HiperOdo1 , Invisible Sonic Debris and Continuity by Christian Galarreta Pando (2006-2013)

Introduction A painting of the series " a Condition !"#aine" by $en% &agri'e 2 portrays an easel at the entran(e of a (a)e* +n the i#age, this ob-e(t holds a (an)as that displays the e.ternal )ie/ as tho"gh it /ere part of the )ery sa#e i#age (see i#age 1)* 0y playing /ith the borders that lay a#id a s"ggested reality and its representation, the pi(t"re appears to dire(t o"r a'ention to the li#its of h"#an per(eption and the possible e1e(ts that they #ay ha)e on the abstra(tions that /e #a2e of the /orld thro"gh reasoning* &agri'e3s painting #ay be interpreted as a re4e(tion on

1 Hiper (5panish pre6., #eaning 7s"periority8 or 7e.(ess8) Odo (in 5panish, it #eans the organ of a"dition and the
sense that allo/s the per(eption of so"nd)* 7!iper9:do8 (Galarreta, 200;) is the na#e that + ha)e gi)en to a /or2shop de)oted to b"ilding the parts of a ho#e#ade interfa(e bearing the sa#e na#e* <his interfa(e is, at the sa#e ti#e, a #"lti-transd"(er, a spatiote#poral a#pli6er of a"dio (apt"re for#ats, a signal obser)atory and a broad(aster* + propose this interfa(e as an e.tension of the parti("lar sensori"# of ea(h h"#an being* 2 7<he !"#an Condition ++8 (7 a Condition !"#aine8), 1=3>, oil on (an)as, >? . @3 (#* <he (a)e depi(ted on the painting (an be "nderstood as a referen(e to the 7&yth of the Ca)e8 of Plato, a Gree2 philosopher /ho /as deeply ad#ired by &agri'e, espe(ially for his A"estioning of the 2no/ledge of the sensible /orld* <he threshold portrayed on the painting /or2s as a lin2 bet/een the o"tside and the inside, so that it (an inferred that the artist is sit"ated /ithin the (a)e and sy#boli(ally a((o#panied by a bon6re, /hile, on the o"tside, the easel is enlightened by nat"ral light* $egarding this, &agri'e s"ggested that, 7/hen /e obser)e reality, /e in(l"de o"rsel)es in it* <he 5"b-e(t is in(l"ded /ithin the 9b-e(t8* &agri'eBs /or2 is a per#anent in)itation to re4e(tion, /hi(h (an arise e)en fro# the #ost (o##on ob-e(ts* Cor this reason, &agri'eBs /or2 has so#eti#es been d"bbed 7#agi( realis#8* +n 7 a Condition !"#aine ++8 (1=3>), the (an)as on the easel, hiding a portion of the lands(ape, is an e.a#ple of the #oti)es that ser)e to A"estion the #etaphor of painting as a /indo/ to the /orld or, e)en #ore, a #irror that re4e(ts it*

h"#an per(eption and the representation of reality and on ho/ both oDen be(o#e li#ited by o"r #eans to register it and the s2ills of o"r o/n senses to (apt"re it* &y o/n interpretation is that &agri'eBs (an)as is (o#posed of a triple-fra#ed str"(t"re, /hi(h (ontains the fra#e of the (an)as o)er the easel, the one s"ggested by the threshold of the (a)e, and the fra#e of the "real" (an)as, /hi(h, in t"rn, (ontains the other t/o* <his mise en abyme (an alter o"r per(eption to the e.tent of #a2ing "s see, albeit fro# the o"tside, the interior of the (a)e* <he (a)e itself dire(ts o"r senses to a threshold /hi(h (an be per(ei)ed as the fra#e of an o"tside lands(ape, /hose (ontained i#age represents and pro)ides (ontin"ity to the one on the easel (the (astle and the slope), as if it /ere a transparen(e of sorts to that s"ggestion of reality, /hi(h re#ains, nonetheless, yet another representation /ithin the painting of &agri'e* +n the representation /ithin the painting3s representation does the artist #a2e )isible /hat is in)isibleE are or are not the slope and the (astle parts of the pse"do-real lands(ape behind the easelF !en(e the artist in)ites "s to obser)e o"r o/n h"#an (ondition (riti(ally, e)en /hile re#aining /ithin the (a)e of o"r o/n per(eptions* <he referen(e to Plato3s 7Allegory of the Ca)e8 3 is (lear, as the str"(t"ral ga#e of the painting /arns "s abo"t the relati)ity of o"r )isions and the re("rrent de(eit that the sensible /orld for(es "pon "s thro"gh the#, /hile /e tend to base o"r tho"ghts and representations on the#* Ghile (apt"ring a pie(e of reality (thro"gh a gli#pse, a pi(t"re, an a"dio re(ording, et(*), the representation of o"r s"rro"ndings passes thro"gh a /indo/ that /e #ay ass"#e all-en(o#passing, tho"gh it rather tends to fo("s, red"(e or a#plify its ob-e(ts* &agri'e3s painting (on)eys that o"r sight as representation is b"t in(o#plete, sin(e it is "s"ally (onditioned by for#ats, fra#es and habits of obser)ation that res"lt in rather partial glan(es of /hat /e (all reality, sin(e it in)ariably e.tends beyond the li#its of s"(h (onditioning*

