AoL at Tsonami 2017

During the last 10 years our organization Tsonami has been working around the topics of sound and city with the aim of promoting the development of critical artistic processes, using the sonic imagination as a way of addressing social, acoustic, geographical and territorial complexities of Valparaiso.

The 11th edition of the festival will host and co-produce the Acts of Listening project in Valparaiso, starting the 21st of November 2017.

This blog will be the logbook of the project.

Acts of Listening schedule

Wednesday December 6th
16:30
AOL#1
Nicolas Spencer, Barbara Gonzalez, Paul Gründorfer
La picá del Zombie (info)
Plaza Simón Bolivar

Thursday December 7th
11:00-19:00 (installation all day)
AOL#2
Christian Espinoza
Listening parasites #1
interseccion de escalera Tte Pinto y Pasaje Ruskin (Intersection of Stair Tte Pinto & passagem Ruskin) Cerro Mariposa

12:00-13:00
Franziska Windisch
preparation workshop for Encounters (AOL#3 + AOL#8)
meeting point: PCDV entry

15:00-16:00
AOL#3
Franziska Windisch
Encounters I
meeting point: PCDV entry

Friday December 8th
11:00-13:00 (installation all day)
AOL#4
Christian Espinoza
Listening parasites #2
Entrance Escalator Polanco, Almirate Simpson

16:00-19:00
AOL#5
Florian Tuercke
Urban Audio micro.chills
Estation Baron

Saturday December 9th
14:00
AOL#6
Florian Tuercke
Opening of Museo Tsonoro
Plaza Sotomayor

16:00-19:00
AOL#7
Florian Tuercke
Urban Audio micro.chills
Plaza Brasil

18:00
AOL#8
Franziska Windisch
Encounters II
meeting point: PCDV entry

Sunday December 10th
11:00-14:00
AOL#9
barco de cueca experimental
meeting point: Muelle Prat

14:30
AOL#10
Nicolas Spencer, Barbara Gonzalez, Paul Gründorfer
La picá del Gaviota
Caleta Portales
all the time on apointement

AOL#11+12
René Rissland
Secret Moments of Listening I + II
(individual tour, times flexible, please approach rene)
Poblacion Marquez + Cementerio de Playa Ancha

 

(click to enlarge)

AOL #8 – Encounters II

Franziska Windisch – Encounters II
Saturday December 9th
18:00, meeting point:  PCDV entry

A performance that experiments with translation, understanding and dialogue as active forms of listening.

Una performance que experimenta con la traducción, la comprensión y el diálogo como formas activas de escuchar.

 

“By listening we set ourselves into relation to one another / we spread into the peripheries and  therefore become peripherical ourselves – from inside.

Let’s consider peripherical practices, that make us aware of a zone / in which we are able to hear our voices sounding together / and perceive them in their distinctions / in which we endure and enjoy the arising dissonances / and the unpredictability of the coming moment.

A zone that inhabits but does not appropriate / that sounds and resounds but cannot be captured / a porous space , that is neither inside nor outside / like the palacio on Serrano street.”

(excerpt)

 

AOL #3 – Encounters I

Franziska Windisch – Encounters I
Thursday December 7th
15:00, meeting point:  PCDV entry

A performance in public space that reflects on geography, ways of walking, listening and thinking in the form of personal encounters.

Una performance en el espacio público que reflexiona sobre geografía, formas de caminar, escuchar y pensar en forma de encuentros personales.

“Within the next 20 minutes you will walk down and climb up stairs, along a way that will be shown to you. In certain spots a person will speak to you and will ask you different questions. You are free to answer.
Every station is an encounter with an unknown outcome.”

 

 

Workshop – preparing „Encounters I“

DSC04211

Workshop with Franziska Windisch – preparing „Encounters I“

Thursday December 7th
12:00-13:00
meeting point: PCDV entry

An invitation for people who are interested to participate actively in the performance „Encounters I“ at the same day at 15h.
We will prepare together parts of the performance and will get an insight into the process of „Acts of Listening“

Please register by sending a mail to: skawi@gmx.de

Una invitación para las personas interesadas en participar activamente en la performance “encuentros I” el mismo día 15-16h. Vamos a preparar partes de la performance juntos y obtendremos una idea del proceso de “acts of listening”

Regístrese enviando un correo a: skawi@gmx.de

 

AOL #1 – La picá del Zombie

Plaza Simón Bolivar / Miércoles 06, 16.30 hrs

-Zombie-árbol-Paul-Bolivar-Act-Bábara-Plaza-Naranja-Nicolás-tomar-volar-

En Chile le llamamos así a los restaurantes, fuentes de soda o cocinerías que ofrecen recetas típicas chilenas, con porciones abundantes y a buen precio. Generalmente son datos que se pasan de boca en boca, lugares populares, con un ambiente que es parte de la identidad nacional. Es comida simple, sencilla, con todo el sabor de la gastronomía local, ya que la mayoría lleva muchísimos años cocinando y perfeccionando los mismos platos. https://www.sabrosia.com/2012/05/cual-es-la-mejor-picada-de-chile/

