Lo Pati Art
Through the intervention of the natural spaces of the Ebro Delta (the beaches of the outer and inner sea and the flooded rice fields, during the artist residency period carried out for the art center Lo Pati de les terres de l ' Ebre), will be located an old Julve Telesforo guitar over 80 years old on different natural spaces. Through the use of contact microphones and hydrophones, the sounds of the friction of the body of the guitar will be recorded with the sand of the beaches, the water, the waves, the rice fields and the wind, generating a sound file that will materialize in format of videos, as final records of the performative act of landscape intervention. Some pieces that will reflect the different coefficients of friction generated by different natural elements, analyzing the landscape as a compositional element from a visual-sound perspective, as formulated by Tarkovsky in the representation of the compositional spaces of his films.
Coeficiente de fricción is a project presented at the Eufònic 2016 festival (Museu de Tortosa i Arts Santa Mònica in Barcelona), based on the Stalker, El Espejo and Sacrificio films, by the legendary Russian filmmaker Andrei Tarkovsky, where the author, together with the sound work of the composer Eduard Artemeyev, they make an exhibition of the sounds and natural sounds as creative elements without attending to the special need of the specific composition of a complementary musical soundtrack.
In this way, in his work does not appear a process of traditional musical composition that works as an acoustic accompaniment of the compositional space. Sonification is narrated through the action of water and the different sounds that are obtained from the landscape, thus reflecting an alternative reality that does not correspond to a one-dimensional unity of the presented images.
Under the influence of Tarkovsky's acoustic work, the project deals with sound as a form of poetic tune, where the natural elements are the composers of the auditory process. During the realization of the project, the different processes of friction between instrument and space will be addressed, as a creative value of acoustic composition.
In Tarkovsky's films, the use of water as a theatrical guide acquires the importance of a hidden narrator behind images. Its constant sound, in the most varied forms (drops, rivers, leaks, rains or the flow of water), is always present in the form of a poetic tornado, a soundtrack that adds the viewer in a state of transition between visible reality and reality. Proof of this is that from the first to the last film he made, The childhood of Iván, El Espejo, Stalker, or El Sacrifició, water always appears in the form of an audible narrator, acquiring a relevant importance in the content of his films.
The pieces in the form of videos have been worked in the same way that Tarkovsky did in his films. Therefore, the work in B / N and in color, bet to reflect two distinct typologies of the landscape of the Delta. The use of the B / N welcomes the most indomitable and indomitable places in the area. Those places where nature faces a constant struggle against itself, and man has not yet modified the landscape in any way. Contrarily, the use of color in, will show those spaces already occupied and modeled by man, places in which man, in spite of continuing to maintain the landscape with an apparent form of natural space, has modified the form and essence of space in his own benefit.
The sound compositions of each of the videos, has been edited by the real sounds recorded in these locations generated by different friction processes such as the impacts of the sea, the friction with different surfaces such as sand and rice stems, blows produced by amphibians and insects on the guitar, and finally the friction exerted by the wind on the strings that has given rise to acoustic bases of great beauty.