"On that day that I remember" is a sound piece by Estonian singer, performer and filmmaker Anna Hints that relates to the several weeks she spent in Portugal, each one of which she remembers and cherishes, and altogether form a river of memories. The voices of old Estonian runo songs meet traditional Portuguese songs sung by village women from Nodar and Sequeiros.

Anna Hints was hosted in 2010 in the context of Paivascapes artist residency cycle, fully dedicated to artist interventions about the Paiva river in Center Portugal.

Paivascapes - Anna Hints: On that day that I remember

We are pleased to present a new series on our Binaural Radio Rural podcast, entitled “An Archive is a Place: The Wayback Sound Machine in a Rural Archive”.

In this podcast series, artist and researcher Maile Colbert is exploring the Binaural Nodar Digital archive: gathering and sharing recordings from its vast collection, remixing and re-contextualizing as an art form, with consideration and empathy to their original context…an outsider invited in to explore, witness, and process. Then share.

"(Re)presentations"
By Maile Colbert

"I am exploring how the concepts and methodologies of how my virtual research and practice tool, the Wayback Sound Machine, can be used to explore a virtual place, the digital archive of Binaural/Nodar. The Wayback Sound Machine asks: what can we gather from sounding the past? In Podcast number 3, I am exploring more specifically, and artistically, representations of the past, both in the rural archive, as well as with the first two podcasts...literally expanding and remixing the underscore to see what forms.

The Wayback Sound Machine is a multimodal project investigating various theories of audition and perception of sound in time and place and proposes an interdisciplinary connective aurality between the perception of sound in time and place with soundscapes and sound designs. The relationship between our soundscapes and creative sound designs can give us key information about how we listen, what we listen for, and what that can tell us…but the goal is not an answer, but rather towards, as artist and writer Salomé Voegelin (2010) states in her own Introduction to Listening to Noise and Silence, Towards a Philosophy of Sound Art, “…no real conclusions but only strategies for engagement and efforts of interpretation”. (p. xiii)"

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 #13 - An Archive is a Place: (Re)presentations

Episode nr. 17 - Between bridges...were voices
By Maile Colbert

We are pleased to present a new series on our 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?

In this episode, polyphonic traditional singing from Portugal combines simultaneously two or more tones or melodic lines. The songs here are from recordings of rehearsals of polyphonic singing groups in the municipalities of Sever do Vouga, Oliveira de Frades, São Pedro do Sul, and Vouzela. This was from the “Culture Between Bridges” project. The soundscapes from the Binaural Nodar Digital Archive are layered and woven into the singing, to give an aural context of place and location to the possibly origin of these folk songs, sung during travel, labor, pilgrimage, and celebration. The original beginnings and forming of the traditional songbook of these territories would have always had the soundscapes of the region with them and within them.

Translation and contextualization of the lyrics:
(thanks to Rui Costa for the assistance)

The days are getting longer and the temperature is rising, 
it's time for us to hang up our coat 
and happily welcome the change of season.

The vine also celebrates the arrival of spring with its crying

The branch of the vine cries
Where it was cut from its Mother

The vine cries
The lemon cries
The vine cries
Do not cry

O vine, give me a bunch
O bunch, give me a grape berry

You say, apart, apart
Red wine from the white

I was also separated
From whom I like so much

The vine crying refers to the coming Spring, the increase in temperature and sunlight increases the temperature of the soil, which wakes the grape vine from its vegetative rest. The roots become active again and absorb water and minerals, rising through the xylem. Where cuts were made from the winter pruning, the sap weeps (cries). This can tell the growers that the buds will burst forth soon in a new cycle of growth.

The agriculture metaphor in folk songs is something shared by many cultures. Cycles of life, growth and death, separation and sacrifice, labor and loss.

Bring the goats outside, the sheep are already there. 
if you have a donkey, you bring one
if you don't, you go walking
Don't pay attention to how long the path is 
a snack is coming soon

A cat walks up the hill. 
I'll cut his tail to use in the ribbon of my hat. 
So many brambles and black berries up that hill. 

The chestnut leaf has little prickes like the lace. 
Those who have a sweetheart will not have a better present.

Another reoccurring theme of course deals with love, 
sexuality, courting and chasing, 
sometimes warning and protecting.

Oh Rose of Alexandria, 
where did you leave your scent? 
I left it on your bed, 
in the lace of your pillow.

This morning I found a love letter 
right below my window. 
I wonder who lost it? 
It was full of flowers
 
I've been working in the hills, 
catching gorse and firewood. 
Rosa, give me a kiss so that no one sees.

António, go away, 
let the girl be, because she doesn't have a father, 
no one should tell her what to do. 
She is not yours, she is her mother's. 
let the maiden be.

The sun promised to the moon a scarf with many colors

There goes the moonlight, behind the pine grove. 
Goodbye my love, 
he will never return

The theme of the pilgrim is also often found in folk songs,
Devotion and proving oneself to God and Saints, 
But also the importance of the communal and social aspects 

Our lady of Santana climbed the hill. 
And where she climbed, a water source appeared. 
A rich source with beautiful water. 
Angels came and drank that water. 

I came from there now. 
Just wearing my shirt (no jacket) 
I play my guitar. 
People come from far away 
just to see such a beautiful rose.

Binaural Radio Rural #17 - Between bridges... were voices

Episode nr. 18 - Between bridges...were voices thawed
By Maile Colbert

We are pleased to present a new series on our 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. The songs here are from recordings of rehearsals of polyphonic singing groups in the municipalities of Sever do Vouga, Oliveira de Frades, São Pedro do Sul, and Vouzela. This was from the “Culture Between Bridges” project. The text includes the english translation of the song about the grape vine weeping. The vine crying refers to the coming Spring, the increase in temperature and sunlight increases the temperature of the soil, which wakes the grape vine from its vegetative rest. Where cuts were made from the winter pruning, the sap weeps (cries). This can tell the growers that the buds will burst forth soon in a new cycle of growth. There is also a section from a Rabelais story of words frozen then thawed, sounding over the frozen sea. The polyphonic song is processed using a technique that involves freezing, releasing, flowing, and weaving different characteristics and qualities of the sound, illustrating in an expressive and sensuous way the stories being told.

