{"id":22165,"date":"2024-10-20T15:29:28","date_gmt":"2024-10-20T15:29:28","guid":{"rendered":"https:\/\/www.binauralmedia.org\/news?page_id=22165"},"modified":"2024-10-20T15:45:39","modified_gmt":"2024-10-20T15:45:39","slug":"luciano-piccilli","status":"publish","type":"page","link":"https:\/\/www.binauralmedia.org\/news\/en\/virtual-residencies\/luciano-piccilli","title":{"rendered":"Luciano Piccilli"},"content":{"rendered":"

Rebeli\u00e3o das nuvens<\/em><\/strong><\/p>\n

“When the Carnation Revolution of April 25th, 1974 occurred, the Portuguese region of Laf\u00f5es entered a cultural effervescence, visible in the celebratory spirit of the people’s social manifestations. Greg\u00f3rio Silvestre, a Portuguese migrant returning to his homeland after years in Brazil, felt the need to record those moments that took place in his mountainous land, and armed with a cassette recorder he managed to capture festivities, conversations and some profound reflections about his people.<\/p>\n

This sonic essay attempts to re-imagine the figure of Greg\u00f3rio Silvestre from his personal archival collection. There is an idea of reconstructing a territory through the “lens” of an unknown and physically distant character. And I think that here, something of the methodology that Steve Feld implements in his theories on acoustemology appears, and it is this idea of “listening to the stories of listening”. That is to say, to listen to what others in their local context listen to and to make a kind of biography of listening.<\/p>\n

This work attempts to approach Binaural Nodar’s digital repository, product of more than 20 years of artistic residencies in rural areas of deep Portugal, mixing it with personal and external recordings, from various listeners and field recording enthusiasts. Sounds of the carnival of Lazarim, drums, bells, crowds, young kids getting into the Paiva river, passing carts and flowing rivers, all mixed with Brazilian blocos rhythms and other deformed, glitched and unclear fragments. The festive and carnivalesque sound accompanies the first part of the journey. Greg\u00f3rio’s speech, “conversa sobre os melhoramentos no lugar de vilarinho do monte (1979)”, articulates the whole piece, proposing reflections on popular festivities and the importance of their preservation. Although Greg\u00f3rio Silvesttre recorded this manifesto in solitude, there is an intention to bring his voice back into the public space.<\/p>\n

Rebeli\u00e3o das nuvens <\/em><\/strong>wonders why people feel the need to record: does what is not recorded not exist? The need to capture the world around us hides an aura of fear of death, of the finitude of the human being. There is an extreme confidence in the devices in their role of recording reality. Now, what happens if machines decide to erase the archives of the world or mix them up as they please? Let’s think of a machine that analyses the archives and generates random relationships, that converses with the materials generated by humanity and produces its own memories. Well, it already exists, so why trust in machines?”<\/p>\n

Luciano Piccilli, September 2024<\/p>\n

Luciano Piccilli (Argentina) is an image and sound designer (UBA) born in Misiones, Argentina in 1991. He completed postgraduate studies in Expanded Music (UNSAM) and Sound Art (UNTREF). He received the 1st Prize \u201cInstallations and Alternative Media\u201d at the 3rd UBA Design Biennial. He participated in exhibitions in Argentina, Colombia, Peru, United States and Spain. His sound work has been programmed by Proyecto Tanque, Site Specific Songs (Arg), the Ruido \/ Noise gallery in Austin Texas, the \u201cFirst Look\u201d festival in Los Angeles, California and the \u201cWater of Change\u201d Digital Archive in India. In 2022 he participated in the International Festival of Sound and Interactive Art INSONORA, held in the city of Madrid.<\/p>\n<\/div>

SOUND WORK COMPOSED DURING THE ARTIST RESIDENCY<\/h4><\/h1><\/div>