- 14th EDITION 2022 / 2023
- 13th EDITION 2021 / 2022
- 12th EDITION 2020 / 2021
- 11th EDITION 2019 / 2020
- 10th EDITION 2018 / 2019
- 9th EDITION 2017 / 2018
- 8th EDITION 2016 / 2017
- 7th EDITION 2015 / 2016
- 6th EDITION 2014 / 2015
- 5th EDITION 2013 / 2014
- 4th EDITION 2012 / 2013
- 3rd EDITION 2011 / 2012
- 2nd EDITION 2010 / 2011
- 1st EDITION 2009 / 2010
Alfredo Costa-Monteiro IN RESiDENCE at the School Joan Salvat-Papasseit
My project for EN RESIDÈNCIA will primarily be developed around active listening and its reception. Active listening to the sound event, which involves the body and also the mind, in a process of capturing sensations and, by extension, thoughts.
In the first sessions, we will approach certain forms of experimental art where sound is highly present. In many contemporary art situations, visual environments are used because sound still has a deficit in our perception and we must come to the realisation that sound only creates indifference, discomfort or can even be frightening.
We will enter a world of forms that will definitely be unheard of and strange for most people, but precisely the aim of these listenings is to bring us closer to that strangeness.
After several sessions and depending on how it is received by the students, we will move on to a more practical part, which will be sound production. This active listening that we mentioned earlier will be much more effective if everyone produces what they should be listening to. And, in a collective context, if we listen to what others produce. There will be a presentation of a sound production device consisting of amplified objects (everyday objects to which contact microphones are added, all kinds of springs, small motors that activate objects, etc.).
The basic strategy is to make each participant aware of their immediate surroundings (sound, but also visual), inspiring their imagination so that they identify small everyday objects as potential sound objects that they will use to make sound. To learn again to listen and look around us means recreating another dimension within a reality that is sometimes too conditioned by technological tools that do not encourage or weaken creativity. We will try to understand the things themselves, to understand without prejudices, in the form of previous theory and knowledge that may influence their interpretation.
Through sound, we will value the lived experience more than the explanation, we will develop subjectivity and coexistence in the group, thanks to in-depth conversations. We will analyse the most essential part of each object by giving it a new status and a new function. All this will lead us towards discovery, developed by a kind of sound phenomenology of the everyday.