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The River Whithin
David Vélez
the urban+nature sonic pavilion
Curated by Giovanni Aloi & Chris Hunter
Presented by Experimental Sound Studio
July-August 2024
Jay Pritzker Pavilion’s Great Lawn in Millennium Park (Chicago)


https://www.antennae.org.uk/sonicpavilion

The River Within (stereo) DV

In this presentation, David Vélez connected us with the rhythms, frequencies, flavors, and nutrients through which edible plants and human beings communicate. To do so, Vélez, along with a group of collaborators, prepared a vegetarian Circadian Sancocho, a stew whose broth was the result of slow, prolonged cooking, allowing it to absorb all the energy, nutrients, and aromas of the vegetables. Some of these vegetables had been previously grown under sonic stimulation, using sounds developed by Vélez in his research.

The presentation began with a talk by Vélez on the contribution of sound art to horticulture, accompanied by a tasting of the vegetable soup. Afterwards, Vélez gave a presentation using the same sounds that had been used to stimulate the vegetables in the soup.

Research

Plants are exceptionally sensitive, which allows them to communicate with the organisms that make up their environment. In the case of humans, biologist Fatimah Jackson suggests that some plants cultivated for human consumption communicate with us through the flavors and nutritional value of their fruits, roots, stems, and leaves—seeking to ensure their own survival through agricultural demand.

On the other hand, in 1974, sound artist Dorothy Retallack discovered that sound can enhance the growth of edible plants, demonstrating how sound art can enrich our relationship and communication with these species. The positive reaction of vegetables to certain sounds, according to Collins and Foreman, occurs when sinusoidal acoustic vibrations remove dirt particles that block the stomata on their leaves, thus stimulating their ability to breathe and transpire—two vital processes in the absorption and production of nutrients.

Ritmos Circadianos (LIVE PRESENTATION)

Fragmento del Concierto para 6 Theremines

Composición y Dirección: 
David Vélez
___________
Producción de instrumentos: 
Laboratorio Irrupción Theremín (Plataforma Bogotá / Idartes)
Dir. Juan José López / Alejandro Villegas
_____________________________________
Grabación del concierto:
Luca Gardani
____________
Performers y constructores de instrumentos:
Andrés Sebastián Cepeda Barón
Andrés Felipe Forero López
Andrés Felipe Osorio Jiménez
Carlos Alberto Curtidor Ortiz
Daniel Piedrahita Gutiérrez
David Camilo Gutiérrez Almonacid
Alejandro Nova Villalba
Iván Alfredo Gutiérrez Alhucema
Jorge Luis Arias Olarte
Jorge Mario Díaz Matajira
Juan Esteban Quintero Jiménez
Juan Sebastián Suanca Sierra
Julián Camilo García  Castro
Laura Patricia Gerena Castro
Luca Gardani
Nina Alejandra Mesías Barrera
Yuli Stefany Rivera Gómez
Javier Roberto Vergara Castillo
Erick Suescún Contreras
Miguel Kuan Bahamón
Iván Darío Sosa Sarmiento
Claudia Lucia Rodriguez Zuluaga
Roberto Restrepo
Sebastian Amaya
Ana Maria Gómez
Claudia Lucia Rodriguez Zuluaga

Selva Theremín: Concierto para 6 Theremines (fragmento)

Beige is the true color of melancholy is a multi-channel installation presented on Re.Sound a two day event in Huddersfield, UK on May 2018. The piece points out to the importance of the culinary culture in the establishment of immigrant cultures in Northern England over the past two centuries. The piece was produced with sounds recorded in the kitchen of Thai traditional cook Lag in Huddersfield, interviews made to second generation immigrants, and archive material that presents the role of cooking in the discrimination suffered by some immigrants that moved to West Yorkshire and Greater Manchester in the 1950s and 60s.

Special thanks to:
Kalim Siddiqui, Nat, Lang,
Ching-Fang Wu and Monty Adkins.

