experimental

S3 salina del faro di punta Lingua o stagno costiero delle majare
Deambulazione metrica e sconfinamento (con Matteo e Letizia )



Calpestare e sviscerare i confini per abitare la soglia, considerare la marginalità come luogo radicale di possibilità, come spazio di resistenza.
Sconfinare, e considerare sconfinamenti post-organici e la disfatta dei generi.
Tramite visioni trasversali e generose ripensare l’idea di cartografia, e riscoprirla incarnata nei corpi e negli affetti.

Ripensando il manifesto di libertà delle majare eoliane, attaverso processi di diffusione e socializzazione, frequentare il territorio incerto che attraversiamo quando ci spostiamo un luogo ad un altro, e considerarlo come punto di partenza per decostruire una realtà radicale e univoca, e aprirsi ad una soggettività fluida, pluristratificata in divenire, dove divenire significa apertura, potere trasformativo delle minoranze. l

Scegliere questo luogo per attivare riti come microilluminazioni, pratiche urticanti e sabotaggi elettronici, fare esperimenti di richiamo, costruire un’ intimità con le cose più piccole per reincantarsi, reincantare il mondo, e imparare a stare in sequenze sospese

S3 salina del faro di punta Lingua

Episode nr. 19 - Between Bridges... voices stir time travelled.
By Maile Colbert

We are pleased to present the last episode of a series of the Binaural Radio Rural podcast, entitled “Between Bridges” and created by Maile Colbert. The source archives used in this series belong to Binaural Nodar Digital Archive and explore Voice, and its relationship to Place. How do our places shape voices, both human and non-human, song and soundscape.

This episode works with polyphonic songs from the Binaural Nodar Digital Archive, as well as the soundtrack from Maile Colbert’s film created at the Binaural Nodar artist residency in November 2007, during her first trip to Portugal.

On the creative process she says: “Using processes that bend, twist, rupture, and shape time and sound. The work revisited through the archive, Over the Eyes, is from my first trip to Portugal, and my first artist residency at Binaural Nodar, an experience that changed my life in multiple ways. I accessed and explored, considering memory and sound, along with the other voices from the archive. The personal archives, the archives of others, woven together, crochet of voices, memories, and time. The many temporalities of voices in archives. In the composition, they move in and out of phase, traces linger, call, die off, return in an unexpected place. Old song recorded on new material, sounding their times. Voices recorded with older technologies, sounding their times. A climatic mix decided by the machine, from what it learned of my memories.” 

Maile Colbert is an intermedia artist, researcher, and educator with a focus on time-based media. She is a PhD Research Fellow in Artistic Studies with a concentration on Sound Studies, cinematic sound design, and its relationship with soundscape ecology at the Universidade Nova de Lisboa and a visiting lecturer at the Universidade da Maia, Porto. Her current practice and research project is titled, Wayback Sound Machine: Sound through time, space, and place, and asks what we might gather from sounding the past. She is a collaborator with the art organization Binaural Nodar, a member of CineLab, research lab for cinema and philosophy and is an editor and author at Sonic Field. She has exhibited, screened, and performed globally.

Binaural Radio Rural #19 - Between bridges... voices stir time travelled

https://vertical-music.bandcamp.com/album/radura

Sonic research in two residual places linking poetry, soundscape and architecture. ‘Femminile Plurale’ takes us through a former greenhouse, an irrigation tank and a bunker in Liguria. ‘RADURA’ rewrites the space of an urban clearing in Berlin through a participative performance. 

Vittoria Assembri is an architectural and sound researcher. Her practice explores the territories considered marginal, from an architectural and sound point of view. She focuses her research on the regeneration of urban spaces as the recovery of building heritage that pursues sustainable sociability and social diversity. She deepens on the notion of Third Landscape, as an oblique and unconventional condition, of abandoned spaces invested by spontaneous forms of other species. 
www.vittoriaassembri.com 

Gaia Ginevra Giorgi is a poet, sound artist, performer and researcher. She published “Manovre segrete” (Interno Poesia, 2017) and “L’animale nella fossa” (Miraggi Edizioni, 2021). Her research is oriented towards the generative possibilities of intercode poetry: she experiments with vocal soundscapes, and studies the relationships between text, voice, new electronic devices and architectural space, creating site-specific projects. 
www.instagram.com/gaiaginevragiorgi/ 