Binaural Radio Rural #18 - Between bridges... were voices thawed

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

A um tempo e um espaço concretos junta-se uma comunidade temporária de jovens estudantes de arte. A escuta é limpa, como a de crianças que descobrem o mundo. Breves exercícios sonoros transformam-se numa ficção de sons, vozes e evocações: A descarga dos barcos de antigamente, do mar até à montanha, a descida vai-nos custar a subida, a chuva que ameaça, o rio que flui, o tempo do sono, bagaço ou cachaça e duas jovens evocam os afamados pastéis de Vouzela.

Sons gravados no dia 21 de abril de 2023 por estudantes do Mestrado em Criação Artística Contemporânea da Universidade de Aveiro. Composição de Luís Costa.

Luís Costa: Estando num tempo em Vouzela

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

The experience that a tourist has of a city is largely determined by the randomness of impressions at the limit of consciousness, a permanent mapping between what is seen and desires, preconceived ideas, memories, etc. “Aveiro, Instante Distante” followed a mental process as a starting point for the artistic creation.

The sound recording of a city that was visited for the first time, Aveiro (Portugal), incorporated this mental process in a very evident way. When recording the sound environment of the place, a lot about the subject is also captured: decisions about where to go, which places to avoid, how long to stay in a place, how fast to walk, preconceived ideas of what you want to record, etc.

The registration began in the summer of 2010 with a “sound tourism” phase. With the help of a tour guide, the routes that could be followed and recorded with the help of a pair of binaural microphones were defined. Along the way, impressions, moods, mental associations and decisions were recorded. This information was later used to create a score or a series of instructions that served for the second phase of the work, a multichannel sound installation, presented between August 18th and 28th 2010 at Estúdio Performas in Aveiro (Portugal), with the title “Sightseeing for the blind in Aveiro”.

Thirteen years later, the initially recorded sound material was revisited and, in the light of the diffuse impressions of a distant moment, a spatio-temporal separation that introduced new layers of meaning, linked to memory and the reconfiguration of the idea of the city of Aveiro itself, a stereo sound piece was composed, which Binaural Nodar is now publishing in the form of a digital album.

“Aveiro, Instante Distante” is also a tribute to a city that has been continuously present in the recent history of Binaural Nodar, namely through the partnership, established in the same year of 2010, with the Masters in Artistic Creation at the University of Aveiro. Over these 13 years, a collective artistic reflection has been carried out on the relationship between the rural landscapes of the Vouga river valley, in the Lafões region, and the city of Aveiro, the arrival point of a river loaded with memories of social, economic and symbolic flows between the mountains and the sea.

Rui Costa is a sound artist and arts programmer from Lisbon, Portugal. He is a founding member of Binaural Nodar, an arts organization created in 2004 and dedicated to the promotion of context-specific and participatory art projects in rural communities of Viseu, Portugal. Rui Costa has been performing and exhibiting his art work since 1998 and collaborating regularly with the American intermedia artist Maile Colbert. He co-edited the book "Three Years in Nodar: Context-Specific Art Practices in Rural Portugal", published by Edições Nodar in 2011 and created many sound works presented and/or edited in multiple Portuguese and international contexts.

Rui Costa

Aveiro Instante Distante

Rui Costa: Aveiro, Instante Distante

Binaural Radio Rural #21
Portugueses no Uruguai: A esperança da grande viagem

Continuamos com a série do Binaural Radio Rural intitulada Portugueses no Uruguai, composta por três episodios criados a partir de una serie de entrevistas realizadas pela antropóloga Ana Rodríguez no ano de 2022 con portugueses e descendentes de portugueses que vivem ou viveram en zonas urbanas e rurais do Departamento de Montevideo no Uruguay.

A mesma história repetiu-se tantas vezes. Ao longo do século XX, com especial incidência a partir dos anos 50, milhões de portugueses emigraram para distintas partes do mundo, escapando a um país pobre e a um regime político anti-democrático e persecutório. A maioria emigrou para países europeus como a França e a Alemanha, mas muitos escolheram vários países da América do Norte, Central e do Sul, naqueles anos considerado o continente de oportunidades por excelência. Aconteceram vagas de emigração muito expressivas para o Estados Unidos, o Brasil, o Canadá e a Venezuela, tendo alguns rumado mais a sul, para a Argentina e para o Uruguai. Aquelas famílias que chegaram ao porto de Montevideu, depararam-se com um novo mundo incógnito, em que a dificuldade de não falarem o espanhol constituiu um primeiro obstáculo, superado posteriormente ao longo dos anos. Esta gente distribuiu-se por muitas atividades, entre o trabalho no campo, a limpeza de casas ou de jardins, o trabalho fabril em fábricas de massas ou de rolhas e também atividades artesanais como a costura ou de comércio, como a restauração.

Depois de, no primeiro episódio desta série, termos acompanhado a vida das famílias nos lugares de origem portugueses, antes da emigração, desta vez vamos escutar um fluxo de pequenos relatos que abordam as razões da emigração para o Uruguai, as atribulações da longa viagem de barco e as dificuldades encontradas ao chegar a um novo país distante. Esta narrativa coletiva termina com uma emocionante leitura de uma carta trocada entre dois irmãos, um a viver em Portugal e outro no Uruguai, sendo a filha deste último que lê a carta. Pelo meio escutaremos paisagens sonoras evocadoras dos dos ambientes rurais de origem destas pessoas, da viagem transoceânica e de vários contextos do Uruguai. 

