Stanislas Germain

Un troubadour allant par les chemins, des montagnes et des rivages de ce monde. Il fait le pont entre les harmonies lointaines des étoiles et les émotions de la vie sur terre. Histoires gravées au son du luth construit de ses mains. Des chants trouvés ici et là, venus du passé, de maîtres anciens, ou trouvés sur le moment, apprises d'un ami, ou d'une voix sorti de la coquille d'un escargot...

Un trovador que va por los caminos, de las montañas y riberas de este mundo. Un puente entre la armonias lejanas de las estrellas y las emociones de la vida en la tierra. Historias grabadas con el sonido del laúd construido con sus manos. Cantos encontrados aquí y allá, venidos del pasado, de antiguos maestros o encontrados en el momento presente, aprendidos de un amigo o de una voz que sale de la concha de un caracol...

 

 



ChidoRuido Audiciones es un espacio dedicado a encontrar la raíz de la identidad sonora de las ideas y los proyectos con que se trabaja. Para ello se brindan diversos servicios relativos a la música y el sonido ya sea de un largometraje, proyecto multimedia o un montaje escénico para el cual se crea la banda sonora. Este proyecto nace como una fonoteca del Colectivo Sonocinema de Gonzalo Cárdenas y Enrique Schadenberg.

I am a professional photojournalist who has branched out into sound as another means of telling stories. I produce both audio mixes and straight recordings that are always true to the location and time.

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This is a story of biopower and biosociality, as well as of technoscience.

Donna Haraway, The Companion Species Manifesto.

Ansible shows a space, sound and light display that is arranged to represent recognizable aspects and references at sites such as: laboratories, seed banks and environments for the controlled cultivation of artificial life in living organisms; stores of geological samples and herbarium collections found in contexts such as the Madrid Centre for Astrobiology, associated to NASA; in vitro cultivation of endangered species in the Sao Paulo Botanical Garden; the Institute of Volcanology within the University of Barcelona; the Santiago de Chile Museum of Natural Sciences; and the Seed Bank in Vicuña (northern Chile).

In the recreation of this environment we will not find the usual stabilizing elements but rather others which introduce formal and symbolic variables that contradict the utilitarian logic of scientific simulation or artificial maintenance of life forms to accommodate speculative thinking. Instead of germinating seeds in petri dishes (a simulation of lives that can no longer be found in their endemic ecosystems), we will find fossils of various different plant species which have disappeared or are in danger of extinction, found in historical archives and subsequently carved out on the specular surfaces of obsidian rocks.

This material (crystallized lava) has historically been attributed with being able to connect different worlds; a magic screen or interface between different realities. Here, taken as a dialectical object, it materializes as a fossil, but also as a mirror. This material has the vitreous nature of the vials of seed stock, however it has been processed as a lapidary object; it is a memento mori where materials which act in two different directions are constantly intertwined. On the one hand, they make up the "raw material" of existence, on the other, they point to the problems of a planet in crisis, where we see ourselves as fossils of a future universe, not devoid of life, or thinking - but maybe of ourselves.
In addition two actions will take place in the room with the producer and experimental musician, Lucrecia Dalt, and the programmer and performer, Jan Mech. The constant light temperature, which is usually essential for maintaining artificial life, will be changed using Arduino programming, following the modulation of four sound and text compositions (played by automaton voice overs), which go through dreamscapes of resilient lives; from extremophile sciences, necropolitics, extractivism and artificial life... etc.

* Ansible (from the English word, answerable) is a term coined for science fiction by the writer, Ursula K. Leguin, who describes her invention in her 1974 novel "The Dispossessed: An Ambiguous Utopia". 



This has become a dumping ground for every little experiment I've ever done, and stuff from my kids, too.

One day I'll produce some decent music, so stay tuned.

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