They are co-curators of 'Walk So Silently That the Bottoms of Your Feet Become Ears' (on Fango Radio), a collection of sound materials by artists who work with a site-specific approach. Archives of sound landscapes reflect on the theme of liminal enviroment, of waste, of residue: field recordings, interviews, vocal soundscapes, poems, sound installations, then in close relationship with the architectural space and its crossings (human and non-human). 
www.fangoradio.com/shows/158

Vittoria Assembri & Gaia Ginevra Giorgi: RADURA (Excerpt)

Episódio nº 20 - Portugueses no Uruguai: A vida antes da grande viagem
Por Ana Rodríguez e Luís Costa

Iniciamos uma nova série do podcast Binaural Rádio Rural, intitulada "Portugueses no Uruguai", composta por três episódios criados a partir de uma série de entrevistas realizadas pela antropóloga Ana Rodríguez no ano de 2022 com portugueses e descendentes de portugueses que vivem ou viveram em áreas urbanas e rurais do Departamento de Montevidéu, no Uruguai.

Esta série de três episódios é produzida pela Binaural Nodar, tendo contado com o apoio do Mapa Sonoro de Uruguay e com a estreita colaboração da Casa de Portugal em Montevidéu na mediação com a comunidade portuguesa e na divulgação dos resultados do projeto.

Este episódio é construído na forma de um fluxo contínuo de relatos sobre lugares e sobre a vida antes da emigração para o Uruguai, entrecruzados com paisagens sonoras e cantares evocativos desses ambientes, registos que fazem parte do Arquivo Digital Binaural Nodar. Foram as seguintes as pessoas entrevistadas, pela ordem em que aparecem no episódio:

José Mateus Pinho (nascido em 1930), Lucilia Moura (nascida em 1933), António Pires (nascido em 1936), Domingos da Silva Cabeleira (nascido em 1950), Maria Concepción Ferreira Díaz (nascida em 1947) e Arminda dos Santos Leite (nascida em 1937). 

Este episódio é dedicado à memória de Maria Concepción Ferreira Dias e Arminda dos Santos Leite, as quais, infelizmente, faleceram pouco depois da entrevista.

Registos adicionais utilizados:

NODAR.00823 - Segada e Malhada do Centeio (Relva, Castro Daire)
NODAR.00880 – Grupo de Cantares de Carvalhal de Vermilhas – As três Marias (Carvalhal de Vermilhas, Vouzela)
NODAR.00523 - Paisagem sonora de ovelhas a pastar (Pousa Maria, Viseu)
NODAR.00603 – Maçar, tascar e sedar o linho (Várzea de Calde, Viseu)
NODAR.01024 – O Moinho comunitário de Alva (Alva, Castro Daire)
Gravação de Pato Pintos à guitarra efetuada por Nilda Amaral para a peça sonora "Aros y rayuelas en Pieda Sola" de Luís Costa.

Binaural Radio Rural #20 - Portugueses no Uruguai: A vida antes da grande viagem

Binaural Radio Rural
Um podcast dedicado a lugares, memórias, sons e arquivos
Episódio nº 23: As gravações não têm culpa: A velha caverna

O podcast Binaural Radio Rural comissionou uma série de três episódios à antropóloga e artista sonora uruguaia Ana Rodríguez, sugerindo um repto simples: o de usar gravações sonoras de arquivo, especialmente aquelas que nunca foram incluídas anteriormente em processos de criação e de devolução. Esta série de episódios intitulada “As gravações não têm culpa” é, pois, uma tentativa de fazer justiça através da criação com gravações de campo realizadas em Portugal, Uruguai e País Basco, as quais ficaram inéditas por problemas de comunicação, de mal-entendidos ou de falta de tempo, espaço ou escuta. Cada capítulo desta série revive esses registos que mereciam não ficar esquecidos, os quais foram carinhosamente embrulhados entre gravações de arquivo, processos de introspecção e narrativas sonoras.

