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May 12, 2019

XEnsems - Metròpolis

Pere Vicalet, Cristina M. Gómez, Montserrat Palacios, Joan Soriano, Josep Lluís Galiana, Selene Sánchez i Roser Domingo.

The X Ensems project is a production of the Institut Valencià de Cultura for the Ensems Festival, adressed to experience sound creation with young people.
The concern for the relationship between sound and space is fundamental from the very emergence of music and, especially, from the constitution of the public concert. However, in 1913 appears a fundamental document, The Art of Noise, signed by the futuristic sound artist Luigi Russolo, which confirms the change of the sound map of modern cities:

"The old life was all silence, and in the nineteenth century, with the invention of machines, Noise was born, today, the Noise triumphs and dominates sovereign over the sensibility of men." For many centuries, life developed in silence or at best, muted, the loudest noises that interrupted this silence were neither intense, nor prolonged, nor varied. "

Instead of advocating a nostalgic attitude, Russolo suggests that this new urban sound modifies the very concept of music, which he understands as a "restricted circle of pure sounds". His proposal aims, on the contrary, to "conquer the infinite variety of sound-noises". That is, to explore all that other sounds can contribute to music, until then bounded to a series of very strict and limited sound rules.

Since the 70s it has been even more explicit the interest in the space we occupy in its analysis from the sound. Well from the field work or from the resignification of places, the space that sounds has ceased to be indifferent. In fact, energetically since the 90s there is talk of a "Sonic turn", the sonic turn, which accounts for the emphasis of sound not only in the arts, but also in the conceptual construction of the division between public and private space .
Such is Brandon LaBelle's approach, which suggests thinking spaces as acoustic territories. In this way, two things happen: on the one hand, a space is not reduced to a imposed concept (and usually imposed from visual criteria or visual metaphors), such as "city" or "town" or "neighborhood" [1]; and, on the other hand, because it emphasizes, as it emphasizes in its homonymous book, the sonorous ability to articulate spaces, displacing or relativizing spatial divisions in visual terms. The sound-acoustic territory proposes thinking beyond the borders of the visual. That is to say, sound is always defined here as a relational entity.

Specifically, LaBelle analyzes places that have determined the separation of the space from the public and the private (the house), as well as the imposition of a voice and a listening (the jail) and from its theoretical model can be extracted fundamental consequences for the reflection on our disposition in the spaces we occupy, both because of our "sonorous being" -which begins with the emission of voice and sound with our body-, as well as how the sound is distributed. The French philosopher Jacques Rancière speaks many times of the "sharing of the sensible", that is, how the perceptible appears or not in the common space and how this sensitive then articulates our private experience. Little has been thought about the "sound distribution": who has the sound, who has the listening, who has silence.

It is not necessary to analyze cultural policies to reflect on this: it is enough to go one Christmas day in El Corte Inglés to meet an ideological use of sound through the public address system: a use that was not accidentally proven in the concentration camps and in the prisions. The public address, and in general the amplification, has allowed the murmur, the recording, the espionage and the imposition of a listening on another.
The city, from the sonic point of view, happens a large warehouse where we can find infinity of sound elements susceptible to be used as material for sound creation. The fundamental idea is to discover other visions about the city that are sometimes hidden and being revealed can serve us as a raw material for sound creation.

Obviously each city has its own sound idiosyncrasy but based on the particularities of our territory our proposal will allow us to create an imaginary proposal beyond the sounds found. But to the extent that this project is based on this idea of ​​"acoustic territory" we have chosen to think from the concept of "metropolis", which links "metro", which comes from "mother" and "polis" which means city in Greek . This "mother city" refers, metaphorically, both to the place that welcomes us and to a space that creates other cities -Possible, impossible, to imagine. So the metropolis is not limited to "a" city or in the "city" as a specific space. It is about inventing and rediscovering the metropolis from the sound, a discovery of another of its many dimensions, sometimes hidden for us by the everyday, the rush and the primacy of the vision.
Pedagogical team and coordinator:

Adolf Murillo Ribes
Marina Hervás
Cristina Cubells
Vicent Gómez Pons

Artistic team:

Pere Vicalet, Artistic Director and Composer
Cristina M. Gómez, dance and performance workshop
Montserrat Palacios, vocal workshop and song
Joan Soriano, percussion workshop and instrumental sound creation
Selene Sànchez and Roser Domingo, creation and sound performance workshop with new technologies
Josep Lluís Galiana, sound improvisation workshop

Participating centers:

Child pupil of the CEIP Vicent Rius Guillemes (Canals).
Primary pupil CEIP Carmelo Ripoll (Ontinyent).
Secondary students IES Arabista Ribera (Carcaixent).
Secondary students IES Rascanya Antonio Cañuelo (València).
Student of the Conservatori of music and dance Mestre Vert (Carcaixent).


05/12/2019  17:00h

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culturarts generalitat valenciana

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