A equipa do projeto agradece a participação neste ciclo de episódios de Arminda dos Santos Leite, María Concepción Ferreira Dias, Antonio Bruno Ferreira Dias, Graciela María Airaldo, Juan Manuel Ferreira Dias, José Mateus Pinho, Lucilia Moura, Domingos da Silva Cabeleira, Antonio Pires, Leonardo Pires Benlian, Raquel Domínguez Sciara, Jorge de Queiroz e José Manuel Rodrígues Alves, bem como o apoio permanente da Comissão Diretiva da Casa de Portugal em Montevidéu.

Agradecimentos adicionais a Pato Pintos e a Alejandro Herrera.

Binaural Radio Rural #21 - Portugueses no Uruguai: A esperança da grande viagem

(EN)

In the year of 2011, a new friend arrived in our lives. Gianfranco Sptilli.
In that year, our first children were so little (how we miss those times).
In that period, we were in the process of creative imagination.
How can we reconcile our empathy for the rural world with depth and mediation?

It was August and it was hot in Arsita (Teramo, Abruzzo).
The Gran Sasso of Italy stood out in the distance.
Gianfranco Sptilli and Marco Magistrali mobilized people from various corners of Italy and Europe.
Singers, storytellers, musicians, puppeteers, researchers and a lot of people.

In those years all dreams seemed possible.
Twelve years have passed and the friendship continues.
We recently returned to the embrace of Gran Sasso.
And the feeling of being at home was exactly the same.

Soundwalk recorded by Luís Costa on August 11, 2011, in Arsita (Teramo), Italy.
Sound editing by Luis Costa, December 2023.

With the participation (among others) of:

Li Tamurrë di Pretara, Suonatori di Befaro, Senhal, I Cantori di San Giovanni Rotondo, Li Sandandonijrë di Penna S. Andrea, A’ ssaltarella e Giannina Malaspina, I suonatori di Cermignano, Lu fregaventë, Forró Do Dendê, Tarantella Riggitana, Encavo anar, Teatro del Corvo, Gzim Kodraliu.

(PT)

No ido ano de 2011, um novo amigo chegou à nossa vida. Gianfranco Sptilli.
Naquele ano, os nossos primeiros filhos eram tão pequenos (que saudades).
Naquele tempo, estávamos em pleno processo de imaginação criativa.
Como conciliar a nossa empatia pelo mundo rural com profundidade e acolhimento?

Era agosto e fazia calor em Arsita (Teramo, Abruzzo).
O Gran Sasso de Itália impunha-se ao longe .
Gianfranco Sptilli e Marco Magistrali mobilizavam gente de vários cantos de Itália e da Europa.
Cantores, contadores de histórias, músicos, titeriteiros, investigadores e muito público.

Todos os sonhos naqueles anos pareciam possíveis.
Passaram doze anos e a amizade continua.
Voltámos recentemente ao abraço do Gran Sasso.
E a sensação de estar em casa, essa, foi exatamente a mesma.

Passeio sonoro gravado por Luís Costa em 11 de agosto de 2011, em Arsita (Teramo), Itália. 
Edição sonora de Luís Costa, dezembro 2023.

Com a participação (entre outros) de:

Li Tamurrë di Pretara, Suonatori di Befaro, Senhal, I Cantori di San Giovanni Rotondo, Li Sandandonijrë di Penna S. Andrea, A’ ssaltarella e Giannina Malaspina, I suonatori di Cermignano, Lu fregaventë, Forró Do Dendê, Tarantella Riggitana, Encavo anar, Teatro del Corvo, Gzim Kodraliu.

Valfino al Canto 2011: A soundwalk by Luis Costa

Terminamos a série do podcast Binaural Radio Rural intitulada "Portugueses no Uruguai", composta por três episódios criados a partir de uma serie de entrevistas realizadas pela antropóloga Ana Rodríguez no ano de 2022 con portugueses e descendentes de portugueses que vivem ou viveram en zonas urbanas e rurais do Departamento de Montevideu no Uruguai.

Esta série de tres episódios é uma produção da associação cultural portuguesa Binaural Nodar, contando con a estreita colaboração da Casa de Portugal em Montevideu na mediação com a comunidade portuguesa e na difusão dos resultados do projecto.

As famílias portuguesas que chegaram ao Uruguai foram paulatinamente organizando a sua vida, escolhendo trabalhos e abraçando oportunidades, num processo constante de luta por uma vida melhor. Uma parte importante dos portugueses optaram por trabalhos relacionados direta ou indiretamente com o mundo do campo, o que não é de estranhar, pois essas famílias vieram quase todas de aldeias rurais de Portugal, tendo nas suas mãos e na sua memória o saber-fazer de muitas tarefas agrícolas. 

Depois de, no episódio anterior desta série, termos acompanhado a aventura da viagem transatlântica e dos primeiros tempos no Uruguai por parte de famílias portuguesas, escutaremos desta vez uma série de relatos relacionados com a vida, com as diversas profissões e com as sensorialidades comparadas entre Portugal e o Uruguai, os sons, cheiros, sabores, etc. que contribuíram para o duplo enraizamento destes portugueses uruguaios. O episódio terminará com uma série de menções ao papel do Clube Português e mais tarde da Casa de Portugal em Montevideu no fomento de laços de sociabilização entre as várias famílias da comunidade portuguesa, um papel que continua até aos dias de hoje.

A equipa do projeto agradece a participação neste ciclo de episódios de Arminda dos Santos Leite (1937), María Concepción Ferreira Dias (1947), Antonio Bruno Ferreira Dias (1951) e Graciela María Airaldo (1956), Juan Manuel Ferreira Dias, José Mateus Pinho (1930), Lucilia Moura (1933), Domingos da Silva Cabeleira (1950), Antonio Pires (1936), Leonardo Pires Benlian (1970), Raquel Domínguez Sciara (1953), Jorge de Queiroz (1965), José Manuel Rodrígues Alves (1961), bem como o apoio permanente da Comissão Diretiva da Casa de Portugal em Montevideu.