No primeiro episódio da série “As gravações não têm culpa”, um ser, recolhido no aconchego do seu lar, contacta com um vapor de memória extratemporal, revisitando alguns marcos da experiência humana, situando-a e extraindo-a de alguns contextos em que se entrelaçou com outras linhas da vida.

Neste episódio, a história é contada com a ajuda de gravações de campo realizadas por Ana Rodríguez no Uruguai (Movimento de gado em Laureles, Cavas rochosas nas montanhas do Valle Edén, Tacuarembó; em Portugal (Milheirada em Covas do Monte, 2013; Batida do coração em Várzea de Calde, 2022; Coruja em Gafanhão, 2020) e em Espanha (Exercícios para osteoartrose de um antigo pastor do Vale de Carranza, Bizkaia, 2012). Incluem-se também alguns registos do Arquivo Digital Binaural Nodar gravados em Figueiró dos Vinhos, Gavião, Boa Aldeia, Carvalhal de Vermilhas, e Várzea de São Pedro do Sul.

Binaural Radio Rural #23 - As gravações não têm culpa: A velha caverna

The four compositions included in this album are the result of sounds recorded as part of the first edition of the Sound Villages educational project that Binaural Nodar developed in 2009 in the Portuguese municipality of São Pedro do Sul.  

Sound Villages consisted of children and young people recording, editing and mapping the acoustic heritage of rural villages, in parallel with their geographical, historical and socio-cultural mapping.

During this first edition of Sound Villages, seven trips were made to rural areas, in order to cover a significant part of the rural parishes and their respective villages (10 civil parishes, around 30 villages or locations) and 3 hours of sound material were recorded, corresponding to around 75 individual sounds representative of the anthropological and natural context of each area.

The four compositions are the result of a territorial aggregation into four geographical sub-areas with the aim of capturing affinities between villages and parishes, in some way seeking to reinforce the sense of narrative coherence of each composition:

Terras da Arada: villages located to the northwest, around the Serra da Arada and corresponding to two parishes: Manhouce and Candal

Terras do Baroso: villages located to the south-west and comprising the parishes of Santa Cruz da Trapa, Carvalhais and São Cristóvão de Lafões.

Terras de São Macário: villages located to the north-east, around Mount São Macário and corresponding to three parishes: São Martinho das Moitas, Covas do Rio and Sul.

Terras do Vouga: villages located to the south-east, south and south-west, all bathed by the River Vouga and corresponding to the parishes of Pinho and Valadares.

The compositions were created in 2014 based on a choice of sound excerpts based on a narrative-poetic methodology (i.e. the choice of sounds did not follow criteria of geographical representativeness but of narrative necessity) and, at the same time, on the creation of expressive interludes using electroacoustic techniques, namely loops composed using granular synthesis tools.

Luís Costa: Terras da Arada

Binaural Radio Rural
Um podcast dedicado a lugares, memórias, sons e arquivos
Episódio nº 24: As gravações não têm culpa: Pulso ancestral

O podcast Binaural Radio Rural comissionou uma série de três episódios à antropóloga e artista sonora uruguaia Ana Rodríguez, sugerindo um repto simples: o de usar gravações sonoras de arquivo, especialmente aquelas que nunca foram incluídas anteriormente em processos de criação e de devolução. 

Esta série de episódios intitulada “As gravações não têm culpa” é, pois. uma tentativa de fazer justiça através da criação com gravações de campo realizadas em Portugal, Uruguai, Brasil e Espanha, as quais ficaram inéditas por problemas de comunicação, de mal-entendidos ou de falta de tempo, espaço ou escuta. 

Cada capítulo desta série revive esses registos que mereciam não ficar esquecidos, os quais foram carinhosamente embrulhados em gravações de arquivo, processos de introspecção e narrativas sonoras.

Para o segundo episódio da série “As gravações não Têm culpa”, Ana Rodríguez escreve:

“Se nunca somos o mesmo rio, como é que nos transforma tanto o voltar a ouvir o que gravámos em águas anteriores das nossas vidas?  Neste capítulo trabalhámos a partir de um sonho que trouxe mensagens de integração. Integração de dados corporais, pendentes do coração, medos e culpas. O que fizemos instintivamente acaba por se tornar num remédio para digerirmos o fato de sermos portadores de antenas cósmicas. Cada pessoa deve orientar a sua para perceber as mensagens que recebe com maior claridade.”
                                                                                           
Neste episódio incluem-se gravações de campo realizadas em setembro de 2019 pela professora Cristina Gonçalves a alunos da Escola Rural João André Figueira, durante a Festa Farroupilha, no contexto do projeto “Campo Compartilhado: Transruralidade e media”, uma parceria entre o Mapa Sonoro do Uruguai e a Binaural Nodar.

