El ornitólogo pocas veces ve las aves que estudia. Es en el registro de sus cantos, en el trazo sonoro que registra el espectrograma ⋍ , donde mas las observa.

Rarae Aves

TEMPORARY EXHIBIT -MAMM-
Museo de Arte Moderno Medellin
November 2017- February 2018
Alejo Duque [pictures by el MAMM]

Video
Text
Workshop
Locusonus
Satellites
Satellites+
Sounds
Sounds+

In recent decades a growing number of creators have become interested in sound experimentation with the electromagnetic spectrum and radio through open source practices and free software. These practices have introduced both aesthetic and technological alternatives, as well as tools that combine the languages of science, art, and technology from a critical and speculative perspective.

The exhibition Alejandro Duque. Rarae Aves is an exploration of the sound of wave magnitudes and fields of both familiar and rare nature: electromagnetic waves that are, in principle, inaudible to the human ear, short waves (from the radio), and synthesis of waves manipulated by computer and signal processing devices. This show examines the invisible soundscape through energies from 19th century devices and those covering current global transmissions; from the pulse of the telegraph to fiber optic links or laser beams. After recording, capturing, and observing the signals and phenomena in the electromagnetic spectrum, Duque transfers these sounds into the space of Lab 3, accompanied by continuous visualization of the waves.

Between the biosphere and the technosphere is the sonosphere, which is revealed by the decomposition and extrapolation of the signals that emanate from mobile, satellite, and radio devices, captured through a variety of antennae arranged in the exhibition space and on the terraces of the Museum. Given that the energy scatters and covers the space, its constant presence and interaction with the waves slowly builds a combination of times and spaces that will be recorded from the beginning until the end of the exhibition.

Since the city’s light pollution makes it impossible to see a sky full of stars, a video camera located on the roof of the Museum captures atmospheric phenomena at night, such as the passage of meteorites, aircraft, and satellites. Additionally, there is an Extreme Low Frequency (ELF) radio receptor, also located on the roof, which makes those distant sounds audible in the room while synchronizing other phenomena that take place in the ionosphere and capturing hypothetical faraway voices that operate in other dimensions (EVP, Electromagnetic Voice Phenomena).

This project captures signals in real time, such as the passage of satellites, the voices of taxi drivers on pirate frequencies, things heard on an emergency line, or from the control tower of the local airport—among many other possible sources that are part of that invisible soundscape. The space in Lab 3 is converted into a workshop in which pseudoscientific notions and popular speculation come into contact with devices for scientific analysis, as well as cacti exposed to electrosmog pollution and a resonant Faraday cage.

Throughout its duration, Alejandro Duque. Rarae Aves explores sound materials using forces that are not audible on their own. The sources are processed and remixed to create a final composition that is perceptible in Lab 3. The piece will be recorded for later analysis as an archive that could be considered as a layer of information with which to understand some of the phenomena in the present. By means of this series of devices and mediations, the inaudible becomes audible, creating a metaphor for the Tower of Babel, where it is possible to hear the noise of the world and reflect on its political, social, and ecological implications.

Alejandro Duque (HK4ADJ)

Duque works with radio waves, from the electromagnetic landscape, which ranges from satellite signals to artificial sources of natural radio (VLF, Very Low Frequency). He has also created micro FM radio stations (low-frequency stations) that resonate and help define the small communities located outside the global network.

His doctoral thesis in Philosophy of Media (European Graduate School, in Philosophy, Art, and Critical Thought, “PACT”) addresses the knowledge generated by certain subgroups that still escape even commercial radars and evade academic categorization. These life forms still exist in the South and maintain their own survival strategies by means of traditional economic models, particular micropolitical systems, and unique and unexpected technological reinventions.

He has been a professor at the Instituto Tecnológico Metropolitano and the School of Arts at the Universidad de Antioquia, as well as a member of the Locus Sonus lab (soundmap) in the south of France for the past five years. Duque has also participated in various festivals of “new, old, and unstable” media art. At present, he is assistant director at the European Graduate School in Switzerland and is in charge of the archives and documentary material there.

In recent decades a growing number of creators have become interested in sound experimentation with the electromagnetic spectrum and radio through open source practices and free software. These practices have introduced both aesthetic and technological alternatives, as well as tools that combine the languages of science, art, and technology from a critical and speculative perspective.

Duque works with radio waves, from the electromagnetic landscape, which ranges from satellite signals to artificial sources of natural radio (VLF, Very Low Frequency). He has also created micro FM radio stations (low-frequency stations) that resonate and help define the small communities located outside the global network.