Binaural Radio Rural #22 - Portugueses no Uruguai: Memória e sensorialidade da dupla raíz

"Once, I was 16. At that age I still looked like a child. It was on the way back from Saigon, after the Chinese lover, on a night train, the Bordeaux train, around 1930.
(…)
Around the train, at night. The silence of the corridors amid the noise of the train. The stops that woke you up. He went down into the night. In Paris when I opened my eyes, his place was empty”

In “The Train from Bordeaux” by Marguerite Duras

A sound piece based on Marguerite Duras' short text “Le Train de Bordeaux". The work is a reflection on the resonance of spoken language prior to the production of meaning. The short story was interpreted in its dynamics and musicality and, based on it, a score was produced to conduct the development of the piece over time. Then the text was given to several people of different languages who read it aloud and recorded the readings into sound. By this, a single text was translated into sound (verbal and non-verbal) using a multi-layered approach where text, voice, idiom, body, subjectivity, linguistics all intermingled within the piece.

This work premiered at Centro Em Movimento, Lisbon (Portugal) on June 10th, 2004

Credits:

Composition: Rui Costa
Voice: Begoña Ríos, Marc Behrens, Rui Costa

Rui Costa is a sound artist and arts programmer from Lisbon, Portugal. He is a founding member of Binaural Nodar, an arts organization created in 2004 and dedicated to the promotion of context-specific and participatory art projects in rural communities of Viseu, Portugal. Rui Costa has been performing and exhibiting his art work since 1998 and collaborating regularly with the American intermedia artist Maile Colbert. He co-edited the book "Three Years in Nodar: Context-Specific Art Practices in Rural Portugal", published by Edições Nodar in 2011 and created many sound works presented and/or edited in multiple Portuguese and international contexts.

Le Train de Bordeaux

Rui Costa: Le Train de Bordeaux

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 English premier league is fast sweeping across the length and breadth of the nation Nigeria and the African continent as a whole, propelled by the incursion of African players to the league.

The league is religiously followed and supported, with the top four clubs (Arsenal, Chelsea, Liverpool and Manchester United) being the most popular.

The English premier league merchandising is also booming, making the English football clubs and their brands very visible and easily recognizable across the country’s landscape.

Fans celebrate their teams by showing off club branded paraphernalia, especially the football jerseys. They congregate in football viewing centers to watch live games, support their beloved clubs and get their weekly premier league season’s rush of adrenalin. In these viewing centers, there are two opposing camps rooting for the two teams playing the football match. Members of these camps transcend ethnicity in Nigeria to create their own football tribes tied to the team they are supporting. It does not matter what your tribe or tongue is, the only language spoken and understood in this arena is that of football.

Here, matches are analyzed by the minute. Legends are created or destroyed. Heroes are worshiped or disgraced. Victory songs and taunts are composed instantly and based on the ongoing game. And above all, relationships are established and solidified amongst supporters of same club, who identify themselves by club colours and rantings.

“Up Blues” celebrates one of such live matches at the Dominion Plaza viewing center, Badore (6° 30’ 06.48”N, 3° 34’ 59.45”E), Lagos Nigeria. It follows the Chelsea football club fans passion, their excitement and the camaraderie as their club defeats their opponent.

Artist's Biography:

Emeka Ogboh: Nigerian new media artist has variously explored the soundscape of Lagos, Nigeria to affect a constructive dialogue between its physicality and it’s imagining. For him the architectonic of Lagos as a mega city, for example, opens up questions on cultural narcissism, third world mobility and globalization processes. His creative templates include but are not limited to sound, video and photography.

Emeka Ogboh is the co-founder of the Video Art Network Lagos and a member of the African Centre for Cities project on African Urbanism. He is participating in the Locus Sonus international stream project and was part of the Media Lab in Africa delegation to the 16th International Symposium on Electronic Art, ISEARHUR2010.


Football Sound Narratives

Emeka Ogboh: Up Blues

2010 Football World Cup, held in South Africa, was dominated by a colorful plastic horn instrument called the ‘vuvuzela’. As the several countries were being eliminated from the World Cup, they probably suffered a process of 'devuvuzelation': a few days of ‘national mourning’ followed by a progressive return to normality. Fewer and fewer vuvuzelas were heard until they completely died out.

Curiously enough, the sound of the typical plastic vuvuzela appeared in my spectrum analyzer with around 32 significant partials: one partial per each national team present in the World Cup.

I created a sound image of the ‘devuvuzelation’ process by progressively eliminating each partial from the spectrum of the vuvuzela sound sample as each team was being eliminated from the World Cup. In the end, only the partial correspondent to the World Cup Winner will be heard. Then, silence.

I set the following rules for the process:

- The relative volume of each of the 32 partials follows the relative classification of the national teams in the FIFA ranking before the World Cup;

- The length of the piece is proportional to the number of days of the World Cup plus two extra days of celebration for the winning team, with 1 day corresponding to 10 seconds;

- The instant in the sound piece where a certain partial is removed corresponds to the date where the correspondent national team was eliminated from the World Cup.

Artist's Biography:

Rui Costa is a sound artist from Lisbon, Portugal. He has been publicly presenting his work since 1998. He is a founding member and artistic director of Binaural. He developed a series of sound works focused on the translation to the sonic domain of other realities such as the tourist’s experience of Lisbon (“Sightseeing for the Blind”) and an account of a train trip (“Le Train de Bordeaux”, based on a short story by Marguerite Duras). Rui Costa collaborated with the Spanish musician Iñaki Ríos, with whom he developed electronic composition systems programmed on Max/MSP, Lisa and Csound and developed a series of site-specific works in Nodar. In 2007, he started a collaboration with the vocal performer Manuela Barile with a project entitled “La Scatola”, which was conceived as a series of installations and audiovisual performances. Rui Costa is a regular speaker in lectures and gives workshops dedicated to sound art.