Incluem-se ainda gravações realizadas por Ana Rodríguez em Trinta y Três, Montevideo e Tacuarembó, no Uruguai e nas aldeias de Oliveira e de Sequeiros, em Portugal.

Peça sonora da introdução: Excerto de “Imersão sonora termal”, composta por Rui Costa.

Binaural Radio Rural #24 - As gravações não têm culpa: Pulso ancestral

Entrevistas Forum TRAMONTANA en Polonha / 2024.

I LISTEN, I REMEMBER, AND I FEEL
Sound education project
April 14-17, 2025
Merelim São Paio, Panóias, and Parada de Tibães (Braga, Portugal)

Between April 14 and 17, 2025, Binaural Nodar developed the sound education project “I Listen, I Remember, and I Feel,” which challenged children aged between 7 and 11 to listen to and record landscape and its activities, sounds and voices in some areas of their own territory (a riverside area, the local church and cemetery, their own school, and a communitarian vegetable garden), while expressing part of their world of memories, games, and impressions of what they heard and saw.

This project was part of the program of the Trajetos Comunicantes cycle of Braga 25 - National Capital of Culture 2025.

Sounds recorded by children of the Primary School of Merelim São Paio (Braga) and sound piece composed by Luís Gomes da Costa.

Ouço, Lembro e Sinto (Braga)

Side A from 'Opgenomen Verantwoordelijkheden' by Vom Grill (Ultra Eczema 186)

Vom Grill : Side A from 'Opgenomen Verantwoordelijkheden'

"But if someone, instead, is of a mind to force music’s secret directly and immediately, with the magic want of primal words, he is left only with empty hands, tautologies, and sentences that, at best, provide formal constituents – if music even has something like a formal a priori .  But the very essence of music will have vanished, usurped by the disposition of language and the concern about its supposed origins.", Theodor W. Adorno, “The Relationship Of Philosophy And Music”

This stereo mix of 4-channel spatial sound installation was created during residency at Q-O2 (http://www.q-o2.be/en/event/daniel-brozek-czarny-latawiec/), includes voice recordings from archives of Parlez-vous Saint-Gillois ? project (http://www.parlezvous1060.be/), Radio Panik (http://www.radiopanik.org/), Radio Campus (http://www.radiocampus.be/), Royal Museum for Central Africa (http://www.africamuseum.be/home/podcasts/index_html) and Brussels field recordings. The installation references are Iannis Xenakis "Concret PH"  with his Philips Pavillon  at EXPO'58 in Brussels and Joseph Conrad "Heart of Darkness".

Concrete BXL

form our next LP 'Trembling Air' 
(released on 26 February 2016 on Other People Records)

http://www.factmag.com/2016/01/21/12z-trembling-air-other-people/



12z - Names Or Labels

I'm really not much of a soccer fan. But I did follow (on television), a large number of the matches of the 2006 World Cup tournament. Most of them actually I found pretty boring, and I would've gladly missed them. But I guess watching a soccer match is a bit like living a life: even when it didn't happen yet, it still could any moment now ; and as long as the game's not over, there's nothing lost - ("Waar leven is, is hoop") - ... So on many of the competition's evenings I started and continued watching until the referee's final whistle sounded ... fantasizing about being out there zoom recording ....

The Dutch national team was sent home in the round of 16, in a lost match against Portugal, which was moderate fun to watch ; not so much for the way the ball was kicked around, but rather for the way anything that moved got kicked, with 4 players dismissed and the game ending nine against nine .

The French team though, against all odds, made it to the final, where they stood up against the Italian team on Sunday July 9th, in Berlin. It was E. Rébus who suggested we'd treat that match in the form of a placard recording, re-mixing live the radio and television reportages. A fine idea, I thought, and a fun way to spend the final's evening. So we set up the “Match Vide” ‘placard’, last minute, as part of the ninth international headphone festival, small, intimate and lo-profile, at my Vincennes home - in the best of placard traditions ...