In Chile they call “Picá” restaurants, Fuentes de Soda or cooks that offer typical Chilean recipes, with abundant portions and at a good price. Generally they are tips that are passed from mouth to mouth, popular places, with an environment that is part of the national identity. It is simple, simple food, with all the flavor of local cuisine, since most have been cooking and refining the same dishes for many years. https://www.sabrosia.com/2012/05/cual-es-la-mejor-picada-de-chile/

 

AOL#10 – La Picá del Gaviota

Caleta Portales / Domingo 10,  14.30 hrs aprox. /  $500 por persona / Paseo en barco y almuerzo incluido / Partiendo de Muelle Prats a las 13:00 /

-Gaviota-mar-Paul-Mercedes-Portales-Act-Caleta-Bábara-Merluza-Nicolás-comer-volar-

Primero hay que ponerse de acuerdo, ¿qué es una “picada”? En Chile le llamamos así a los restaurantes, fuentes de soda o cocinerías que ofrecen recetas típicas chilenas, con porciones abundantes y a buen precio. Generalmente son datos que se pasan de boca en boca, lugares populares, con un ambiente que es parte de la identidad nacional. Es comida simple, sencilla, con todo el sabor de la gastronomía local, ya que la mayoría lleva muchísimos años cocinando y perfeccionando los mismos platos. https://www.sabrosia.com/2012/05/cual-es-la-mejor-picada-de-chile/

First you have to agree, what is a “Picá”? In Chile they call “Picá” restaurants, Fuentes de Soda or cooks that offer typical Chilean recipes, with abundant portions and at a good price. Generally they are tips that are passed from mouth to mouth, popular places, with an environment that is part of the national identity. It is simple, simple food, with all the flavor of local cuisine, since most have been cooking and refining the same dishes for many years. https://www.sabrosia.com/2012/05/cual-es-la-mejor-picada-de-chile/

 

 

 Tsonami  – 10 years of making noise

I was able to singshatter glass; my scream slew flower vases; my song caused widows to crumple to their knees and let drafts rule; my voice sliced open display cases like a chaste and therefore merciless diamond […].
Oskar Matzerath in „The Tin Drum“ by Günther Grass

 

To run a festival is a bit like to raise a child, with all the ups and downs and everybody who operates a festival or has children knows what I’m talking about.

Like children, most festivals come to life by accident, some are strategical planned but love has to be involved almost always. Of corse there are the cases of artificial conception but we’re not talking about those festivals here.

Ones you put a child/festival out into the world you have to live with it, you naturally accept all demands, dynamics, developments and challenges – you are responsible now.

You’re constantly busy catching up to manage logistics, new time structures, coordinations and paperwork. But you don’t mind, everything is new and exciting, unquestionable. You make mistakes and have doubts but you develop routines helping to manage that new reality. You’re payed off by the countless moments of pleasure and excitement, every new little thing you discover and every small step makes you happy.

Up to a certain age, let’s say up to 3 or 4, children are allowed to just be in the world, learn the basics of communication and interaction and explore everything in a unprejudiced and wild way. Surly some very distinct character properties might flash up here and there but you are still in a protection zone, the outside world is judging very mildly and sympathetically. Kids can’t do so much wrong, almost everything they propose is getting applause.

Things change and get more complicated around the age of 5, when people start to expect a certain reasonability and consciousness. You have to behave and play with social rules, things become more political. Negotiating and compromising starts. Certainly that innocence is getting lost. That naivety which produced so much questions and surprises fades away. By the age of 10 you are considered very often as almost grown up. You have to fit into the system, play the system and long ago you started to compete. There seems to be no other option, you have to grow up further, become more prudential, rational and adult.

Looking backwards on the history of a festival is as nice and dangerous as looking at a family photo album, full of romanticization and sentimentality.

And like all metaphors – this one is not fully working. Of course this is not about idealizing the state of naivety and trying to avoid confrontation with reality. Especially not in the case of Tsonami, a festival what is so deeply involved with the social context, operates so thoughtfully and responsible within the city. What I’m trying to address here is the format of a festival itself. If „art is like a thought send to you from the future“ as Timothy Morton said, should not festivals be the temporary shelters, free spaces and laboratories for the artists?

If it’s the role of art to be curious constantly, be a step ahead of society and generate these little shifts of perception, provoke these moments of pure excitement and astonishment – festivals should concentrate those free energies, make things possible which have no place otherwise. They should explore fearless new forms of production, presentation, translation and mediation to a wider audience without to much concerns. Festivals have to generate these little islands in time and society for their audiences which can change your perspective.

Or maybe some festival you wish might never grow up, and keep their spirit playful exploring the world…

Oskar Matzerath, the hero in Guenther Grass’s „Tin Drum“ decides on his third birthday not to grow anymore. Intellectually and humanly very well developing he remains in the body of a child. Whenever he has to protect himself against the world of grown ups he starts to scream in a pitch which can break glass and he uses his tin drum to articulate his protest against the dishonest and conniving world of the adults.

Still this is only one angle to look at things, but maybe a picture for how I imagine a festival working with sound in society….

My older daughter is turning 10 this year, I hope in a few years time, when she is starting to go to festivals, she will attend a festival which is made with love and passion and will have – instead of just consume – the same experience of productive stimulation I had. Maybe this will be the 20th edition of Tsonami in Valparaiso.

October 2017

Carsten Stabenow, Prologue for the book "Tsonami - 10 años"
available soon - ISBN 978-956-393-196-9