Rui Costa: Progressive Devuvuzelation of the World

Before the tractors and the machines, during the grape picking, in the quarry, in the sewing, in the places where each one was supposed to be. All the "environment" was surrounded by sound: the rhythms of routines and tasks, the prayers, and the need to renew each day. In a litany in which remain the perspective of the objects that have witnessed what people have experienced over the years. The passage of time, in which little changes, but what remains is a distant echo of the memory of when "everything was done."

This piece is exclusively composed of sounds taken from the Viseu Rural 2.0 archive. There is no processing that modifies the recordings, only equalization, compression and related treatments, in order to filter out what (in the perspective of the piece) is important to be emphasized. It is a piece to be moderately amplified as it aims to keep each sound in a horizontal, accessible level in which the recording or amplification device should remain as discreet as possible.

Biography:
Sara Pinheiro (1985) is a sound artist who works with cinema, video art and acousmatic compositions. In film and video art, she records, edits, does Foley and mixes sound. On an solo basis, she has composed acousmatic pieces, usually for multi-channel performances, radio broadcasts or installations in galleries and public spaces. She has a degree in Cinema, with specialization in sound (Lisbon, 2008); In 2012 she finished the Master of Music in Sonology. Since then, she has collaborated with the Institute of Sonology and CAS (Center for Audiovisual Studies, FAMU, Prague) as a guest teacher. Her latest work is based on the idea of "Acusmatic Foley". She is also a member of the live programming group k-o-le-k-t-i-v and collaborates with the film studios Barrandov CinePost Studios and Bystrouska in Prague.

Sara Pinheiro: De Lés a Lés

Beginning with a religious chant about death, voice fragmentations, a squeaking door, a cemetery gate, layers of voices, tapped objects and other textures, themes in Quebranto shows: brokeness, death, religion and nostalgia. A butterfly flutter, broken sticks, glitched sounds and bells are a prelude for the voice of portuguese and mexican birds, water and ghosts, all of them broken by different kind of sound textures. Mexican religious chants for the dead are mixed with sounds of portuguese procession and sheep bells. Then vendimia sounds, noise, high frequencies and machines are the prelude for sounds from the mexican sea, kids playing, plastic bags, crickets, granite, all of them selected because of their timbrical characteristics and, because this sounds were gifted, in gratitude I share some field recordings from Mexico related to the themes in the piece. Finally a chant: Oh Christ you will reign, and the sound of a machine erase everything. A spectre: when everything is disappearing and dying, only the sounds in our heart and memory will remain.

This piece plays with stereo field, creating spaces for different listening experiences, and treating each sound object from its own materiality as a sound file, placing them in different sites of the loudspeakers. With this idea, the audio processes are minimal: filters, compression, delays, reverbs, distortion, pitch-shifting and stretching. Quebranto is inspired by Hildegard Westerkamp, Luc Ferrari and Francisco Lopez works and thoughts on soundcape and listening; also by the protocols for listening by sound art collective Ultra-red. I want to thank Armstrong Liberado for the use of their loudspeakers in their studio.

Biography
Fabián Avila Elizalde «Neural Xólotl» (Mexico, 1980) is an artist, educator and researcher on experimental music, listening and sound art. He got a master's degree in music (Music Technology, UNAM) for linking soundscape composition and glitch aesthetics. Before, he got a bachelor's degree in psychology (UNAM), was formed in electric bass and jazz theory with Aaron Cruz and was self-taught in electronic music. Awarded with 1st. Place in IV National Videoart University Contest (MUAC, 2014) and 4th. Place in Music and Design Contest (Circo Volador, 2013), also has been granted with scholarships by Master Program in Music (UNAM), Salón Abierto (ArteHoy/ CONACULTA) and Visiones Sonoras (CMMAS); he got a special economical support by FONCA in 2013. His artistic and academic work has been shown in national and international museums, galleries, festivals, universities and venues. Today, he is part of Armstrong Liberado, a free music collective. 

https://neuralxolotl.wordpress.com/

Fabián Avila Elizalde: Quebranto

From the recorded sounds proposed, I wanted to re-design the rural landscape of Viseu, to shape an heterogeneous polyphony.
The flow of the water fountain in front of the church, the birdsong, and the clanking of ceramic scattered on the road, are confused in this sound texture. 
Seething boiler shells, screeching machines and tractors, cracking of granite cut by diamond disks, merge with the popping of tin sheets of experimental games.
The image tries to reflect some of these sound sources in a polymorph design.

Biography:
Elsa Justel (Argentine-France)holds a PhD in Aesthetics, Science and Technology of the Arts at the University of Paris, She currently works as an independent composer and video artist, having received commissions from the French government and different European production studies.

She has developed a pedagogical and research activity at the Universities of Marne La Vallée (France) and Pompeu Fabra (Spain) as well as in various conservatories and music schools in France, Holland, Germany, Argentina and Spain.

She received numerous composition awards such as : Prix Ton Bruynèl, Netherlands (2005), International electroacoustic competition of Bourges, France (1989/2002), Prix Phonurgia-Radiomix, France (2001), 5° International competition on Radiophonic music (La Muse en Circuit-WDR, between others. Her music has been recorded by Diffusion i Média, Canada and several compilations in EU, Canada, France, Argentine, Spain.

http://www.fundestellos.org/Bio.htm

Elsa Justel: Estampes de Viseu

Portrait V is a sound portrait of the rural district of Viseu using the soundscape recordings collected during the Rural Viseu 2.0 project. The work moves through real, surreal and abstract representations of the aural landscape using keynote sounds to provide the context of each section and soundmarks to articulate the structural framework of the work. The three sections of the composition are developed around the ideas of biophony (section 1) - the sounds of vocalizing non-human animals, geophony (section 2) - the naturally occurring non-biological sounds and anthropophony (section 3) - all sounds produced my human agents. Although the sections are inspired by this soundscape taxonomy, the soundscape sound materials are framed by abstract sound objects which are used to direct the action and introduce references beyond the restrictions suggested by this structural idea. The piece aims to communicate a strong sense of place and is a tribute to the landscape and the people inhabiting it.

