Pedro Oliveira + Alexandra Spence

Martedì 11.10.22 – ore 21.30
c/o Standards – Via Maffucci, 26 – Milano

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Ospitiamo un doppio concerto con il sound artist, ricercatore e docente brasiliano Pedro Olivera e Alexandra Spence, sound artist e musicista che vive nella terra libera di Wangal, in Australia, non sottoposta ai vincoli di Sidney.

Alexandra Spence presenta un nuovo lavoro immersivo che utilizza una diversi materiali sonori – oggetti amplificati, registrazioni di idrofoni, loop di nastri sommersi e degradati, onde sinusoidali, frammenti di testo parlato, strumenti acustici ed elaborazioni audio – per esplorare le relazioni tra corpi e acqua, paesaggi reali e immaginari, suono ed ecologia.

La ricerca di Pedro Olivero esplora invece il ruolo politico del suono come strumento di potere e oppressione e, per contro, la sua potenzialità radicale come modo di pensare e di attuare pratiche decoloniali. Recentemente, Pedro Olivera si è concentrato in particolar modo sull’uso di un algoritmo di riconoscimento dell’accento dialettale nelle pratiche di assegnazione dell’asilo politico da parte dell’Ufficio Migrazione tedesco (BAMF). Il suo ultimo lavoro “DESMONTE (To Become Undone)” è uno studio sui limiti e i fallimenti dell’ascolto automatico e su ciò che rende una voce “umana”. Come performance per voce pre-registrata e sintetizzatore modulare, questa composizione applica alla voce della cantante death metal Fernanda Lira tecniche di sintesi simili a quelle in uso al BAMF, per una riflessione astratta quanto viscerale sulla violenza algoritmica e la sua riproduzione di sistemi di oppressione coloniali. L’opera de- e ri-costruisce costantemente la voce, utilizzando tecniche spettrali simili a quelle presenti nel “software di riconoscimento dialettale”.

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Tuesday 11.10.22 – 9h.30 pm
c/o Standards – Via Maffucci, 26 – Milan

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Alexandra Spence will present an immersive new work using a diverse set-up of sonic material – amplified objects, hydrophone recordings, submerged and degraded tape loops, sine waves, spoken fragments of text, acoustic instruments, and audio processing – to explore the relationships between bodies and water, real and imaginary landscapes, sound and ecology.

The research of Pedro Oliveira seeks to dismantle the articulations of colonial (sonic) violence perpetrated on the borders of the EU. His latest work “DESMONTE (To Become Undone)” is a study on the limits and failures of machine listening and what makes a voice “human.” As a performance for pre-recorded voice and live electronics, it constantly de- and re-constructs the voice, (mis)using spectral techniques similar to those found in the so-called “dialect recognition software,” a proprietary solution in use since 2017 by the German migration authorities in cases of undocumented asylum seekers to enforce deportation. The work is entirely constructed with and through the voice of Brazilian death metal singer Fernanda Lira.

PEDRO OLIVERA

Pedro Oliveira is a sound artist and researcher whose work seeks to dismantle the articulations of colonial (sonic) violence perpetrated on the borders of the EU. His latest work “DESMONTE (To Become Undone)” is a study on the limits and failures of machine listening and what makes a voice “human.” As a performance for pre-recorded voice and live electronics, it constantly de- and re-constructs the voice, (mis)using spectral techniques similar to those found in the so-called “dialect recognition software,” a proprietary solution in use since 2017 by the German migration authorities in cases of undocumented asylum seekers to enforce deportation. The work is entirely constructed with and through the voice of Brazilian death metal singer Fernanda Lira (Crypta).

oliveira.work
vimeo.com/698352756
olvra.bandcamp.com/track/desordem
l-kw.bandcamp.com/track/dissolu-o

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ALEXANDRA SPENCE

Alexandra Spence is a sound artist and musician living on unceded Wangal land in Sydney, Australia. Through her practice Alex attempts to reimagine the intricate relationships between the listener, the object, and the surrounding environment as a kind of communion or conversation. Her aesthetic favours field recordings, analogue technologies and object interventions. Alex has presented her art and music in Australia, Asia, Europe, and North America including BBC Radio; Ausland, Berlin; Café Oto, London; EMS, Stockholm; Punkt Festival, Kristiansand; Radiophrenia, Glasgow; Museo Reina Sofia, Madrid; Sound Forms Festival, Hong Kong; MONO, Brisbane; The Substation, Melbourne; Soft Centre, and Liveworks Festival, with Liquid Architecture, Sydney. She has released her music with labels Room40, Longform editions, More Mars (w. MP Hopkins) and Canti Magnetici, and has a recent release with Mappa. (She holds the belief that electricity might actually be magic).

linktr.ee/alexandraspence