(Picture by Agustina Puricelli)


After reading Pascal Quignard’s “The Roving Shadows”, I decided to compose an audio piece based on the figure of Aurora (the Roman goddess of dawn) and field recordings I made from La Plata River (Buenos Aires, Argentina), among other sounds and textures that have been companions to me during these times.



Nationality and location:
I am Venezuelan, but I currently live in Buenos Aires, Argentina.

Social Media:
soundcloud.com/aindru
youtube.com/channel/UCOrAKUV5XHfNukZkxH9o0qQ
instagram.com/aindru

“There were even times when I thought that, as long as I was waiting for him to do it, I might as well go ahead and strike a match and burn one down. It's just a beat up old barn, right?”
Barn Burning, by Haruki Murakami

It’s been 15 years since I first moved out of my parents’ house to live alone in Istanbul, but we now live together under the same roof in my family’s farm house in Nif Village/Fethiye due to coronavirus. Living in the countryside, however, is a blessing in these difficult times. But honestly, as a socially alienated artist,– although my family is very supportive – often it’s challenging for me to adapt to my relatives’ behaviours. Considering that families are one of the important foundations of society, they still try to shape my personality. The necessity of physical distancing myself from my neighboring relatives further strengthened my social distancing against my hometown societies. That’s exactly when I developed obsession with the story of “(Barn) Burning.”

The sound work is highly influenced by William Faulkner’s 1939 short story “Barn Burning”, Haruki Murakami’s 1983 short story “Barn Burning” and Lee Chang-dong’s 2018 film “Burning.” It focuses on my own relationship between my family, our barn, our greenhouse, the fire, and me as dictated by the natural surroundings of my hometown.

I’ve started to listen to the surrounding environment more hoping to understand the hometown societies. The dominant sonic background in the areas of the greenhouse in Nif Village is mainly generated by the voice of the natural sources, the urban anthropology, the geography and its climate. I jammed other synthesizers such as a groove-fuelled bassline and chord progressions. My loneliness, desire, and fury keeps peering around the edges of this sound-work.



Nationality and location:
Nif Village, Fethiye/Turkey

Website:
bengisuuykusu.com

Social media:
instagram.com/bengisufotosu facebook.com/bengisuuykusu

Redfish is a soundscape based on Yoruba cosmology, connected to the goddess Oshun, protector of sweet water, fertility, and feminine empowerment. The soundscape uses sound files and authorial compositions to create a mythology about a ritual to the transmutation of the body.



Nationality and location:
Brazilian artist, based in Berlin

Pampinea,
she sung a wistful little song,
the blue hour fast approaching.

“To the Brigata” was initiated by reading Giovanni Boccaccio’s “The Decameron”, and placing each character – the nine members of the Brigata – into moments or scenes lived within the last year of the pandemic.
Taken from field recordings and vocals gathered over 2020 to 2021, and poetry written every day in lockdown, the soundscape draws parallels between the characters’ and the artist’s experience of seclusion. The poetry throughout conveys feelings of isolation, of the haziness that ensued, and more intimate moments of tenderness, loss and resilience.
Re-presented as a lullaby, a ritual or an ode to the people in lockdown, “To the Brigata” is a rendition of personal and experiential passages, of everyday living and moments of escape.



Nationality and location:
British, UK

Website:
cargocollective.com/lurose

Social media:
instagram.com/lurosecunningham
twitter.com/lucyrosecunnin1

“Fisher Price Aufnahmen” is a bunch of stories and interviews that Maren Frey recorded on tape when she was a child. They fade into a recent audio of drum and base guitar playing during lockdown in her parents’ house basement.



Social media:
instagram.com/yokosika

The audio work is a product of our living conditions during lockdown and our experiences with “human-geese-interactions” during our strolls through the nearby parks.



Website:
smittness.com

This sound work is a soulful expression that depicts a relationship between man and his environment being a reflection of its culture and traditions. I am not ALONE is an experimental sound composition coming from an island and zero environment such sound uses objects for landfill to create a sound of hope in a way that changes the perception of the environment and projects the beauty in the rough through sounds. This sound composition is an emerging genre of experimental music that incorporates sounds from natural environments. While it utilise a wide variety of mediums, techniques, and performance contexts, that shares a common purpose of encouraging audiences to question and reflect on their relationship to the environment in the age of the “Anthropocene,” enabling listeners to re-connect to the places in which they live through sound. By acting upon the potential of “I am not ALONE”, it promotes social, political, and cultural change, this sound work question and contribute to an understanding of the environmental crisis not only as a physical reality, but as a crisis of character and culture that forces individuals and societies to reconsider how people relate to nature and to each other. Ecomusicology can further the discussion about how music and sound can encourage environmental activism in the general community.



Nationality and location:
Lagos Nigeria

Social media:
m.facebook.com/peter.abayomi.334
soundcloud.app.goo.gl/9njp8AbUEjqgda2b6

Cat jam.
To all the people in the park.
Walk, walk, run.
Oscillating with others in emotional chaos.
Isolation connection.
#weak
World is burning again.
MantraMe.




Website:
vampirecatscats.wixsite.com/forever

Social media:
vampirecats.bandcamp.com/releases
youtube.com/watch?v=Q4UQD5foqY0

“Carnivation” is an eight minutes long sound piece by multi-media artist Vanessa Bosch.
Mixed feelings of hollowness, peace, uncertainty, despair, gratitude and inner turmoil… all due to this global crisis – the artist tries to reassemble these through field records and piano tones. The spoken words accompanying the collage, is a self-rewritten text based on the ‘Manifesto of Urban Cannibalism’ by Wietske Maas and Matteo Pasquinelli.
It creates the image of the virus itself, as this individual existence and it simultaneously questions the role of humankind in this pandemic situation, especially criticising our behaviours, not only on personal, but also on political and ethical matters, that have been shown very drastically lately.



We parasite each other and live among parasites.
We inhabit the perennial genesis,
the never-ending chain of organisms devouring one other right down to the invisible ones.


The most fundamental, the most rooted.
a primary, basic function,
even before I am born.


Because of it I belong to the earth forever.
Like the smallest animal crawling in the dirt, like the smallest plant,
I began
– by feeding myself.


Smaller cells engulfed by bigger cells.


All enjoyment, all taking in and assimilation,
is eating...
flesh in every bite,
blood in every gulp.




Website:
pinkfatbuddha.de

Social Media:
instagram.com/pinkfatbuddha
soundcloud.com/pinkfatbuddha

My room is a world and my head an ocean where the memories move up and down and back and forth,
like waves, stating; nothing ever stays the same.
floating on memory? So many small waters of look-at-us, and it is all I can do.
I can see every face that has known “we”,
and I look and I look and the longer I look:


You change along with me.
Become kinder,
and a picture,


only good things.


The waves are calm,
I remember everybody.




Nationality and location:
Dutch, Enschede

Website:
zeekind.net

Social media:
youtube.com/channel/UCcRPKhQRu9oTw_Mk32yOi4w
instagram.com/zeekind.art