterior, cosa que el mateix Raviv ja havia treballat i comentat en una confer\u00e8ncia de l’edici\u00f3 2010 de Sonic Acts<\/em> on va explicar la doble condici\u00f3 de l’escolta: “l\u2019espai de l’ac\u00fastica i la manera com percebem el so ubicats a l’espai \u00edntim del nostre cos”.<\/p>\nDespr\u00e9s d’un temps la instal\u00b7laci\u00f3 en si deixa de ser el punt de mira. El grup de visitants comen\u00e7a a explorar l’espai i caminar als voltant del port. Des de la dist\u00e0ncia els seus moviments fluctuants recorden a unes formigues disseminades en un territori (sonor). Raviv aconsegueix el seu objectiu: provocar una escolta ambulant. Per l’artista, l’exploraci\u00f3 auditiva permet ocupar el paisatge a trav\u00e9s de l’escolta i percebre l’espai de forma no lineal, no geogr\u00e0fica, sin\u00f3 psicof\u00edsica, on el so i l’espai s\u00f3n resultat dels sentits humans. Una experi\u00e8ncia que permet prendre consci\u00e8ncia de l’ample de banda del nostre medi, on a difer\u00e8ncia dels sons perceptibles que nom\u00e9s interactuen amb objectes petits i propers, es donen ones d\u2019infrasons produ\u00efdes de forma natural o artificial que poden arribar a viatjar m\u00e9s de 100 km i interactuen amb la topografia i fins i tot amb l’atmosfera. Long Wave Synthesis<\/em> revela, segons Raviv, un fragment d’un m\u00f3n, el dels infrasons, d’escala colossal.<\/p>\n","protected":false},"excerpt":{"rendered":"Diumenge a la tarda, \u00faltim dia de Sonic Acts, un festival bianual que des de 1994 q\u00fcestiona i examina els desenvolupaments contemporanis i hist\u00f2rics de l’\u00e9sser hum\u00e0 en la intersecci\u00f3…<\/p>\n","protected":false},"author":1330,"featured_media":9089,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[5153],"tags":[],"coauthors":[6438],"acf":[],"yoast_head":"\n
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