palestras

A palestra sobre o Mar de Aral inclui áudio, imagens e histórias

das espetaculares montanhas do Quirguistão, do fértil vale de Fergana

e do próprio Aral. Incluem chacais que uivam para a lua, a vida na aldeia

durante uma tempestade de chuva que significa a restauração do mar,

os sons do gelo intimamente ligados a mudanças no clima e uma roda

de água de movimento perpétuo, uma tecnologia antiga ainda em uso na região.

Peter Cusack é um field recordist, músico, artista e ecologista sonoro com

um extenso trabalho de documentação e mapeamento dos sons do planeta.

Peter criou o “Favourite Sounds Project” para descobrir o que  é que as pessoas

acham de positivo sobre o seu ambiente sonoro diário e “Sounds from Dangerous Places”,

um projeto de jornalismo sónico que investiga sítios de grandes danos ambientais,

como os campos de petróleo do Mar Cáspio e a zona de exclusão de Chernobyl.

Produziu ‘Vermilion Sounds’ – o programa de som ambiental – para a ResonanceFM Radio,

é investigador do London College of Communication e foi o artista-em-residência DAAD

em Berlim 2011/12, iniciando ‘Berlin Sonic Places’ que examina as relações

entre a paisagem sonora e o desenvolvimento urbano.


//

The talk about the Aral Sea includes audio, images and stories

from the spectacular Kyrgyzstan mountains, the fertile Fergana valley

and the Aral itself. They include jackals howling at the moon,

village life during a thunder storm of rain signifying the sea’s restoration,

sounds of ice closely connected to changes in the climate and

a perpetual motion waterwheel, ancient technology still in use.

Peter Cusack is a field recordist, musician and researcher with a long interest in the sound environment.

Projects include community arts, researches into sound and our sense of place and documentary

recordings in areas of special sonic interest (Lake Baikal, Siberia).

His project Sounds From Dangerous Places explores soundscapes at sites of

major environmental damage – Chernobyl exclusion zone; Caspian oil fields; UK nuclear sites.

This project continues and is currently researching the regeneration of the North Aral Sea, Kazakhstan.

He describes the use of sound to investigate documentary issues as sonic journalism.

He initiated the Favourite Sound Project in London 1998.

It aims to discover what people find positive about their everyday sound environment

and has since been carried out in Beijing, Berlin, Manchester, Southend-on-Sea, Prague,

Birmingham and Taranto. He co-produced the environmental sound program

Vermilion Sounds for ResonanceFM, London and was a research fellow on the multidisciplinary

Positive Soundscapes Project’ 2006/9.

During 2011/12 he was a DAAD artist in residence in Berlin, where he worked on the collaborative

project Berlin Sonic Spaces that explored the relationship between soundscape and city development.

He has had a long-term interest in improvised music, usually on guitar.

CDs include Where is the Green Parrot? (ReR PC1); Your Favourite London Sounds (Resonance);

A Host of Golden Daffodils (Platelunch) with Nic Collins; Operet (Rere121) with Viv Corringham;

Day For Night (Paradigm) with Max Eastley; Baikal Ice (ReR PC2); Favourite Beijing Sounds (KwanYin 022);

Sound from Dangerous Places (ReR PC3&4); Favourite Berlin Sounds (ReR PC5).