Clouds N 38 42.53, W 9 8.96 27-12-12
Pedro Lagoa – laptop, 6DE
André Avelãs – electronics

(rehearsal for the When I Look at the Clouds I See Clouds [nimbostratus] performance that took place at Galeria Boavista, Lisbon, 28th Dec. 2012)

Taking as a starting point the intention of deconstructing the video [a cut through the] archive of destruction, this performance combines real time sound improvisation with a random video projection.

Elements of the video [a cut through the] archive of destruction were reduced to small segments which were divided into text and image video clips, to be played randomly from two separate sources projected on top of each other, and thus superimposing text on the video images. This way, the relation text/image is determined by pure chance, destroying not only the line of thought that presided at the narrative structure of the original video – with its calculated collages, sequences and juxtapositions of image-sound-text of different
proveniences – but also originating new and unpredictable image-text relations.

The sound of the original video segments was also split into small segments and loops, being subsequently reworked and transformed live during the performance. As images succeed each other in the projection, the performers try to respond to the random image-text combinations, through improvisation.
–
[a cut through the] archive of destruction is a video, of variable duration, that is part of the Educational Service of the archive of destruction, and consists of collage and editing of diverse materials which can be found in its collection. Through subjective associative lines, it performs a cut, in the geological sense, through some of the main ideas contained in the archive.
The video has been presented as part of installations of the archive of destruction and in a similar way to the archive, it develops in a process of continuous change and re-editing, never having the same cut of the video been presented twice.
–
The archive of destruction is an evolving structure, with no fixed address, dedicated to the collection of documents on actions and ideas that represent a negation of its basic function, which is the preservation of memory.
The archive has been developing in a continuous and organic way, in a movement of expansion that stretches to the most diverse areas – within well defined guidelines – where ideas or actions of destruction can be found.

Os: for percussion on 24 tuned suspended mirrors, recorded voice, alto saxophone, cello, cymbals and electronics.

A series of letters that come from a far away place and time. The narrator describes his research voyage on a planet with strange geological formations: The Cones. Alone, he writes this letters to W and keeps us aware of his mental deflections induced by the odd landscape.

Using parts of this text PARQUE presented a concert-installation at Culturgest, Lisbon in 2008.

Nuno Torres: alto saxophone
Ricardo Jacinto: cello and percussion
Nuno Morão: percussion/melodica
João Pinheiro: percussion/vibraphone
Dino Récio: percussion
André Sier: electronics
Murray Todd: voice

Text (Excerpts from “The Left Hand”, 2006) by Hugo Brito.

Recording: Pedro Magalhães
Mixing: Pedro Magalhães and Ricardo Jacinto (Golden Poney Studios)
Mastering: Rafael Toral

Radio Zero coordination: Paulo Raposo

The perfect timing for shell hunting is immediately before and after low tide. At this timing, clandestine shell hunters suddenly come from the dunes and cross the low waters on foot. The small boats are stranded in the sand gently moving with the wind and soft south currents. The shell workers are now not only fisherman or related, but also people that have other activities or jobs, even lawyers, and they spend hours on the water to get 3 to 8 kg of clams to make a living.

This collected field-recordings from and near the sand banks are edited and overlap different places where the shell hunting persists as a clandestine way of life.

This piece is made in a specific environment, in an hotel room, with a set
of actions, being in a place and enjoying its monotonous nature. Hotel
rooms are not about being productive, they are made to numb you and force
you to rest. Because I travel a lot, and spending time alone inside this
type of rooms and out of boringness I started playing with it. The room
itself becomes something new, something that I can relate to. This kind of
set up consists of working with what you have available with you, for an
invisible performance where you play with sound and situation. Materials
used: double-bass bow, paper tape, bathroom, exhauster, glass, mineral
water, effervescent aspirin, tv set, shower doors, digital recorder Tascam
DR-100, headphones, water tap, ac unit, room phone and mobile phone.
The same kind of thing can be done inside the train toilet, but it is
riskier to set the recording gear and perform at the same time.

(Gonçalo Alegria was invited by Rádio Zero to produce Radia show #364)

Last 21st October 2011, radio meet cars meet musicians in the garage bellow Maus Habitos, Future Places Festival HQ in Porto, Portugal. Two radio stations, Radio Futura 102.1 MHz and Radio Manobras 91.5MHz provided their frequencies to carry music and chaos into six audio tuned automobiles from the Portuguese xtremetuning.org community. Peter Principle composed a loose composition, grouping cars, musicians on frequency, garage sounds and more musicias. The complex setup worked into two floors of music, performance and radio, where out of sight musicians where channelled into these powerful, personalized, sound system on wheels.

Performance for 2 radio stations, six cars, one composer, and an innumerable number of musicians.

A Artadentro, em colaboração com a Rádio Zero (http://www.radiozero.pt/), apresenta a obra sonora Colapso, da autoria de Vasco Vidigal e Carlos Norton.

Destinada a ser transmitida através da rede internacional RADIA (http://radia.fm/), esta obra inclui excertos ou peças completas de: Ana André, Ana Borralho & João Galante, Luís Ene & Pedro Leote Mendes, Mariana Ramos, Mauro Amaral, Nuno Murta & Daniel Almeida, Sara Martins e Teresa Ramos. Inclui também excertos de debates entre os principais líderes políticos portugueses, o tema “Traffic Lights” dos Monty Python e as vozes “RUA FM” de: Pedro Duarte, Leila Leiras e Vasco Ribeiro Casais.

A partir da ideia de colapso ­— termo que designa a origem súbita de desabamento ou desfalecimento, da súbita diminuição da energia do cérebro e de todas as forças nervosas, ­ou a um estado de decadência, de degradação, de ruína —, são alinhados quase aleatoriamente, testemunhos sonoros de diferentes tipos de discurso: tecnológico, mediático, artístico e político. Aglutinados pelo actual ambiente de sentido, estes fragmentos sonoros desconexos, mais pela emoção que pela razão, acabam por compor um todo coerente.