Extensions of our hearin capabilities <e(hnologi(al progress and its (o##er(ialiHation ha)e prod"(ed a )ariety of resid"al physi(al pheno#ena that /e a((ept as nor#al in o"r daily li)es, regardless of the e)ent"al (onseA"en(es that these (hanges #ay pose on o"r physiology and the s"rro"ndings that /e ha)e de(ided to pop"late* Cor instan(e, /ith the de)elop#ent of ele(troni( and #e(hani( te(hnology in larger

3 70oo2 I++8 of PlatoBs Republic begins /ith the e.position of the /ell-2no/n 7Allegory of the Ca)e8, a narrati)e that the
philosopher "sed as an allegori( e.planation of the sit"ation of #an regarding 2no/ledgeE -"st li2e the prisoners of the (a)e (an only see the shado/s of things, a((ording to Plato /e li)e in ignoran(e /hen o"r (on(erns refer ba(2 to the /orld o1ered by the senses*

(ities, a #"tation has been for(ed "pon the en)iron#ent, and the en)iron#ent, at the ti#e, has ena(ted #"tations on "s, as its d/ellers, in the shape of relations of interferen(e, feedba(2, re(ipro(ity and retro-a(tion*? <hro"gh the transd"(tion to an a"ral range of the so"nd and ele(tro#agneti( /a)es> that these pheno#ena generate, the #agnit"de of in4"en(e and the o#nipresent A"ality of these energies /ithin o"r daily li)es (an be e.plored* !ere (an be fo"nd so#e ideas related to those arisen fro# the analysis of &agri'e3s painting, thro"gh the e.ploration of the li#its of /hat is a"dible and ina"dible to h"#an per(eption and the e.pansion of the ti#e #argins intrinsi( to habit"al a"dio for#ats of re(ording* Going deeper into the so"nd and ele(tro#agneti( spheres of o"r en)iron#ent and #a2ing e)ident the e.tent to /hi(h their presen(e is not (ons(io"sly per(ei)ed (an be /ays to get to the heart of 7 a Condition !"#aine8, a /or2 thatJfar fro# a Platoni( or #oral post"ringJin)ites obser)ers to an open-ended )ie/ of reality* Cor, indeed, it in)ites its )ie/ers to obser)e the lands(ape that is o"tside the (a)e of "s"al or (ons(io"s per(eption, a lands(ape that lies far beyond the painting that obstr"(ts the /ay o"t, that is, beyond the representations and (ertainties to /hi(h /e are (o##only able to (o#e "pon as a res"lt of o"r ed"(ation* A #a(ro(os#i( and #i(ro(os#i( approa(h (an be added to o"r listening (apa(ity by lin2ing o"r h"#an (ondition to an a#pli6ed sensorial s(ale and by e.ploring physi(al beha)iors far deta(hed fro# the habit"al (apabilities to apprehend of o"r physiologi(Jand therefore (ogniti)e J#a(hinery* <his (an be a(hie)ed by #a2ing a"dible signals that are either h"#anly i#per(eptible or "n(ons(io"sly per(ei)edE <he pro(ess )aries fro# the re(ording of a"dible so"nds and their relations to di)erse s"rro"ndings (e*g* the i#per(eptible "nder/ater so"nds of a do(2 and the re)erberations of di)erse spa(es in the ob-e(ts and the str"(t"res that (o#pose the#), to the transd"(tion to an a"dible le)el of ele(tro#agneti( 6elds generated by at#ospheri(, astrono#i( and tell"ri( pheno#ena, and (ons"#er ele(troni(s, for instan(e*

? +n (yberneti(s, a syste# is (alled Bretro-a(ti)e,B be(a"se one of its parts in4"en(es-ba(2 -- retro-a(ts-- on so#e of the

