aralsea_pcuz

Há sessenta anos, o Mar de Aral na Ásia Central era o quarto maior lago do planeta.

Hoje está praticamente desaparecido, vítima de vastos esquemas soviéticos de irrigação

que desviam muita água dos seus rios de origem.

É um dos desastres ambientais mais significativos e menos conhecidos do século XX.

No entanto, desde a independência, o Cazaquistão está a tentar restaurar com sucesso

uma parte do Aral no seu território.

O aumento dos níveis de água e a indústria pesqueira renascida estão a trazer

melhorias óbvias para a ecologia e a economia locais.

É um exemplo positivo muito necessário no debate sobre as mudanças climáticas

para repensar a nossa relação com o meio ambiente.

Desde 2013, Peter Cusack fez várias viagens ao Aral e à sua bacia para fazer

gravações sonoras de campo, tirar fotos, conversar com as pessoas e tentar entender

o impacto dessas grandes mudanças. O Aral ainda é um lugar extraordinário,

um imenso corpo de água numa paisagem vasta e quase plana.

Não há árvores durante milhares de quilómetros e geralmente sopram ventos fortes.

O clima é extremo, +50 no verão, -25 no inverno.

Os aldeões cuidam dos animais e peixes da temporada.

A vida é dura, mas a água que retorna traz alguma esperança para a 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.

//

Sixty years ago the Aral Sea in Central Asia was the planet’s fourth largest lake.

Today it has almost disappeared; a victim of vast Soviet irrigation schemes that divert

too much water from its source rivers. It is one of the 20th century’s most significant,

and least known, environmental disasters. However, since independence,

Kazakhstan is successfully restoring a part of the Aral in its territory.

Rising water levels and a reborn fishing industry are bringing obvious improvements

to the local ecology and economy. It is a much needed positive example in the climate change

debate and in re-thinking our relationship to the environment.

Since 2013 Peter Cusack made several trips to the Aral and its watershed to make field recordings,

take photographs, talk to people and to try to understand the impact of these major changes.

The Aral is still an extraordinary place, a huge body of water in a vast open, mostly flat, landscape.

There are no trees for thousands of kilometers and strong winds usually blow.

The weather is extreme, +50 in summer, -25 in winter.

Villagers there look after animals and fish in season.

Life is harsh but the retuning water has brought some hope to region.

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).