Una obra que cuenta el diálogo, imaginado por Alejandra Pizarnik, en donde dos mujeres son lo que no parecen ser.
Un viaje por el humos al mundo de la gran poeta.

DIALOGO - Obra radiofónica

solo improvisation @ ISSUE project room, bk
10.11.16

rekt

6 minute excerpt from the exhibition, 'Deathstar,' by Marina Rosenfeld, at Portikus, Frankfurt, Germany, Feb 17-April 16, 2017. 

From Portikus.de: 
The exhibition title of Marina Rosenfeld's new work for Portikus, Deathstar, refers to an unrealized line of research conducted in the late nineties in the last days of the sound laboratory at AT&T (formerly Bell Labs). Before it was abandoned, researchers explored the possibility of formalizing the subjective and transitory nature of sonic experience through a proprietary microphone configuration and set of calculations. So-called “perceptual soundfield reconstruction” aimed to allow users to reproduce a sensory account of the experience of one space within another. The “death star,” the device's informal nickname, referred more to the appearance of the structure, but the device also pointed to an alternative future, a future where listening was closely tied to cognition and the body.

Marina Rosenfeld takes up the “death star's” idea of environmental recording but inserts it back into a more immediate and complex temporality. The gallery is co-opted as a site of continuous simultaneous recording and playback, a fluid and recursive acoustic environment where a constant production and dispersal of data is subject to a series of delays and to the native distortion of Portikus' architecture. Indeterminacy in this system is a function not of philosophy, but the inability of the apparatus to fully grapple with the quantity and complexity of the signal that is continuously collected, translated, and redistributed through a set of shotgun microphones, an interface and four speakers.

Part echo chamber, part unruly machine, the Deathstar ultimately achieves a kind of legibility through another recursive gesture, the conversion of its collected sound back into notation. In that sense sound is neither an abstraction nor a means to an end, but rather a material condition connected to the formation of music. . . 

More: http://www.portikus.de/en/exhibitions/205_deathstar

6 minutes of sound from the exhibition 'Deathstar' , @ Portikus, February-April 2017

Performed by Katherine McIndoe (soprano), Heather Ryall (clarinet/bass clarinet, singing/speaking)and Thomas Plater (alto saxophone), 7 June 2018, Wigmore Hall, London.

Text, Klara Kofen
Music, Nilufar Habibian

Nothing More

Zlatomir Fung, cello
Janice Carissa, piano

Recorded at Skillman Studios in Brooklyn, mixed by Ted Moore in Chicago

Program note: Prelude is a duo for cello and piano that was written to precede attacca into the Brahms e minor cello sonata without pause (though it may also be performed alone) and is affectionately written for and dedicated to Zlatomir Fung and Tengku Irfan.

Prelude

Please, use headphones or good loudspeakers.

MOULT (2018–19), for orchestra
commissioned by Westdeutschen Rundfunk and Wien Modern

Live Recording WDR Orchestra, 12 May 2019, Witten

MOULT (2018–19), for orchestra

L'orchestre Philharmonic de Radio France, cond. Marc Desmons performs an excerpt from Leaf fabric (2017) as part of IRCAM's Manifeste 2019 orchestral workshop.

Originally commissioned by Georg Haas for the Tokyo Symphony Orchestra, this excerpt is from the last four minutes of the piece. DM for perusal recording of complete work.

Leaf Fabric (excerpt)

A piece commissioned by radio Museo Reina Sofía, Madrid, Sept. 2019.

'Tiempo, Piedra, Insecto' ('Time, Stone, Insect') is a piece for metal objects, small ceramics, mountain stone and vibrating strings. Taking the choice of materials and profoundly simple gestures as a point of departure, forms of repetition, addition and subtraction are associated as a principle of perpetual movement, engendering a sound space that juxtaposes the autonomy of elements and a perceptive total union — a union that takes place in what the listener hears.

This piece, with no aspirations to an exclusivity of sound, can be listened to in every way imaginable: in silence, with open windows and sounds; in the morning, afternoon, evening, at night – although no headphones and letting the air circulate is recommended.     

The title of the work takes its name from three words written in a notepad after walking around a vast park in a big city, and a conversation on the perception and moderation of time; movement, existence, the animate and that which is considered inanimate. When we say stones do not move, perhaps it is because we don’t see them move, but without that really meaning that they do not move.

https://radio.museoreinasofia.es/en/clara-asis

Tiempo, Piedra, Insecto

Please, use headphones or good loudspeakers.

You crawl over seas of granite (2019–20), for amplified, detuned string quartet
commissioned by JACK Quartet, with the support of the Ernst von Siemens Foundation

Live Recording, JACK Quartet, 16 January 2020, Berlin

You crawl over seas of granite (2019–20), for amplified, detuned string quartet

Abismo

ABISMMMMo y suiscidios... suicidas
....
 ...
alejate de la orilla...
no bordees la existencia.... 

la profundidad de los niños ahogados, es la misma que la de locos ahorcados...
no pisan la tierra..

A_:bismo

My Body was a commission of the 2019 Time:Spans festival and was premiered by Yarn/Wire ensemble with Marina Rosenfeld performing alongside them on turntables. Each movement is oriented around a different approach to a suite of custom dub plates that have been distributed to the ensemble. The plates house seven bands of pre-composed sound materials—mostly short vocal ‘utterances’ Rosenfeld made during 2019 at Nokia Bell Labs with a 1930s prototype Voder (an early electronic speech synthesizer)—and are the basis for a set of eight variations. Each variation is both a social and musical occasion, requiring a distinct, intensive mode of listening. Performers collaborate to track and respond to the dynamic outcomes of various techniques of playback on turntables together in real time, foregrounding and building outwards from the sociality of collective listening. The eighth variation sees the ensemble recreating the acoustic signature of the dub plate itself by rubbing small stones together in imitation of LP surface noise.

movement 1   0:00
movement 2  2:00
movement 3  5:00
movement 4  9:55
movement 5  12:46
movement 7  19:48
movement 8  22:00

A_:bismo

babassdesabridas

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