//Unheard_Landscapes - listening | resonating | inhabiting 10th FKL/ENP/AAU_CRESSON International Symposium on Soundscape BLOIS | October 27 -30

Unheard landscapes: this metaphor leaves space to imagination, to the un-thought, to the un-known, to past and future, as well as unexplored sound scenarios. It also reaches the field of auditory perception, the acoustic domain. Sound, through auditive qualities, acoustic phenomena, design practices, artistic creations, and listening experiences, offers an inspiring transversal entry onto landscapes and ambiances. Beyond the discussions on “soundscape”, approaching ordinary environments through sounds increases the awareness of our own capacities to feel, while we inhabit and move across different worlds. From an ecological perspective, resonance appears a key word, too. It puts sound and space together. It implies the idea of a plurality of bodies, things and living beings vibrating all together, sharing common contexts of time and space. The act of listening bypasses the passive meaning it usually receives. It contains in itself a completely unexpressed potential, connoted with «project», «pro-action» and «active decision» by individuals. What will be the sounds of the future and the soundscapes in which we will live, or would like to? How can listening practices evolve, how will we listen or how differently could we listen to the world around us, tomorrow? Inhabiting the world brings to us questions about how we want to manage our being in it. How do we want to inhabit the world sonically? How sound and listening do actually affect our way to inhabit it? Have we lost some of our abilities to resonate with the world? What remains to be heard? Where could the practices of listening and attuning take us to?

Giuseppe GAVAZZA | IT |

Game

Human Loudspeakers: Living Radios

Living Audio Player is a part of my larger project Human Loudspeakers whose topic idea is to use human being as a source of sounds through a polyphonic coordination realized via audio headphones: the voice primarily, then the body and, perhaps, sonic objects used to expand these main two.(*1) In today's listening chain, the last device for listening to music is almost always the loudspeaker (including the human being as a resonator of the built-in headphones). Even live acoustic music almost always uses electric amplification. From this consideration springs out the idea to invert the direction of the flow in order to have as last step of this communication chain a Human Loudspeaker. Human Loudspeakers: Living Audio Player is a collective performance that uses portable audio players, headphones and human beings. Selected audio files are listened to through the headphones by the participants who will try to play them using voice, body and objects used as musical instruments. Some variants are possible: Group distribution: - all are players/a part are players, a part listeners. Space and movement: - players/listeners move (walk) or stand. - can take place in open / closed spaces: in the case of moving persons both can be used, creating passages zone. Score: Human Loudspeakers: Living Audio Player is not a composition but a collective performance process; in this context audio files can be considered as the instrumental parts of the score to be created tempore et loco (time&site-specific). Each performance will therefore have its own score born from the context: composed individually or collectively, performed in time under a conductor or in a more free or random way, sharing parts among several performers, using different voices and instruments, … *1 - ... "(man) ... has to be a dried up resonator of the sacrifice, able to reproduce all sounds of nature. (...) Now if the dancing sorcerer is clothed in metal bells or clusters of shells of dried fruits, this 'rattle-man' is nothing then a musical instrument of the god who has invaded him." Marius Schneider, La musica primitiva, Adelphi, 1992, p.85. English personal translation.

Giuseppe Gavazza, laureate of the University of Turin, studied Composition, Direction, Piano, Musicology and Electronic Music graduating from Conservatory of Milan with, among the other, Azio Corghi, Paolo Castaldi, Marco De Natale, Guido Salvetti. He has collaborated for years with European research centres like LIM Milan-University, CSC-Padua University, Experimental Studio SWF-Freiburg, Ircam-Paris. Since 1999 he is resident composer at the ACROE-ICA Polytechnique Grenoble where he completed a PhD in 2018. His dissertation, based on compositional use of software GENESIS, is titled, Physical model synthesis as tool for music composition. He currently teaches Composition at the Cuneo Music Conservatory and is permanent researcher at AAU Cresson, Grenoble. For several years has been organizer of contemporary music, arts and new technologies and musical theatre for children collaborating with Luciano Berio, Sergio Liberovici and Giulio Castagnoli. His compositions have successfully participated in international competitions, are published by international publishers, recorded on CDs and broadcast internationally. Over the years, as an artist in residence, Gavazza has developed collaborations with visual artists, film and theatre directors, video makers, poets, choreographers and dancers, writers, photographers realizing about 150 collaborative projects. “My goal – as musician, artist and researcher – is to find new spaces and occasions for my music” G.G. December 2020

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