First music piece of the theatre play "La Mujer de la Flor en el Pecho" de Miseria y Hambre Producciones.
That's an stereo version of the cuadraphonic original one.

Principio de la Mujer de la Flor en el Pecho

Versión estéreo de la original cuadrafónica.
Parte de la música compuesta para el espectáculo "La Mujer de la Flor en el Pecho", de Miseria y Hambre Producciones.

Stereo version from the cuadrophonic original one.
Part of the music composed for the play "La Mujer de la Flor en el Pecho" de Miseria y Hambre Producciones.

"Batalla". La Mujer de la Flor en el Pecho.

This is the stereo version of my multi-channel piece (5.1). I tried to recreate different sonic spaces that I was thinking of in my own “stereo window”; the window on my top- floor-flat in Manchester. I was thinking about the idea of soundscape composition and also Smalleys spectromorphology and try to develop these contrasting aesthetic points of view in a very personal way.


Stereo-WindSlley.ST-48

1.D-espacito is a study of the spacial possibilities of the stereo image through the application of different spatial techniques such as: the correlation between the materials by the creation of different planes and layers,the use of spatial gestures, timbres and frequencies, etc.
3.A miniature attempt at creating real, digital, and metaphorical spaces out of play that employs tiny, inert acoustic found objects; to attempt in this manner to draw, by means of acoustic allusion, the discrete charm of the recollection of inner spaces.
2.In this studio an attempt has also been made to explore the scope of spacial implications in the sound-acoustic reality of the materials chosen in the different stages of creation of an electroacoustic piece:from the moment of selection, recording and further processing of sound materials up to the relationships created between them in the course of the work and therefore the final structural organization of the same.
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Esta pequeña miniatura es un estudio de las distintas posibilidades de creación de espacios a partir de sonidos minúsculos y muy abstractos.
En ella intenté poner en práctica diversas ideas y técnicas espaciales para recrear una suerte de espacio-lienzo imaginario en el que confluyeran líneas y puntos sonoros que crearan a su vez, en su conjunción, breves volúmenes emergentes de este plano.

D-espacito

Time-studio

Europa is a small-scale multidisciplinary show in which a few elements and languages — electroacoustic music, a handful of objects, two performers, live projections, and live video mapping — are combined so as to create a single language by means of a sonic-theatrical assemblage. 

Europa explores the possibilities of working  with a dramatic text from an electroacoustic point of view, the possibilities of making a “sound stage” based on the text and finally  the relationship between the doublets of live sound-tape sound and live images (on stage)-recorded images.

Europa was produced by my company: Miseria y Hambre Producciones.

You can see the video here: http://www.megavideo.com/?v=JEDE64NJ

Europa.96KHz

This project started after getting to know the work of the Japanese artist Sachiko Kodama.
She makes amazing sculptures with ferrofluid and often with sound, but in a very classical way.
So I was fascinated with this material.  The more I researched about it, the more I found ways to work with it in the electroacoustic and interactive field.
I did not just want to accompany the ferroliquid with sound, what I was most interested in was its behaviour and also its paramagnetic properties.
Thus the main aims of this project were:

To research about the possibilities of interaction of the ferrofluid
To create an artistic project capturing its paramagnetic properties through the interaction of sound and images.

If you want to see the video: http://www.megavideo.com/?v=8BAIAS9I 


Paramagnetic Spin Resonance

This piece is inspired in the Industrial Revolution in Manchester. “Cottonopolis” is a name given to the city of Manchester. First bestowed during the 19th century, it denotes a metropolis of cotton and cotton mills, as inspired by Manchester's status as the international centre of the cotton and textile processing industries during this time.
“Cottonopolis” has been an attempt to capture three different realities that converged there through the sound. So three classes of sounds were chosen to work with:

-The sounds of the machines: overall machines related with the cotton industry.(Spinning jenny-Spinning frame- Ring spinning)
-The sounds of the transport and distribution infrastructure: from the canal system to the railways.
-The sounds of the people that work there, overall children and women.

Most of the sounds were recorded in the MOSI (Museum of Science and Industry of Manchester). Thus the presence of the Museum serves as a sound bridge to connect the present with the past through the ears of the contemporary listener.

Irma Catalina Álvarez

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