Biography:
Nikos Stavropoulos' (1975) works range from instrumental to tape and mixed media. He has composed for video and dance and his music has been widely performed and recognised at international level (Bourges, 2000, 2002, Metamorphose, Brussels 2002, SCRIME, Bordeaux 2003, Musica Miso, Potrugal, 2004, Metamorphose, Brussels 2008, Punto de Encuentro Canarias International Electroacoustic Composition Competition 2008, Destellos Foundation 2015, Open Circuit 2016). Other interests include the performance practice of electroacoustic music, diffusion systems and teaching music and music technology. He joined the Music, Sound & Performance Group at Leeds Metropolitan University in 2006 and is a founding member of the Echochroma New Music Research Group.

Nikos Stavropoulos: Portrait V

Inspired by Einstein's paper introducing the special theory of relativity titled "On the Electrodynamics of Moving Bodies," "Sobre a eletrodinâmica dos corpos de trabalho" offers a time-distorted view of the concrete plant in Quarry Maljoga in Dade from the Viseu Rural archive (the only sound source). It portrays the work as it echoes off the landscape in compressed time, frozen time, and smeared timelines. It is a reflection on the efforts of man-made forces, the persistence of natural forces over time, and the interfaces between them.

Biography:
Jeff Morris engages audiences' minds with their surroundings. He has presented work at the Triennale Museum (Milan), Onassis Cultural Center (Athens), D-22 (home of Beijing'' avant-garde music scene), International Symposium on Electronic Art, the Lyndon B. Johnson Presidential Library and Museum (Austin), the NYC Electroacoustic Music Festival, and the Chicago Architecture Foundation's "Open House Chicago." His genre-bending interdisciplinary work has won awards in the Concourse de Bourges, "Music in Architecture" International Symposium, the Un"Cage"d Toy Piano Competition (NYC), and the "Radio Killed the Video Star" Competition (NYC). His writings have been presented at the International Computer Music Conference, Generative Art International Conference, and Computer Art Congress and are published by Leonardo Music Journal, Springer, and IGI Global. He also curates the Fresh Minds Festival of audiovisual art from all over the world. 

http://morrismusic.org

Jeff Morris: Sobre a Eletrodinâmica dos Corpos de Trabalho

Binaural Nodar
artistic philosophy compatible
with all of the other monstrosities
techniques and tools
and the non-human agentia subtle but not forgotten realities questioned:
body body bodies of land - scapes

Antye Greie: Vocal Landscapes

Granite is the solid foundation under your feet but can be transfigured into gas and radiation. It is therefore security and permanence but also threat and ephemerality. Between the millions of years since the matter was formed and the millions of years that will pass until the released energy becomes matter again, we are here and now. We walk on the granite, we extract it, cut it and grind it. We build our desired spaces in the image of nature but violate nature itself, which, like a divine vengeance, puts in motion a process that highlights our fragility and transience. 

"Pedra Etérea" ("Ethereal Stone") is a multi-channel sound reverie inspired by this somewhat bleak perspective on one of the most notorious features of the landscape and human activity of the Municipality of Viseu.

Rui Costa: Pedra Etérea

“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

This piece is an improvisation using acousmatic sounds, field recordings and electroacoustic works sourced and generated through analog means. The idea was to create a framework which allowed for improvisation and new combinations of (visual) local residues and a diversity of sound sources.

Melanie Velarde: Untitled

Coming back to my Nodar sounds after a year and a half, some elements have faded out while others, unnoticed before, have come to light. My Nodar landscape has turned distant and nocturnal... Obviously things change as time goes by, but this also applies to sounds and it’s not only a poetic cliché... Well, as long as your hard drive crashes once in a while so as to give that fallible human touch to the remembering machines that recorders and computers are. 

Sounds recorded in and around Nodar in June of 2008. Composed at La F* de B* in 2010.

Pali Meursault: Pleine Lune

This piece is based on daily hikes around Nodar. The recordings were made with microphones attached to each foot, and with multiple objects made out of wood and stone that I would be pulling along the ground. The recordings consist of not only air-borne signals, but also the contact of each object with the terrain and its cover (wet or dry leaves, grass, rocks, etc.). The rhythm of the sound was produced by the tempo of my walking speed. The physical act of walking was the basis of this piece. Nodar still lives in my thoughts and body…

Satoshi Morita: .: :: - / - / - :.

[EN]
In the various civil parishes of the Portuguese municipality of Santa Maria da Feira (mainly in Santa Maria de Lamas, Lourosa, Paços de Brandão and Moselos, but also in Fiães, Nogueira da Regedoura, Rio Meão, São João de Ver, Argoncilhe, Oleiros, etc.) a magnificent and unlikely industrial story resides: the cork industry. In little more than half a century, a rural area has become the global epicentre of the production of wine stoppers and other cork products, creating an ecosystem of hundreds of companies that persist with increasing vigour. We can look at this story from a purely business perspective but what also stands out is the story of generations of men and women, simple people in most cases, who, with a unique resilience, knew how to carry the past legacy of an industry that was born artisanal towards new ways to produce, innovate and commercialize. Santa Maria Feira is therefore a rare case in several aspects: the deep and everyday connection between memory and future, between entrepreneurship and working class and between natural resources and industry.