(a"ses of the e1e(t, thereby transfor#ing it* ADer ha)ing /or2ed on a n"#ber of so"nd installations, + ha)e adopted the ter# 7retro-a(tion8 to des(ribe a pheno#enon that in)ol)es str"(t"ral (hanges on a syste# (in algorith#s, in physi(al interfa(es, in the )al"es of their para#eters and not only on the o"tp"tKinp"t signal) as an alternati)e to the ter# feedba(2, /hi(h, a((ording to #y interpretation, (an only a1e(t the o"tp"tKinp"t signals, b"t not the str"(t"re of the inter)ening syste#s* 5 <his refers to a (o#bination of os(illating ele(tri( and #agneti( 6elds* <he #agneti( 6eld is prod"(ed by the #o)e#ent of ele(tri(al (harges, that is, ele(tri( ("rrent* <he ele(tro#agneti( 6elds do not need a #aterial #eans to propagate, they spread in the )a(""#* <o be able to st"dy it, the ele(tro#agneti( spe(tr"# has been di)ided in rangesE L C (e.tre#ely lo/ freA"en(y), ele(tri( radio /a)es, #i(ro/a)es, )isible light, "ltra)iolet radiation, M-rays and Ga##a rays*

!ural areas, rural cities and "etropolis 5"itable sites for this type of pra(ti(e (an be arti6(ial en)iron#ents, )irgin s"rro"ndings abo"t to be radi(ally (hanged by i##inent "rban de)elop#ent, or (ities that border /ith r"ral areas* <hese are hybrid Hones fa)orable to the re(ording of so"nd and )is"al en)iron#ents be(a"se they ha)e been re(on6g"red /ith ne/ signals generated by h"#an a(ti)ityJe)en to s"b-aA"ati( and ele(tro#agneti( le)elsJ and represent interse(tions or tangents bet/een the h"#an /orld and /hat is (alled 7nat"re8Ja relation that by itself represents a 6g"rati)e frontier that is bl"rry at best and in(essantly e.posed to #"t"al interferen(eJ* +n &arseille and the area of the &editerraneanJone of the sites in /hi(h + pretended to p"t these ideas to pra(ti(eJ, it is possible to lo(ate bordering areas, to (o#pare, for instan(e, the a'rib"tes of the so"nd /a)es (apt"red in Hones (ro/ded /ith people (harbors, (ities, et(*) /ith those re(orded in en)iron#ents /ith a lesser h"#an in4"en(e (open sea, r"ral areas, et(*), and also to lo(ate those hybrid Hones in /hi(h the /a)e interse(tion and interferen(e are #anifested in a drasti( /ay be(a"se of the (ollision of di1erent en)iron#ents* As part of the Aloardi (olle(ti)e6, + established si#ilar (o#parisons in pro-e(ts s"(h as 7$"ido al paso 28 @ (2006) and 7Ll

Aloardi is an independent, self-#anaged asso(iation that dedi(ates to alternati)e resear(h, the prod"(tion of e.peri#ental perfor#an(es in 5o"th A#eri(an (onte.ts* +t is one of the )ery 6rst plaNor#s in the region to spread the so"nd e.ploration #ade /ithin 5o"th and Central A#eri(a thro"gh releases* +ts ("rrent #e#bership is Gabriel Castillo and Christian Galarreta* Gebsite E ///*aloardi*org 7 7$"ido al paso 28 (A"g"st, 2006) /as one of the pro-e(ts presented by the Aloardi (olle(ti)e in the +nternational Cesti)al of Lle(troni( Art IAL10 (Per", O"ly-A"g"st, 2006)* +t (onsisted of a series of re(ordings #ade in so"nd spa(es "nder radi(al en)iron#ental (hange in areas in the <a#bopata-Canda#o $eser)ation in P"erto &aldonado (&adre de Pios-Per")* Ge did not li#it o"r re(ordings e.(l"si)ely to dan(e and #"si(al perfor#an(es, b"t instead /e also too2 sa#ples of all 2inds of so"nd #anifestations o(("rring d"ring o"r stay at these sitesE so"nds that bear a #obiliHing or ("lt"ral-a(tion (o#ponent, nat"ral so"nds that ha)e not been ta#pered /ith in any h"#an /ay, so"nds of ele(tro#agneti( 6elds generated by the arti6(ial ele(tri(ity of the area (/hether generated by the lo(als or by "s /hile prod"(ing ele(tro#agneti( /a)es /ith the ele(troni( eA"ip#ent that /e "sed)* +n addition, a n"#ber of site-spe(i6( perfor#an(es /ere doneQ in these, so"nd generators s"(h as signals, str"(t"res and fo"nd ob-e(ts /ere e#ployed /ithin the (onte.t of the )isited pla(e* <he re(ordings /ere do("#ented to be s"bseA"ently p"blished online and distrib"ted for free* <hro"gh this pro-e(t, the Aloardi (olle(ti)e so"ght inter(hange /ith a"dien(es that /ere not ne(essarily related to artisti( (onte.ts* <he parti(ipants 7in- sit"8 /ere Christian Galarreta, Pennis Pastor, &a"ri(io PelRn and the habitants of P"erto &aldonado*

grito de la Sa("#a#a8; (200@) in b"1er Hones bet/een nat"ral reser)es and r"ral (ities in the Per")ian A#aHon*

