For Fred Feeney. Recorded @ 'Bastard Assignments at Clare's Place', April 2014.

Everything located on the surface; skin (2014) Fred Feeney excerpt

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)

Disoriented drunken drones drawn from the work of long dead composers The Brightest Winter Sun is an icy wonder built from longing, fretful wanderings and slowly unfolding endings. 
These are works which crawl through changes of textures and lurch into almost non stop repetition of one phrase. Like fragments of sound remembered by a drunk insomniac at the breaking of a new dawn, not knowing where it came from or when or where he or she heard it. 

The Brightest Winter Sun Is a collaborative project by Iranian artists Siavash Amini And Umchunga. The focus of the project is reinterpreting the piano compositions of the late 18th century and 19th century composers by depriving these compositions of one their most prominent characteristics namely thematic and tonal development and progression. The track names point to the dates on which the composer who served as the inspiration, died.

1896 - Siavash Amini and Umchunga - from The Brightest Winter Sun - shipping August 31

Cuarta

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

Noisy sounds from the electric system and pipes from the building are projects through the building’s walls through mechanic vibration.

Walls Have Ears by David Velez

The potential shortage of safe water in a near future and the elevated production of greenhouses gases are problems that threaten the habitat of future generations. Tropical forests are the second largest oxygen providers in the globe behind coral reefs but they are facing a frantic deforestation. Environmental problems are global and it is essential that the effort to protect the natural resources of the world becomes a global effort.

AMAZONAS was presented in Queensgate Market, as part of Save the forest a beautiful initiative by Judy Hinchliffe. Thanks to Kirklees Markets, Temporary Contemporary, Huddersfield Art Society and Eileen Daysh.

Amazonas by ACCION CONSERVACIONISTA SONORA

Improvised performance following traditional Colombian cooking recipes January 24th 2019
Ame / ​By the book,​ book launch
Small Seeds, Huddersfield, UK
Performers,
Lina Velandia / cooking
David Velez / cooking, mixing and laptop performance with field recordings

Food as an Instrument

Deconstruccion inconclusa
Improvised performance with morse key, typewriter and installation December 5th 2018
Casa Plan Gallery. Tsonami Sound Art Festival
Valparaiso, Chile.
Performers,
Luis Rodriguez Carmona / poetry reading 
Alma Laprida / morse key
David Velez / cans, typewriter

Deconstrucción inconclusa

Improvised performance with mobile phones
September 4th 2018
Manifesta Biennale / Liminaria Residency project. Palermo, Italy.
Performers,
Toto / voice
Fernando Godoy /idea and execution 
Raffaele Mariconte / live mixing
David Velez /idea and execution

Giro Con Toto(E Mario)

Fabriciano Ortiz, Custodio de Semillas, Boyacá, Boyacá

Fabriciano Ortiz

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.

Selva Theremín: Concierto para 6 Theremines (fragmento)

DavidVelezRod

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