![\"Soundlapse](\"https:\/\/www.gruenrekorder.de\/Photos\/soundlapse_album_draft_320.jpg\" "\\"Soundlapse")
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Soundlapse<\/em> | Various artists<\/strong> <\/p>\n The Soundlapse<\/em> project (2019-22) is an interdisciplinary research initiative funded in 2019 by the Chilean National Agency for Research and Development. It seeks to highlight the acoustical heritage of wetlands in the south of Chile. The project brought together artists, acousticians, biologists and computer scientists with the aim of studying these ecosystems‘ unique soundscapes. As an outcome of the project\u2019s periodic documentation of the \u201cParque Urbano El Bosque\u201d wetland soundscapes in Valdivia, in 2021 eight sound artists were commissioned to compose works using these field recordings.<\/p>\n <\/p>\n More information about the project at: www.soundlapse.net<\/a><\/p>\n <\/p>\n <\/p>\n Wetlands<\/a><\/strong> by Aki Pasoulas <\/p>\n 8 Tracks (70\u203203\u2033)<\/p>\n <\/p>\n All In One Zip \/ MP3 (320 Kbps)<\/a><\/p>\n <\/p>\n <\/p>\n Credits<\/strong><\/p>\n <\/p>\n Field recordings by Rodrigo Torres, Crist\u00f3bal Brice\u00f1o and Felipe Otondo <\/p>\n Curated and produced by Felipe Otondo @ Art & Technology Lab, Universidad Austral, Chile<\/p>\n <\/p>\n Funded by the Chilean National Agency for Research and Development <\/p>\n \u2117 Soundlapse 2021 <\/p>\n Soundscape Series by Gruenrekorder <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Richard Allen | a closer listen<\/a><\/strong> <\/p>\n Part of the project\u2019s appeal is discovering what each artist hears and chooses to highlight in the same collection of sounds. Two include sirens, perhaps a nod to the piercing reminders of COVID. Other links can be gleaned, none as apparent to the ear. Aki Pasoulas<\/strong> leads with water before introducing conflicting sounds: peaceful birds and sudden warnings. The most effective moment arrives just prior to the four-minute mark, as an alarm signal seems to cause a chain reaction: the fluttering of a panicked flock, followed by barking dogs. The late arrival of tribal drums is a light surprise, a reminder of ancient civilizations.<\/p>\n <\/p>\n Pete Stollery<\/strong>\u2018s piece is a \u201chyper-real\u201d soundscape that conflates day, night and season and grows busier as it progresses: a nod to the accumulation of sound over time. The soft rain is particularly evocative, punctuated by distant fireworks. As people don\u2019t normally use fireworks in the rain, one imagines dual sonic screens, one representing nature and the other the arrival of humankind. In contrast, the ever-creative Francisco L\u00f3pez<\/strong> begins his composition with what sounds like the click of a cassette player, alerting the listener to the fact that their playback system is still working; a short stretch of silence may cause some to check their connections. This soon develops into the loudest of the album\u2019s compositions, replete with amplified crickets and something that sounds like monkeys, although a quick Google search reveals that there are no monkeys in Chile! So instead of monkeys, we\u2019re going to go with \u201creally angry sea lions.\u201d<\/p>\n <\/p>\n Ambrose Seddon<\/strong> offers a sedate piece, including flute-like sounds that are likely an indigenous species of bird. Later in the piece, frogs get their due. The choice to zero in on specific aspects of the soundscape is akin to a finger pointing out aspects of a landscape. In Alejandro Albornoz<\/strong>\u2018 \u201cMawida,\u201d there is a wind instrument, albeit with only two notes: a \u201cmagical tool\u201d used by native populations to disorient and unnerve unwanted visitors. Breath is also highlighted in this electro-acoustic piece, though without reference to whose breath: native or invader. The piece is a stark reminder of encroachment and exploitation.<\/p>\n <\/p>\n Brona Martin<\/strong> admits that she has never visited Valdivia, which makes her own composition an \u201cimagined journey.\u201d For many home listeners, this is also the case. The blend of fiction and non-fiction (referring to the initial recordings) is akin to that of novelists who continued to write during the pandemic despite being unable to travel. In Martin\u2019s ears, Valdivia is a place of subdued sound, offering ample opportunity for reflection: these waves lap against the shores of imagination. Rob Mackay<\/strong> enhances the rhythmic aspects of nature, beginning with frogs and continuing through other aspects of the soundscape, producing clicks and \u201cbeats\u201d that are often heard in wetlands, albeit in a less sustained manner. And Felipe Otondo<\/strong> wraps up the presentation with the album\u2019s shortest track, ironically representing its longest duration: a time-lapse recording whose gradual changes represent extended developments.<\/p>\n <\/p>\n When the set ends, the listener feels that they know the wetlands a bit better, but also that there is much to still be explored: an invitation to open the ears now that the skies have reopened as well. Soundlapse | Various artists GrDl 207 | Digital > [order wav version | free mp3 version available below] Reviews The Soundlapse project (2019-22) is an interdisciplinary research initiative funded in 2019 by the Chilean National Agency for Research and Development. It seeks to highlight the acoustical heritage of wetlands in the south of […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-18999","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/18999","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=18999"}],"version-history":[{"count":46,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/18999\/revisions"}],"predecessor-version":[{"id":19178,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/18999\/revisions\/19178"}],"wp:attachment":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=18999"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nGrDl 207 | Digital > [order wav version<\/a> | free mp3 version available below]
\nReviews<\/a><\/p>\n
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\nBosque<\/a><\/strong> by Pete Stollery
\nuntitled #401<\/a><\/strong> by Francisco L\u00f3pez
\nReflecting Cau Cau and Parque Urbano El Bosque<\/a><\/strong> by Ambrose Seddon
\nMawida<\/a><\/strong> by Alejandro Albornoz
\nParque Urbano to Curi\u00f1anco beach<\/a><\/strong> by Brona Martin
\nRitmos del Parque Urbano el Bosque<\/a><\/strong> by Rob Mackay
\nWetland dawn time-lapse<\/a><\/strong> by Felipe Otondo<\/p>\n
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\nArtwork by Francisco R\u00edos and Alejandro Albornoz
\nText by Felipe Otondo and Andr\u00e9 Mestre<\/p>\n
\n(Fondecyt project No. 1190722)<\/p>\n
\n\u00a9 by the individual artists<\/p>\n
\nGermany \/ 2021 \/ GrDl 207 \/ LC 09488<\/p>\n
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\nThe \u201cgolden year\u201d for soundscapers has drawn to a close, and the results continue to be published. During lockdown, field recording artists were able to capture environments in an unprecedented, nearly pristine fashion, immune from the intrusions of humanity. The sonic arm of the Soundlapse project is based on Chilean recordings made by Rodrigo Torres, Cristo\u0301bal Bricen\u0303o and Felipe Otondo were sent to multiple artists for interpretation. In eight tracks, one may experience the wetlands of Valdivia\u2019s \u201cParque Urbano El Bosque\u201d through a variety of lenses.<\/p>\n
\nlink<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"