Sound Memory of Cork is an artistic project by Luis Gomes da Costa, Binaural/Nodar’s coordinator, that resulted from a multidisciplinary  eld work carried out between September and December 2014 and which included the analysis of historical documents (local press, reports from the National Board of Cork, scientific articles, APCOR publications, etc.), mapped sound recordings inside cork factories with more than fifty students of the school community of Santa Maria da Feira municipality and interviews with relevant actors in the sector, such as current and former workers, entrepreneurs, association leaders and museum managers.  The final work created an immersive and contemporary environment, placing in parallel a stereo sound composition and a multichannel audiovisual installation.

[PT]
Nas várias freguesias do Município de Santa Maria da Feira (preponderantemente em Santa Maria de Lamas, Lourosa, Paços de Brandão and Moselos, but also in Fiães, Nogueira da Regedoura, Rio Meão, São João de Ver, Argoncilhe, Oleiros, etc.) existe uma magnífica quanto improvável história industrial: a indústria da cortiça. Um território rural transformou-se em pouco mais de meio século no epicentro mundial de produção de rolhas e outros derivados da cortiça, criando um ecossistema de centenas de empresas que perdura hoje em dia com uma pujança crescente. Podemos encarar esta história sob o prisma meramente empresarial, mas o que ressalta étambém a história de gerações de homens e mulheres, na maioria simples, os quais, com uma resiliência ímpar, souberam transportar a herança passada de uma indústria que nasceu artesanal rumo a novos modos de produzir, inovar e comercializar. Santa Maria da Feira é, pois, um caso raro em vários domínios: na ligação profunda e quotidiana entre memória e futuro, entre empreendedorismo e operariado e entre recursos naturais e indústria.

Memória Sonora da Cortiça éum projeto artístico de Luís Gomes da Costa, coordenador da Binaural/Nodar, que partiu de um trabalho de campo multidisciplinar desenvolvido entre Setembro e Dezembro de 2014 que incluiu análise de documentos históricos (imprensa local, boletins da Junta Nacional da Cortiça, artigos científicos, publicações da APCOR, etc.), registos sonoros em fábricas da cortiça mapeados juntamente com mais de meia centenas alunos comunidade escolar do concelho de Santa Maria da Feira e entrevistas a atores relevantes do setor, como atuais e antigos operários, empreendedores, dirigentes associativos, gestores museológicos. A obra final criou um ambiente imersivo e contemporâneo, em contextos paralelos de composicão sonora estéreo e de instalação sonora e visual multicanal.

Luís Costa: Sound Memory of Cork

[EN]
In a far-off primary school in the Portuguese Beira-Alta mountains of seventy years ago, a friendship was forged between two boys from two nearby villages, in the essentiality of frugal times, made of freedom and landscape, crusts of moldy corn bread, ragged clothes, nests, corporal punishment, and lessons impregnated with the force of a pointer written on a small blackboard.

In memory of Gilberto Henriques.

Sounds and interviews recorded in the villages of S. Martinho das Moitas and Nodar, April 2012
Sound piece composed in the village of Fataunços, July 2018


[PT]
Numa longínqua escola primária nas montanhas beirãs de há setenta anos, uma amizade se forjou entre dois meninos de duas aldeias próximas, na essencialidade de tempos frugais, feitos de liberdade e paisagem, côdeas de pão de milho bolorento, roupas esfarrapadas, subidas às árvores para apanhar ninhos, castigos corporais e lições impregnadas com a força de um ponteiro escrito numa lousa.

Em memória de Gilberto Henriques

Sons e entrevistas gravados em S. Martinho das Moitas e Nodar, Abril 2012
Peça sonora composta em Fataunços, Julho 2018

Luís Costa: Gilberto & Norberto

Dedicamos a primeira série de episódios de Binaural Radio Rural a uma diáspora bem concreta: a do campo para a cidade, daquela de gente oriunda da serra do Montemuro, particularmente do concelho de Castro Daire no distrito de Viseu, que ao longo do século XX emigrou para a zona oriental de Lisboa, onde hoje se situa a freguesia de Marvila, para trabalhar em fábricas, armazéns, na estiva, em pequenas mercearias e em tantos outros mesteres.

Estas famílias inicialmente viveram quase todas em bairros de barracas, autênticas aldeias beirãs na cidade e posteriormente rumaram para apartamentos, ou por via da sua associação a cooperativas de habitação como a do bairro da PRODAC, ou porque simplesmente conseguiram amealhar o suficiente para comprar uma casa mais condigna. 

Passaram décadas. Muitos ficaram, outros regressaram à terra, quase todos acabaram por formar uma condição intermédia: a de alfacinha beirão.

Este primeiro episódio segue a forma de um percurso sonoro idiossincrático entre a Marvila de ontem e de hoje, tentando mapear lugares muitas vezes fora da cartografia oficial da zona oriental de Lisboa. Duas pessoas com raízes em Castro Daire, Mário Ferreira conduzindo o seu automóvel ao som de fado emitido por uma rádio roufenha, e Albertina Dória falando na Casa do Concelho de Castro Daire ao som de uma aula de acordeão, refletem a subjetividade do que era a cidade, uma em que os dados concretos de ruas e lugares são indelevelmente influenciados pela própria experiência pessoal.

Texto, voz, composição e edição sonora de Luís Costa. Gravações sonoras de Maile Colbert, Nely Ferreira e Luís Costa. Interpretação musical do Grupo de Concertinas da Casa do Concelho de Castro Daire em Lisboa.

Binaural Radio Rural #1 - Da serra para a fábrica: O meu mapa do bairro

Dedicamos a primeira série de episódios de Binaural Radio Rural a uma diáspora bem concreta: a do campo para a cidade, daquela de gente oriunda da serra do Montemuro, particularmente do concelho de Castro Daire no distrito de Viseu, que ao longo do século XX emigrou para a zona oriental de Lisboa, onde hoje se situa a freguesia de Marvila, para trabalhar em fábricas, armazéns, na estiva, em pequenas mercearias e em tantos outros mesteres.