Thanks to the FIFA, to de Waag for use of their icecast streaming server, all performing participants - Fred Bias, Jean-Marc Montarou [le Rhinoseros], Thomas Sundholm, FlexRex, E. Rébus, HarS - and the fine handful of attentive listeners for making this into a memorable event ...

Artist's Biography:

Harold Schellinx (Maastricht, the Netherlands) is an artist, writer, improvisor and creator of unusual and original musics. As a member of The Young Lions and several other post-punk bands in the Amsterdam of the late 1970s and early 1980s, he was among the initiating forces of the Dutch ‘Ultra’ movement (the purely Dutch version of what has become known as ‘post-punk experimental pop music’). He was co-founder, editor and London correspondent of the Dutch modern music magazine ‘Vinyl’, while pursuing (in Holland, Belgium and the UK) a range of widely acclaimed musical projects. These include “Commuters” – a collaboration with German singer Dagmar Krause (Slapp Happy/Henry? Cow), “Signs & Symptoms” – with Peter Mertens, and a series of ‘pop fictions’ (Bogdan Wlosik, Agonie Ajournée …) – written and produced together with Ronald Heiloo.

Football Sound Narratives

Harold Schellinx: Le Zida Ne Passera Pas Par Moi...

The improvised monologue of a radio announcer in a stadium is a sound event that involves spoken expression of the highest calibre. As they describe the game's plays, announcers are subject to emotional sensations that shape the way they speak. The tension of watching, marked by uncertainty about how the game will progress, generates powerful emotional states that are expressed in physical movements and spontaneous bursts of sound. Seldom does a comparable major event unleash behaviours that are more archaic. Whether one thinks of competitions in the amphitheatres of the ancient world, of Roman gladiators or of the bullfights of Spain - all are epic forms of identification and representative enactment. A form of pagan music arises from the collective rites, with their drumming, horn-blowing and choral chants, whose dynamic is controlled solely by the events. The radio commentaries function via the media network as disseminators, and also symbolise the simultaneous release of emotional energies by thousands of millions of people around the globe. In the installation that this sound piece is part of, the balls stand as metaphors. If we listen in, we hear the resonating space of this world.

Artist's Biography:

Born in 1959 in Hessen (southern Germany), lives in Berlin. 1982-1990 studied Fine Arts in Hamburg with Claus Böhmler and Henning Christiansen. 1992 – 98 gives lectures at the college of Lüneburg in the department of aesthetic & communication. 2002 winner of the first German Sound Art Award, Sculpture Museum Glaskasten, Marl. 2003 Initiator and Curator of the Symposium with exhibitions and concerts “STARLINGS ABOVE BERLIN – Sound Art meets Bioacoustics - on the Aesthetics of Birdsongs”. 2006 Initiator of the project “WORLD CUP’06 - RADIO COMMENTARIES IN NATIVE TONGUE SYNCHRONOUS RECORDINGS”. 2007 Guest lecturer at the University of Fine Arts Berlin, faculty Fine Arts for Sound Art.

Tilman Küntzel: World Cup 2006

“Over The Eyes”, inspired by the old saying ”…to pull the wool over the eyes”, is the soundtrack of a multimedia installation created in October 2007 at the Binaural/Nodar residency. The piece includes recordings of conversations, songs and stories during a knitting circle held with the local people along with field recordings of the area, and a text on physiological, biological, and psychological aspects of memory creation and destruction in humans.

Maile Colbert: Over the Eyes

get it here:

005 GRIPGEVEST & KLING C38 / Gripgevest & Kling

Binaural Nodar is a rural based sound and media arts organization located in the rural Viseu Dão Lafões region (Portugal), where since 2006 have been hosted over 180 sound and media arts projects developed in close connection with the local geographical and social contexts. Binaural Nodar is also a sound art collective that produces its own pieces, particularly those created by Luís Costa, Maile Colbert, Rui Costa, Ana Rodríguez and Manuela Barile.

Harold Schellinx: Le Zida Ne Passera Pas Par Moi...

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