The space between the eras

"The silence and absence was what inspired me deeply, like the resonance of air in space. It led me to some points where I was feeling the empty space as a non-temporal era, so I tried to add and compose some small scenes within the sound. "I was practising a bit of what's called a kind of archaeoacoustics, a way of imagining spaces from a historical perspective and with a bit of imagination. We can listen to a soundscape, a sound recreation of collective work, developed in collaboration with the Cães do Mar theatre company, with seven actors on stage, thinking of sound as a strange physics in which we can inhabit spaces, from different periods of time. We can also listen to some field recordings from different locations, such as birds and crickets from the island of Flores. "I used sound collage, field recording, my voice and a home made instrument that I called escuadra. "The approach of this work is that it opens from a night of time in which the cricket indicates the time of day, crossing the threshing floors, we hear calls from beyond, accompanied by a historic wind, then we arrive at a small work scene, with old tools, and we pass through the voices of a market in which Arabic is the language, until we arrive at the coast where we say goodbye to our ethereal body." Nea Papho, Cyprus reimagined by Laboratório Experimental do Som. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world’s most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

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