Rarae Aves is a project that explores the inaudible soundscape that affects human beings by capturing and manipulating electromagnetic waves and fields through antennae located in Lab 3 and on the terraces of the Museum, thus creating a combination of changing times and spaces throughout the exhibition. Visitors will be able to submerge themselves in an installation that becomes a laboratory that makes the inaudible audible and the invisible visible; a metaphor for the Tower of Babel, where it is possible to hear the noise of the world and reflect on its political, social, and ecological implications.

Rarae Aves

Crear un programa para el fomento de la escucha y la creación sonora es una tarea que emprendió el Museo desde la apertura de la sala de experimentación - Lab 3- y que está llevando a cabo a través de múltiples proyectos expositivos y actividades públicas, que entre otras, están abordando conceptos y prácticas híbridas entorno al paisaje sonoro y la ecología acústica, generando nuevos ámbitos creativos para el trabajo colaborativo, la interdisciplinariedad, y de pensamiento crítico frente a las tecnologías y el mundo contemporáneo.

En las últimas décadas, un número creciente de artistas y creadores se han interesado en la experimentación sonora con el espectro electromagnético y la radio a partir prácticas de código abierto y software libre, introduciendo alternativas estéticas y tecnológicas en la creación de artefactos híbridos en los que se combinan los lenguajes de la ciencia, el arte y las tecnologías desde una perspectiva crítica, especulativa e inestable.

Sus intercambios son hoy mediados por productos electrónicos, desde la tostadora inteligente al teléfono que escucha órdenes, relacionándose dentro de una electro-esfera y es justo esta estética la que pasamos por alto mientras parece que soñamos en ondas electromagnéticas.

Rarae Aves es una investigación Sonora en el arte y la estética de los campos y las magnitudes de onda de naturaleza familiar y extraña: Ondas Electromagnéticas en principio inaudibles al oído humano, Ondas Cercanas (Radio) y síntesis de ondas, las manipuladas en el computador a través de aparatos para el procesamiento de señales. Se trata de la exploración del paisaje sonoro ‘inaudible’ al humano usando energías provenientes de aparatos desarrollados desde el siglo XIX y abarcando el presente de las transmisiones globales. Desde el pulso del telégrafo al enlace vía fibra óptica o haz de luz láser. Al registrar, capturar y observar señales y fenómenos en el espectro electromagnético surge una espacialización sonora que está acompañada de una permanente visualización de las ondas.

La constante interacción y presencia entre las ondas construye lentamente, desde el inicio al cierre de la exposición, una mezcla de tiempos y espacios. La energía tiende a dispersarse y abarcar el espacio. Entre la Biosfera y la tecnosfera está la Sonosfera, y es esta la que se descubre descomponiendo, extrapolando señales que emanan de aparatos móviles, satélites, radio y que son capturados a través de una variada cantidad de antenas dispuestas en el espacio de audición y terraza del Museo.

Este proyecto trabaja con captura de señales en tiempo real (desde pasos de satélites a la voz de la radio de los taxistas en frecuencias piratas, la línea de emergencia o la torre de control del aeropuerto local -entre muchas otras fuentes posibles que hacen parte de ese paisaje sonoro invisible-). El espacio del Lab3 deviene instrumento en el que se cruzan nociones pseudo-científicas y especulación popular con dispositivos para el análisis científico como plantas de cactus expuestas a ‘contaminaciones’ de ‘electrosmog’ y una Caja de Faraday resonante.

Una cámara de vídeo ubicada en el techo del museo capta, en la noche, fenómenos atmosféricos tales como el paso de meteoros, aviones y satélites. La contaminación lumínica de la ciudad imposibilita ver un cielo lleno de estrellas. Un receptor de radio ELF (Extreme Low Frequency) también instalado en el techo serve para hacer audible dentro de la sala esos sonidos distantes, mientras intenta poner en sincronía fenómenos en la ionosfera atrapara voces distantes que apelan a otras dimensiones (E.V.P Electromagnetic Voice Phenomena). Fuentes diversas que se son procesadas en el computador y se van remezclando, para generar una composición final. La pieza quedará grabada para posterior análisis. Dicho archivo podrá ser considerado como una capa dentro de la cual los arqueólogos del futuro podrán encontrar pistas de cómo vivíamos hoy, en la era del antropoceno, inmersos en mar electromagnético.

consolidar una red de escucha, de sensibilidad, que podría comenzar a tener un efecto en la relación de la humanidad con el espacio y la tierra