How do you invest the issue of the relationship between sound and the space
of diffusion in the work you are presenting for Parisonic?
What does space and environment mean for instrumentalists?
Are the sound that I probe internal? Are the echoes that I pick up those of
screams and struggles?
How do you link up, if you do so, your sound practice?
In composing for this edition of Parisonic, what did you consider the main
challenges in presenting your work in an unfamiliar location?
What significance do circles have for you?
A larsen question: "Which question would you like to be asked on your
work?".
Can one say something about his own work?
Does the place where your work appears determines it?
Which are the parameters you consider when you discover a place where you
are invited to intervene?
As
Augustin Berque argues from Japan: "You never undertand the reality of a
certain environment if you don't have an idea of the way the concerned
subjects (the inhabitant of the environment) do perceive and conceive it."
Do the artist works according to the local scales/sizes and conditions (of a
given place) or does he apply his aesthetics rules to the site in which he
intervenes?
If you close your eyes what do you hear?
What do you englobe in the notion of sound environment, and from there, what
limits do you impose on yourself in the way you approach the place?
What is your favorite type of sound and why?
In what my music has something of political?
What kind of relationship do you have with "your" sounds, that is to say
with the sounds you work with?
How do you work?
Do you think it is possible to convey ones experience of a location through
a "field recording"?
Why this articulation around the places?
How do you face the issue of the hearing and the public's interaction in a
site specific work?
Horatio Vaggione postulates the notion of composable space as an operational
space, which is composed of all operations and variables available to the
artist in the act of creating and composing. Which are the variables and the
operations that you have been considering in the creation of the work you
present for this edition of Parisonic?