Interface# the $o% of the environ"ent as ra% "aterial and for"ats that a"plify our space&ti"e perception Gere /e to refer to these e.perien(es as /or2s of art, /e /o"ld be e.ploring an intera(ti)ity le)el not entirely intentional neither on behalf of the artist nor of the obser)er, for the res"lting pie(e shall e#erge fro# the 4o/ of so"nd and ele(tro#agneti( energy that is (a"sed by the daily a(ti)ity of the lo(ality inter)ened, and /ill not 6nd origin e.(l"si)ely on the ind"(tion of intera(tion fro# the artist-obser)er, /ho #ight e)en be intrinsi(ally foreign to the lo(al (onte.t* <he idea is to "tiliHe and s"bseA"ently highlight the identity of the dyna#i(s that 4o/ aro"nd a lo(ality (thro"gh pro(esses of re(ording, broad(asting and a#pli6(ation) as generating ele#ents of the pie(e itself* <hese tho"ghts arise fro# #y e.perien(e in pro-e(ts s"(h as 7 e Po"lpe8 (200?-2006) by the (olle(ti)e AP933= and 75a--ra810 (200;) by Cole(ti)o Aloardi* +n both pro-e(ts the so"nd and ele(tro#agneti( 4o/ of a )ariety of en)iron#ents /as highlighted* +n the (ase of 7 e Po"lpe8, this

7Ll grito de la Sa("#a#a8 (A"g"st, 200@) /as a pro-e(t /ith /hi(h the Aloardi (olle(ti)e parti(ipated in the international en(o"nter of e(o-(reation LC95 200@ (Tantes, Cran(e)* <his e)ent /as also based on P"erto &aldonado and represented the res"lt and (ontin"ation of the 7$"ido al paso 28 pro-e(t* 9n this o((asion, the pro-e(tJ/hi(h is ("rrently still "nder de)elop#entJ(onsisted of the broad(ast thro"gh the +nternet of a series of inter)ie/s, so"nd en)iron#ents and 6eld re(ordings of (h"#anly per(eptible and i#per(eptible) signals that represent interse(tions and intera(tions bet/een )irgin and arti6(ial en)iron#ents* <hro"gh these broad(asts, the #"t"al interferen(e e1e(ted by these en)iron#ents /as sho/nQ f"rther#ore, the rele)an(e of the pro(ess of 6eld-strea#ing as an alternati)e to 6eldre(ording /as e#phasiHed, o1ering a re)al"ation of a"dio trans#i'ed li)e fro# the generati)e en)iron#ent as an e.perien(e that is )i)id, 4o/ing and i#possible to grasp, in opposition to re(orded signals, /hi(h are therefore #ore prone to be(o#ing abstra(ted and (apitaliHed as infor#ation* <he p"bli( "se of the res"lting so"nd ar(hi)es /as also pro#oted as a /ay to potentiate the open (ir("lation of ideas* At the ti#e, these e.perien(es triggered so#e re4e(tion regarding the #anage#ent of 6les and the ena(t#ent of these pra(ti(es by the lo(als, (alling to A"estion the pri)ate ar(hi)ing of these so"nd re(ordings "s"ally done to generate (ontents of an e.(l"si)ely s(ienti6( (hara(ter, be(o#ing an intangible or #aterial a"ral patri#ony that has been #anaged fro# the o"tside and (onseA"ently re#o)ed fro# its (onte.ts* +n this pro-e(t, Celipe del Ug"ila, Gabriel Castillo and Christian Galarreta, along /ith the lo(al (o##"nity of P"erto &aldonado, parti(ipated in situ* Cabiola IVHA"eH and Pennis Pastor, together /ith the (o##"nity of AloardiBs friends fro# all o)er the /orld, parti(ipated online* 9 AP933 is an artisti( asso(iation based on Tantes, Cran(e* +t /or2s in a #"ltidis(iplinary /ay on the #edia and their appropriations as they re)ol)e aro"nd artisti( e.ploration, free soD/are, liberated hard/are and alternati)e ("lt"ral (reation* C"rrently, the #e#bers of AP933 are O"lien 9'a)i, Oenny Pi(2et, O"lien Poide)in, <ristan 0o"rea" and $o#an Papion, + (ollaborated /ith this asso(iation in #any pro-e(ts bet/een the years of 2006 and 2011* 10 +n Andean ("lt"re, #"si( is 7sa--ra parte8Q that is, it belongs to the ukhu pacha, (in W"e(h"a 7the /orld fro# beneath8) and it has strong bonds /ith di)inities na#ed 5a--ra, 5"pay or, #ore rarely, 5ereno (the Christian de)il)* +n nat"re, 5a--ra is #anifested as the so"nd in the ra)ines, the /aterfalls and the ri)ers, for instan(e, /here the #"si(ians fro# (ertain Andean (o##"nities go on the e)es of the (arni)als to listen* ater, aDer they go to their ho#es to sleep, they arg"e that they drea# of #"si( that the 5"pay has ta"ght the# in s"(h pla(es, /hi(h is to be played in f"t"re parties*

