/The World as an Instrument/
MACBA ₪Barcelona
SATURDAY APRIL 29 4 pm:
Part I of López’s class 9 pm: Concert by Francisco López http://www.franciscolopez.net
" Sound doesn't exist until we hear something, and therefore what we call a sound is always the sound-producing source plus the transmission space. This is relatively irrelevant for a symbolic or representational listening mode (like recognizing a familiar tune) but crucial for a phenomenological listening of the actual reality of the physicalized sound. I'm definitely concentrated in the experience of the latter. A frequently overlooked fact for live performances is that the sonic entity we're dealing with is a composite of these two elements with an equal importance, both the sound system and the features of the space. The right combination of both -which requires an empirical testing that is rarely carried out- makes an immense difference for any kind of music, if we're really listening. But you can also turn the question around, because the sonic material can actually affect the perception of the space. I position the audience in the middle of a sound field through surround systems, and one of my goals is to give rise to a feeling of being 'inside' the sound (instead of listening 'to' it), thus transforming the visually-defined space into a space of sound that changes its proportions and dimesions according to the transformations and movements of the sound field."
SATURDAY APRIL 29 4 pm:
Part I of López’s class 9 pm: Concert by Francisco López http://www.franciscolopez.net
" Sound doesn't exist until we hear something, and therefore what we call a sound is always the sound-producing source plus the transmission space. This is relatively irrelevant for a symbolic or representational listening mode (like recognizing a familiar tune) but crucial for a phenomenological listening of the actual reality of the physicalized sound. I'm definitely concentrated in the experience of the latter. A frequently overlooked fact for live performances is that the sonic entity we're dealing with is a composite of these two elements with an equal importance, both the sound system and the features of the space. The right combination of both -which requires an empirical testing that is rarely carried out- makes an immense difference for any kind of music, if we're really listening. But you can also turn the question around, because the sonic material can actually affect the perception of the space. I position the audience in the middle of a sound field through surround systems, and one of my goals is to give rise to a feeling of being 'inside' the sound (instead of listening 'to' it), thus transforming the visually-defined space into a space of sound that changes its proportions and dimesions according to the transformations and movements of the sound field."
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