01 ::: yen-ting hsu ::: harbour dreams ::: 03:19
02 ::: steve peters ::: chaud/froid ::: 14:03
03 ::: yen-ting hsu ::: illusive ::: 01:53
04 :::pablo diserens ::: waterlilies in fontiform ::: 13:26
05 ::: yen-ting hsu ::: sleep talking ::: 02:01
06 ::: nula.cc ::: liminal phase ::: 13:29
01 ::: yen-ting hsu ::: harbour dreams ::: 03:19
harbour dreams & illusive are based on field recordings I made in Qijin, an old fishing town in Kaosiung, southwestern Taiwan. This once simple town is becoming quite touristic now. I walked along the harbour full of fancy restaurants on the other side of the road. It’s very easy to miss this charming sound made by a platform composed by pieces of boards, floating on the water nearby the harbour. The waves push them to pull each other, so they play like an orchestra. I feel especially tranquil while sitting in that paradox scene.
sleep talking was recorded in the same month, December 2018. Let’s jump to another city – Yogyakarta in Indonesia. A field next to the road in the city was singing. I don’t know what species of those frogs are, even though cars and scooters were shouting through the road, and there’s a small bar beside, obviously, they don’t care, they’re still so happily singing at nearly midnight.
suotsana.net/
yentinghsu.bandcamp.com/
soundcloud.com/yenting-hsu
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02 ::: steve peters ::: chaud/froid ::: 14:03
All sound material collected in and around a big, mysterious house in the village of Oulchy-le-Château, in northern France. An old family house full of secrets and spirits, like something out of a Jacques Rivette film. It was a pleasure to spend a few weeks there in June 2015. Thanks to my Oultopian hosts Loren Kahn and Isabelle Kessler for the invitation.
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03 ::: yen-ting hsu ::: illusive ::: 01:53
harbour dreams & illusive are based on field recordings I made in Qijin, an old fishing town in Kaosiung, southwestern Taiwan. This once simple town is becoming quite touristic now. I walked along the harbour full of fancy restaurants on the other side of the road. It’s very easy to miss this charming sound made by a platform composed by pieces of boards, floating on the water nearby the harbour. The waves push them to pull each other, so they play like an orchestra. I feel especially tranquil while sitting in that paradox scene.
‘sleep talking’ was recorded in the same month, December 2018. Let’s jump to another city – Yogyakarta in Indonesia. A field next to the road in the city was singing. I don’t know what species of those frogs are, even though cars and scooters were shouting through the road, and there’s a small bar beside, obviously, they don’t care, they’re still so happily singing at nearly midnight.
suotsana.net/
yentinghsu.bandcamp.com/
soundcloud.com/yenting-hsu
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04 :::pablo diserens ::: waterlilies in fontiform ::: 13:26
Thought as a continuation of the work “for scarpa’s fountains” [forms of minutiae, 2020], the composition “waterlilies in fontiform” weaves field recordings made in, on, and around the Tomba Brion in San Vito d’Altivole. Designed by the Venetian architect Carlo Scarpa in the 70s, this burial ground materializes as a garden guided by a multitude of lines made of concrete, metal, marble, and glass. Yet as one wanders in this peculiar landscape, one soon realizes that concrete isn’t the tomb’s primary material, water is. As if submerged, the graves are encircled by basins interconnected by a network of fountains, rivulets, and pipes. Water striders, sporadic frogs, vibrant fish and tapestries of waterlilies glide over sunken pyramidal stepped edges, echoing ruins of bygone architectures. An aqueous rhizome at the heart of the garden which steers us through the whole sanctuary. The composition brings listeners into the various materialities of the space and the underwater hums of the fontiform network’s machinery. Moreover, subtle algae photosynthesis, muffled voices of human visitors, and the garden’s avian inhabitants infuse with life the architect’s carefully organized matter. Ambiguous feelings arise as if perched in equilibrium on the crests of the tomb’s multifarious structures. The piece ends with openings (both geographical and temporal) as the uncanny murmurs of the flowing waters are joined by the drones of another (temporary) Venetian fountain, Claire Tabouret’s sculpture “Deux Baigneuses”, before fading into the vespertine soundscape of a small Portuguese village. A midwife toad calls in the darkness, bells resound in a valley, as Brion Tomb’s architectonic specter lingers in the flowing waters.
Note: Tomba Brion is also the resting place of Scarpa himself, who shared that “the place for the dead is a garden”.
Recorded in the Tomba Brion in Altivole (april 2022), Palazzo Cavanis in Venice (april 2022), and in Peneda-Gerês National Park (may 2023).
Recorded with Aquarian H2a-XLR hydrophone, LOM Uši Pro, LOM Geofón, SoundDevices MixPre-6 II, Sony PCM-D100.
www.pablodiserens.studio
soundcloud.com/pablodiserens
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05 ::: yen-ting hsu ::: sleep talking ::: 02:01
harbour dreams & illusive are based on field recordings I made in Qijin, an old fishing town in Kaosiung, southwestern Taiwan. This once simple town is becoming quite touristic now. I walked along the harbour full of fancy restaurants on the other side of the road. It’s very easy to miss this charming sound made by a platform composed by pieces of boards, floating on the water nearby the harbour. The waves push them to pull each other, so they play like an orchestra. I feel especially tranquil while sitting in that paradox scene.
sleep talking was recorded in the same month, December 2018. Let’s jump to another city – Yogyakarta in Indonesia. A field next to the road in the city was singing. I don’t know what species of those frogs are, even though cars and scooters were shouting through the road, and there’s a small bar beside, obviously, they don’t care, they’re still so happily singing at nearly midnight.
suotsana.net/
yentinghsu.bandcamp.com/
soundcloud.com/yenting-hsu
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06 ::: nula.cc ::: liminal phase ::: 13:29
Adıyaman lies in southeastern Turkey, in the region of Anatolia. It is a city of much new construction, and a zone of resettlement for Kurds displaced their flooded homelands (due to the Turkish government’s many dam projects), and Syrians by a brutal war.
In February, 2023, a magnitude 7.8 earthquake struck, a national tragedy claiming nearly 60,000 lives. In Adıyaman, four entire neighborhoods were razed. Many buildings had been recently constructed under a relaxed building code, put in place by the Erdoğan government in recent years.
This piece is based on field recordings made in Adıyaman, during the time of the continuing demolition of modern buildings, many very new, that were structurally weakened by the earthquake, and had to come down.
https://nula.cc/
https://nulacc.bandcamp.com/
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