/as e1e(ted by (apt"ring the so"nd dyna#i(s of di1erent spa(es, pro(essing the# /ith a (ontroller and #i.ing the# )ia the +nternet, /hile in the (ase of 75a--ra8, the pro(ess (onte#plated establishing a soni( (orresponden(e to the Andean (on(ept of #"si(E 75a--ra8 (the so"nd that (an be heard in nat"ral /aterfalls) tho"gh in "rban en)iron#entsQ that is, the t"rb"len(e and (haoti( 4o/ generated by daily a(ti)ity in inter)ened spa(e* +n both pro-e(ts, the res"lting e#issions reA"ired the (onstr"(tion of spea2er-li2e str"(t"res and the alteration of a n"#ber of ob-e(ts, in order to "se the# as resonators* 7<he #"ltiple realities that are done as a prod"(t of a daily pro(ess (an be highlighted in e)ery pla(e, thereby (an be highlighted the di)erse soni( dire(tions that an en)iron#ent (an ta2eQ an en)iron#ent "nderstood as a li)ing being /hose internal dyna#i(s are in (onstant #o)e#ent* <his A"ality (an be highlighted and the f"n(tion of the pla(e s"b)erted*811 Xp to Cebr"ary 2012, + (ollaborated /ith AP933 in the de)elop#ent of 7<he 0ot8, an "pgrade of 7 e Po"lpe8 /hose f"n(tion /o"ld be to be(o#e an interfa(e /hose )irt"al and physi(al partsJthe sa#e ones that /o"ld (apt"re, pro(ess and broad(ast a"dio)is"al signals and dataJ/o"ld be i#ple#ented, progra##ed and re-progra##ed by any person /ho /o"ld /ant to b"ild a 70ot8 in their lo(ality "nder the in4"en(e of their o/n (onte.t, in order to e)ent"ally generate an in)asion of s"(h disse#inating, (ollaborati)e and (o##"nitarian entities, /hi(h /o"ld in t"rn #ingle /hile a1e(ting ea(h other #"t"ally thro"gh de)i(es (onne(ted to the +nternet, s"(h as #i(rophones, a )ariety of sensors, ha(2ed #obile (o##"ni(ation eA"ip#ent and (o#p"ters* As part of Cole(ti)o Aloardi, + applied si#ilar (on(epts to the rhiHo#ati( radio pro-e(ts 7Atata/Y8 (200>-2006) and 75"radio8 (2006)* <he la'er /as prod"(ed (ollaborati)ely /ith &i(robio $e(ords (IeneH"ela), $adiofantas#as (Colo#bia) and the atin A#eri(an (o##"nity of so"nd e.plorers a(ti)e in those years* + (an also 6nd a (onne(tion bet/een these e.perien(es and a pe("liar e.a#ple of the ar(hite(t"ral /or2s of the an(ient ("lt"res in 5o"th A#eri(aE the Cha):n de !"Vntar <e#ple 12* A /ell-2no/n hypothesis s"ggests that the galleries of that te#ple /ere b"ilt in order to a#plify the so"nd of /ater 4o/ing beneath the te#ple thro"gh "ndergro"nd (hannels 13* <his (o"ld ser)e as