Beige is the true color of melancholy (fragment in stereo)

Acousmatic performance for two actors.
Radio drama and foley. 
(11 minutes aprox.)
Performers: Ghyslain del Pino and Elisa Lecuru.
Presented on November 4th and 5th of 2017 in the FRAC museum weekend at Carquefu, France in the main residency house which was adapted for this piece.

Une Affair De Friction Et De Gravite (performance documentation)

Beige is the true color of melancholy

Performance by Cyanching Wu, Felipe Rodríguez and David Vélez for the release of CARMA Journal's First Edition at cafe OTO in London.

Field recordings: Tēnn Uí

Live Taiwanese Cooking: An immersive listening experience

"Our seasons reverse" is the fourth album of a series of composition produced by David Velez and Bruno Duplant and published by Unfathomless in Belgium.

rouillard. Neige. Antennes. Oscillateurs. Orgues. Construction. Déconstruction. Météo. Climat. Dérèglement. Église. Statique. Bruit. Échantillonnage. France. Angleterre. Colombie. Attendre. Attentes. Campagne. Étang. Moutons. Cloches. Sentier. Mer. Été. Automne. Hiver. Printemps. Mémoire. Anticipation. Phénomènes. Anticipation. Mémoire. Printemps. Hiver. Automne. Été. Sentier. Cloches. Moutons. Moutons. Étang. Campagne. Mer. Attentes. Attendre. Colombie. Angleterre. France. Échantillonnage. Bruit. Statique. Église. Climat. Météo. Dérèglement. Déconstruction. Construction. Inversion. Orgues. Oscillateurs. Antennes. Neige. Brouillard.
Chaque souvenir est une anticipation.
Chaque saison est un nouveau départ.
Essayer de plier la direction du temps.
Me regarder de dos. J’ai regardé dans mes yeux.
Nos saisons s’inversent. Our seasons reverse.

Our seasons reverse (fragment) with Bruno Duplant

Published and available from Gruenrekorder

http://www.gruenrekorder.de/?page_id=11696

When I record for long periods of time on crowded forests in the nighttime, quickly I start to feel inpatient; I remain as still as possible not to interfere with the incidental sounds and for the same reason I don’t turn on any light so it is usually very quiet and dark out there. Sometimes there is also a long, tricky and scrappy path in the way back.

 I usually work with recording takes of 45 minutes or longer. This means this is the amount of time I have to wait until I am able to finally (if I want) press stop.

Sometimes, when I am waiting for the recording to hit 45 minutes when it is really dark and they are threatening animal species around, I get scared; the combination of funded and unfunded fears overwhelms me but also adds a twisted exciting aspect to the situation.

The fear gives to an inpatient wait a special turn. We are not just there recording but we are also there confronting certain fears and turning to a more primal state of alert and awareness of our quiet surroundings.

On this regard, Mark Aizenberg and Maria Neimark Geffen from the Perelman School of Medicine at the University of Pennsylvania recently discovered that fear can actually increase or decrease the ability to discriminate among sounds depending on context. So when we are scared we either have a stronger sense of a universal-sounding object, or have a stronger sense of the many sounding objects occurring individually.

Recorded in the night of the 24th of September and the morning of the 25th near Calarcá, Quindío, and on the night of the 29th and the morning of the 30th near Caicedonia, Valle. Sounds were captured in peripheral areas of the country side whose vegetation and fauna resembles that of the jungle and tropical forest. Thanks to Alba Gonzales, Delio Arcila and Diebold Arias for their collaboration. Cover photo: Lina Velandia.

The Wait (fragment) 2014

Teaser of the concert The Art of Market Shouting performed by the traders of Huddersfield's Open Market and David Vélez performing with 40 channels of field recordings from market shouters from around the world.

Joanne: Fruits and vegetables Trader from Huddersfield Open Market

Street food markets: Resistance, obsolescence and science fiction

Las bellas palabras de Helena sobre la tierra, las plantas y el miedo a morir

The cultural, social, economical and environmental context in which I work is not only a big influence, but it is the main raw supply for my acoustic pieces and the main source of the questions that emerge on my research. Coming from a field recordings background I am very interested in the aesthetic action of listening to everyday sounds and even more when there is not mediation or decontextualisation.

DavidVelezRod

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