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How can I approach recordings of a place that is foreign, outsider, alien to me? Recordings that are so rooted in their sense of place, as in this case with Viseu, have, in my opinion, two ways of manifesting: they act as a definitive index of their own mechanism in articulating space and time in a fixed, linear temporality; but they also represent a ground in which they no longer exist: that is, a technical nature that can relate to a non-landscape, a landscape beyond itself, existing between a multiplicity of places. So, to approach these recordings I had to come up with a way to make them mine, but also to consider them as independent multiplicities that act as technical objects, no longer participating in a geographical sense.
With this in mind, I re-recorded the rural sounds of Viseu, playing through the speakers in my house. I moved the speakers throughout my house, placing different microphones in different places, and using various techniques for re- recording the sounds coming out of my speakers, evoking rural Viseu. Through this methodology, I can play with the acoustics of my own sense of place, interlacing with the geographic mechanics of the recorded topographies.
The chants, rivers, voices and abandoned buildings transform first through translating them technically, and then approaching the composition structure through analyzing narratives in the same recordings. I came up with a way to intertwine the mangling of sounds and spaces in time through the idea of "narrative interferences" and rhizome (Deleuze); this way, I can think about presenting, in one way, a possible outcome for representing Viseu in my own, quotidian approach.
Biography:
Diego Behncke (b. 1992, Santiago), is a composer and artist working in the field of media arts, installation, and electroacoustic composition. His work is aimed at approaching research about geography, technical objects, and organized representations of data appropriation through algorithms that relate to real and virtual spaces.
Studied Musical Composition in Pontificia Universidad Católica de Chile (2011- 2015) under Cristián Morales-Ossio, and Aesthetics in the same university (2015-2016), doing techno-aesthetics studies and film theory.
Since 2012 he is part of the multidisciplinary art collective Taller Ciclo, doing live performances in Santiago, Chile, in Teatro Oriente (2015) and Sala Isidora Zegers (2015), and also La Serena in festival MUSICAHORA (2014).
In july 2016 his debut full-lenght album "2082z 1952z 1948z" was released by Speculations Editions.
- Genre
- Electroacoustic Music