11 75a--ra8 Cole(ti)o Aloardi, Per", 200;* 12 Cha):n de !"Vntar <e#ple, lo(ated in the region of An(ash in Per", at the heart of Cha):n ("lt"re (Pre-+(an ("lt"re,
1>00 0*C* to >>0 A*P*) 13 +n the 1=@0Bs, the Per")ian ar(haeologist "is "#breras s"ggested the a(o"sti( f"n(tions of the "ndergro"nd (hannels of the te#ple, tho"gh not geZng #"(h a'ention fro# his (onte#porary (olleag"es* !is hypothesis /as not re)al"ed "ntil 2001, /hen a tea# of ar(heologists of 5tanford Xni)ersity, led by Oohn $i(2, fo"nd an i#portant n"#ber of pre-+n(an #"si(al instr"#ents /hile so#e e.(a)ations /ere ta2ing pla(e* +n 200;, the tea# ret"rned to Cha):n, b"t this ti#e /ith resear(hers fro# the Center for Co#p"ter $esear(h in &"si( and A(o"sti(s of 5tanford Xni)ersity, testing

an e.a#ple of the enable#ent of interfa(es that "se the en)iron#ent, along /ith its o/n nat"ral 4o/ as the f"nda#ental basis of the pie(e and the so"ght e1e(t, f"rther than -"st "sing the en)iron#ent as a plaNor# to b"ild or e.hibit abstra(t pie(es /itho"t a strong relation /ith the physi(al (onte.t* <hro"gh this edi6(ation is e#phasiHed a 4o/ (the ri)er) that (arries on in the spa(e-ti#e e)en beyond the e.isten(e of the te#ple or, in o"r parti("lar (ase, the re(ording for#at or the fra#e of an art pie(e* <his pheno#enon (an be related to the /ay in /hi(h the e.ternal lands(ape follo/s beyond the (an)as on the easel at the entran(e of the (a)e in &agri'e3s painting* 5i#ilarly, this A"ality (an be en(o"ntered in the pie(e 7?33388 (1=>2) by Oohn Cage 1?, in /hi(h the (o#poser (reated a for#al ti#e fra#e (fo"r #in"tes and thirty three se(onds) for a /or2 f"lly (o#posed of #"si(al silen(es /ri'en on a s(ore, /hi(h, at the sa#e ti#e, in)ite the listener to be(o#e a/are of the a#bien(e (in(l"ding the (o"ghs and noises that the a'endants prod"(e regardless of intention)* <h"s (an be seen ho/ Cage arranged an artisti( and ti#e fra#e to generate a (onte#plation of the 4o/ of so"nd and ho/ it shall pre)ail, e)en aDer the (on(ert, or pie(e, is 6nished* +n order to p"t these ideas to pra(ti(e, it /o"ld be ne(essary that /e be(o#e e#an(ipated fro# o"r per(eption of so"nd and ele(tro#agneti( /a)es as they relate to the spa(e-ti#e restri(tions of the registering for#ats that /e are "sed to* +n this sense, it be(o#es essential that the (onte#plation of physi(al pheno#ena be (ontin"al (to a te(hnologi(ally possible e.tent) and that its registering be not restri(ted too #"(h by ti#e li#its, as it /o"ld be in the (ase of the habit"al (o##er(ial so"nd for#ats (CPs, tapes, #ini-dis(s, hard-dri)es, et(*)* 9nly by these #eans (an the spa(e-ti#e fra#es be bro2en in the registered sa#ples, ta2ing "s a/ay fro# the idea of so"nd lands(ape as #erely representational or re(ording* <his (an be a(hie)ed by the "se of li)e a"dio strea#ing1> thro"gh the +nternet or radio broad(asting )ia antenna as alternati)e
the a(o"sti( A"alities of the ar(hite(toni( (o#ple., a'rib"ting to it the f"n(tions of a so"nd ora(le* 14 Oohn Cage ( os Angeles, 1=12 [ Te/ Sor2, 1==2) /as an A#eri(an (o#poser, instr"#entalist, philosopher, #"si(al theorist, artist, painter, poet and a #y(ology a6(ionado and #"shroo# (olle(tor* !is /or2 is pla(ed /ithin the A#eri(an a)ant-garde s(hool of the 20th Cent"ry, /hi(h /as )ery in4"ential to the (onte#porary and s"bseA"ent trends of artisti( e.peri#entation for its approa(h to #"si(al (o#position #ethods that in(l"ded the "se of noise, silen(e, rando#ness, and \en philosophy* +n4"en(ed by \en, Cage freA"ently "tiliHed silen(es as #"si(al ele#ents, assigning so"nd an entity that depends intrinsi(ally on ti#eQ th"s sear(hing logi(al de)elop#ent in his #"si(* +n 7?B3388 (1=>2), the perfor#ers silently sit before their instr"#ents d"ring the entire pie(e, #a2ing the "nrelated so"nds of the en)iron#ent (onstit"ents of the #"si(* 15 75trea#ing te(hnology is "sed to lighten "p the pro(ess of e.e("ting a"dio and )ideo on the Tet at the ti#e they are being do/nloaded* +f /e (hose not to "se strea#ing to sho/ #"lti#edia (ontent on the +nternet, /e /o"ld ha)e to do/nload it 6rst and then play it to 6nally be(o#e able to /at(h and listen to /hate)er the 6le (ontained*8 Pis(o)er the te(hnology that gets "s (loser to a radio and tele)ision +nternet* (&ig"el Ungel Ul)areHa, Pesarrollo/eb*(o#, 0=K0@, 2001)