Estas famílias inicialmente viveram quase todas em bairros de barracas, autênticas aldeias beirãs na cidade e posteriormente rumaram para apartamentos, ou por via da sua associação a cooperativas de habitação como a do bairro da PRODAC, ou porque simplesmente conseguiram amealhar o suficiente para comprar uma casa mais condigna.

Passaram décadas. Muitos ficaram, outros regressaram à terra, quase todos acabaram por formar uma condição intermédia: a de alfacinha beirão.

Este segundo episódio acompanha uma série de narrações de partida de aldeias do concelho de Castro Daire e de chegada à zona oriental da cidade de Lisboa. Como era a vida destas pessoas antes do momento da emigração? Como foi tomada a decisão de deixar a terra? O que sentiram durante a viagem e à chegada a um mundo novo e incógnito? Como foi a adaptação inicial a um quotidiano que nunca mais seria igual à aquele que viveram até esse momento? Qual foi o primeiro emprego que tiveram? Ouçamos Joaquim Ferreira, José Carneiro, Leonel Silva, Arnaldo Dias, Maria Inês Paiva, José Silva e Maria Trindade Henriques.

Texto, paisagens sonoras, composição eletrónica e masterização de Luís Costa.

Binaural Radio Rural #2 - Da serra para a fábrica: Aquele dia em que partimos

“Trinta e seis variações com três matérias rurais” é uma peça sonora que resulta diretamente de um conjunto de ateliês realizados em março 2020 com a comunidade educativa do município de Castro Daire, no âmbito do Projeto Cultural de Escola do Agrupamento de Escolas de Castro Daire e do Plano Nacional da Artes, uma iniciativa do Governo de Portugal de promoção da criação artística junto das escolas portuguesas, através de parcerias com artistas, associações, municípios e outras entidades do território. 

Os ateliês desenvolvidos tiveram a presença de mais de meio milhar de alunos do concelho de Castro Daire e neles foram trabalhadas, em termos visuais e sonoros, três matérias rurais e correspondentes formas de artesanato intimamente ligadas ao património local: árvores e arbustos/cestaria, argila/barro preto e lã/burel, sendo esta peça sonora composta por vozes e sons captados pelos alunos e alunas durante os ateliês, relativos à forma como os jovens interpretaram a transformação das matérias da paisagem local em peças de artesanato com utilidade prática e valor estético.

Cabe um agradecimento sincero à equipa do Plano Nacional das Artes, ao Município de Castro Daire e à Direção do Agrupamento de Escolas de Castro Daire e sua comunidade educativa, cujos professores e alunos contribuíram decisivamente para o resultado final do projeto agora apresentado.

Luís Costa: Trinta e seis variações com três matérias rurais (Castro Daire)

[EN]
41th "Tramontana" radio show hosted by Binaural/Nodar's Luis Costa that was dedicated to several recordings connected with "a sense of change" in rural areas, thus celebrating the Universal Children's Day on June 1st:
1- The first two recordings were made by young recordists during an educational project at an agriculture professional school near Abrantes (center of Portugal). The fact that there are still teenagers that want to learn how to be farmers and cattle raisers is definitely a positive sign for the future of rural communities sustainability.
2 - A recollection by Italian artist Manuela Barile, Binaural/Nodar's artistic director, on her arrival in 2006 to the area of Nodar where she remained living until now. 
3 - A long recording on the second phase of the linen cycle ("mondar" that is, to weed out) in the village of Rompecilha (São Pedro do Sul), mingling sounds of work with songs and comments from local inhabitants on the importance of linen in ancestral times.
4 - A couple of recordings made by video documentarist (and restless worker) Paulo Quintela about 13 years ago in the villages of Manhouce and Deilão (both in São Pedro do Sul municipality).
5 - An excerpt from Steve Peters sound piece "Echoes of our Ancestors" composed at Nodar Rural Art Lab in 2011 and based on sounds of local church bells rang by the composer and also based on the local flora, fauna and the names of inhabitants who are buried in local cemeteries.

[PT]
41º programa de rádio "Tramontana" apresentado por Luis Costa da Binaural/Nodar e que foi dedicado a várias gravações relacionadas com "um sentimento de mudança" em áreas rurais, celebrando assim o Dia Mundial da Criança no dia 1 de junho:
1 - As duas primeiras gravações foram feitas por jovens participantes num projeto educativo levado a cabo numa escola profissional de agricultura perto de Abrantes (centro de Portugal). O fato de que ainda há jovens que querem aprender a ser agricultores e criadores de gado é, definitivamente, um sinal positivo para o futuro das comunidades rurais.
2 - Uma memória partilhada pela artista italiana Manuela Barile, diretora artística Binaural/Nodar, relativa à sua chegada, em 2006, à área de Nodar onde permanece a viver até agora.
3 - Uma longa gravação da segunda fase do ciclo de linho ("a monda") na aldeia de Rompecilha (São Pedro do Sul), que mistura sons do trabalho com canções e comentários de habitantes locais sobre a importância do linho em tempos ancestrais.
4 - Duas gravações feitas pelo documentarista vídeo (e trabalhador incansável) Paulo Quintela cerca de 13 anos atrás, nas aldeias de Manhouce e Deilão (ambas do município de São Pedro do Sul).
5 - Um excerto da peça sonora de Steve Peters "Ecos de nossos antepassados​​", composta no Nodar Rural Art Lab em 2011 e baseada em sons de sinos de igrejas locais tocados pelo compositor e também baseada na fauna e flora locais, e nos nomes dos habitantes que estão enterrados nos cemitérios locais.

Tramontana @ Rádio Lafões #41 | 01 Jun 2013

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.

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