for#ats of registering and trans#ission, a'e#pting th"s to alter o"r per(eption of the registered reality in the spa(e-ti#e a#bit, tho"gh /itho"t red"(ing it a lot* Alternati)ely, this /o"ld allo/ the obser)ation of spa(e-ti#e dyna#i(s that s"rpass o"r o/n tenden(ies for representation, display or establish#ent of a 6nite fra#e for a"dio sa#pling* &oreo)er, in this /ay it /o"ld be(o#e possible to e.tend (o#positional and representational for#ats /hile approa(hing artisti( /or2s, opening their s(opes to ne/ str"(t"res that #ight e#erge fro# the obser)ation of the (ontin"al 4o/ of the /a)es re(ei)ed* As these /ill be neither (o#positions nor (losed-re(ordings, they shall re#ain open to for#s, rhyth#s and spa(e-ti#e li#its that go beyond o"r (ontrol or habit"al obser)ationsQ f"rther#ore, /e (an also adopt a #"table (ondition in /hi(h /e #a2e o"rsel)es a/are of alternati)e /ays to "nderstand reality, paying a'ention to /hat e#erges fro# these a"ral dyna#i(s by the#sel)es, /hile negle(ting the e.tre#e frag#entation (a"sed by an approa(h to ti#e and spa(e (onditioned by the speed of /or2, artisti( prod"(tion and (o##er(ial (ons"#ption, a#ong other sit"ations* &y approa(h to these pra(ti(es is not #erely a te(hnologi( e.er(iseQ in #y daily life, + pla(e big i#portan(e to the obser)ation of the physi(al pheno#ena that s"rro"nd #e and intend to pla(e #yself as yet another #eans to reinfor(e the (onte#plation of the 4o/ of energies that these pheno#ena prod"(e* L)en beyond their (o##er(ial, aestheti( and (on(ept"al (orresponden(es, they #ay )ary and sti#"late o"r per(eption of di1erent )irgin or arti6(ial syste#s and the relations that e#erge /ith and bet/een the#, e.panding o"r )ision of daily life and o"r #anner of intera(ting /ith it* As an i##ediate instan(e, it (an be asserted that the s"perstr"(t"res generated by late (apitalis# #od"late o"r sensorial and a1e(ti)e en)iron#ent by (on6g"ring o"r o/n beha)ior and that of other spe(ies* Ge are (apable to dete(t these s"perstr"(t"res, to to"(h their in)isible #e#branes 16, to #odify the in4"en(e of their i#positions on o"r i##ediate en)iron#ent and o"r )ery bodies* 0y altering /a)es and (ontrol de)i(es, /e (an re(on6g"re these #e#branes "ntil /e brea2 the spa(e-ti#e representations to /hi(h /e are ind"(ed, that isE A"estioning, for#aZng and ha(2ing o"rsel)es, re(ei)ing (onstant feedba(2 and s"b)erting e)en /hat /e ass"#e as legiti#ate )ital f"n(tions* <he appli(ation of the (on(ept of (ontin"ity and other of the ideas e.posed in this te.t (an be listened to on the li)e strea#ing of 7<he 0orgot8 (/hi(h is part of 7<he 0ot8 pro-e(t, a

16 Cfr.

Howard Slater. Prisioneros de la tierra, Salid! Notas ara la !"erra en la #e#$rana%

per#anent, ("rrently broad(asting, installation that pro(esses the so"nds of daily a(ti)ity /ithin the AP933 laboratory)* <he li)e testing signal (an be listened to in #"lti#edia players (s"(h as Gina#p or I C) in the follo/ing X$ E h'pEKKapo33*infoE;000Kborgbot*ogg

<ranslation to english by 5ergio 5an(heH <* Assistan(e in the translation Parien 0rito*

!eferences

Allan &iller, 1==0 "Oohn CageE + ha)e nothing to say and + a# saying +t", )ideo do("#entary, X5A E &ar2 0ro/nstone* Aloardi, 2006K0@ "P"erto &aldonado 1, 2 y 38 - $"ido Al Paso 2006 -paisa-es sonoros h:bridos y en ):as de (a#bio radi(al", a"dio ar(hi)es of the pro-e(t online "rl E h'pEKK///*ar(hi)e*orgKdetailsKalonet]006 "rl E h'pEKK///*ar(hi)e*orgKdetailsKalonet]00@ "rl E h'pEKK///*ar(hi)e*orgKdetailsKalonet]00; Aloardi, 200@ "LC95 200@ - +#ages ^ do("#ents LC95 200@ - Ll Grito de la Sa("#a#a", Gi2i of the festi)al LC95 200@, on line, "rlE h'pEKKe(os*(realab*infoK200@Kdo2"*php Aloardi, 2010K11 "Lspa(ios sonoros h:bridos en Honas de (a#bio radi(al", a"dio ar(hi)es of an hyperte.t, on line, "rlE h'pEKKar(hi)e*orgKdetailsKLspa(ios]5onoros]!ibridos]en]\onas]de]Ca#bio]$adi(al Aloardi, 2011K02 "Lspa(ios sonoros h:bridos en Honas de (a#bio radi(al", essay p"blished in Xrsonate T_0001 &adrid, on line, "rlE h'pEKK"rsonatefanHine*t2K Apo33, 2013 "09<- aboratoire )irt"el en r%sea"", /ebsite of the pro-e(t online sin(e 2011, "rlE h'pEKK///*apo33*orgKfrKFpage]id`132 0"eno, &ariano, 2000K02 "Conta#ina(ian el%(tri(a en el hogar"* Pys(o)ery Psal"d , Tb#ero 13, &adridE Ld* &c3 5* * 0"eno, &ariano, 2000K06 " os peligros de la telefon:a #a)il"* Pys(o)ery Psal"d, Tb#ero 1@, &adridE Ld* &c3 5* * Cage, Oohn, 1=@? d1=61e "Pel l"nes en "n afo8, &%.i(o P*C* E Lra 1g edi(ian, 1=@?* Capra, Crit-of, 1==; d1==6e " a tra#a de la )idaE "na n"e)a perspe(ti)a de los siste#as )i)os", 0ar(elonaE Anagra#a*

Cona("lta y el +nstit"to Ta(ional de 0ellas Artes (+T0A), 03K2010 "Ll #"ndo in)isible de $en% &agri'e", (atalog"e of the e.hibition in the &"seo del Pala(io de 0ellas Artes, &e.i(o P*C*E Cona("lta* Po/ney, O"an, 1=@3 "Plato no/8, $adi(al 5oD/are Iol* 2, no* > , ref* 2006K0;, on line, "rlE h'pEKK///*radi(alsoD/are*orgK)ol"#e2nr>KpdfKI9 X&L2T$>]000@*pdf Po/ney, O"an, 1=@3 "<e(hnology and beyond", $adi(al 5oD/are Iol* 2, no* > , ref* 2006K0;, on line, "rlE h'pEKK///*radi(alsoD/are*orgK)ol"#e2nr>KpdfKI9 X&L2T$>]000@*pdf L(o, X#berto ,1==@ d1=62e, 79bra abierta8, 0ar(elonaE Ariel* !es:odo , 1=6; 7<eogon:a* <raba-os y d:as* Ls("do8, 0"enos AiresE Centro editor de A#%ri(a atina* !i#anen,Pe22a, 2002 " a %ti(a del ha(2er y el esp:rit" de la era de la infor#a(ian", &adridE Pestino* Oean, 0a"drillard, 1==3 d1==2e " a il"sian del 6n", 0ar(elonaE Anagra#a* &artineH, $osal:a, 1==3 7Ll sa--ra en la #bsi(a de los -alA3a8, in 0a"#ann, &a. Peter, Cran2f"rt a# &ain ((oord*), Cos#olog:a y #bsi(a en los AndesE Ier)"ert, pVgs* 311-322* Platon, 2010 ,"PiVlogos de PlatanE a $epbbli(a", &e.i(o P*C* E ib"2* $e(2, Ld"ardo,1=== 7&bsi(a y n"e)as te(nolog:as, perspe(ti)as para el siglo MM+8, 0ar(elonaE ACC 3Angelot* 5(hae1er, Pierre , 1=66 "<rait% des ob-ets #"si(a".", ParisE hditions d" 5e"il* 5later,!o/ard, 200= "Prisioneros de la tierra, isalidY* Totas para la g"erra en la #e#brana", in &aZn ^ Anthony +les ((oord*), $"ido y Capitalis#o, 5an 5ebastian,Artele2" A"diolab* 5tanford Xni)ersityBs Center for Co#p"ter $esear(h in &"si( and A(o"sti(s (CC$&A) and Ar(haeologyKAnthropology, 2013, "Cha):n de !"Vntar ar(haeologi(al a(o"sti(s pro-e(t", on line, "rlE h'psEKK((r#a*stanford*ed"Kgro"psK(ha)inKinde.*ht#l