Reseña de Sueños Migratorios en ‘Plataforma Habitarte’

Feature in Plataforma Habitarte, Colombia

Feature in Plataforma Habitarte, Colombia

En el mes de Julio, 2015 se publicó una reseña del performance telemático ‘Sueños Migratorios’ en la Edición número 3 de la Revista en linea Colombiana Plataforma Habitarte. Me parece muy interesante que una revista de arquitectura y diseño se interese entre otros aspectos urbanos, en la cultura sonora. Que bien!

Gracias por la publicación!


In July, 2015, the Colombian online magazine Plataforma Habitarte, in its 3rd edition, published a feature about the performance ‘Migratory Dreams’. I find very interesting that a magazine dedicated to architecture and design, offers space to talk about sound culture. Great!

Many thanks to the publishers!

Two Thousand and Fifteen Symposium at Belfast, April 25th – 2015

Screen Shot 2015-07-15 at 19.27.06

This year I had the opportunity to attend the symposium ‘Two Thousand and Fifteen’ exploring the theme ‘Fractured Narratives’ as part of ‘Sonorities’ a Festival of Contemporary Music in the Queen’s University Belfast. I presented a paper called ‘Improvising in the distance: Letters and Bridges’ focusing on the experience of Letters and Bridges telematic performance.

Symposium Fractured Narratives at QUB, April 25, 2015

Symposium Fractured Narratives at QUB, April 25, 2015

Here the abstract of the paper:

“This paper explores forms of fractured narratives that arose in ‘Letters and Bridges’, a telematic sonic performance from the project ‘Networked Migrations’. This event invited migrants (non-performers) based in Mexico City and in Leicester, England to share personal letters through improvisational readings, using real-time, bi-directional, streaming sound (Alarcon, 2014). Six participants from different countries, speaking in different languages, engaged in a practice of Deep Listening (Oliveros, 2005) to prepare for the improvisation, which was performed first by using a letter sent to them by someone they love, and later by using a new letter written to their distant performance partner in a pen-pal fashion.

Repetition, fragmentation, and transformation of words—leading to newly created relations between languages and styles, between authors and recipients, and between historical contexts—all helped participants to cross metaphorical ‘bridges’: bridges to access the memory of the beloved one, and bridges to access that ‘stranger’ who is willing to listen to multiple levels of personal story created in the distance. The bridge, in this context, can be understood as the path that facilitates the flow of feelings and words within the fracture that distance generates. This fracture implies: migration, dislocation, conversation between strangers, and stories from other spaces and times in foreign languages. Technology paradoxically enables and disrupts the narratives. The listening process and the detachment from visual presence focuses one on sound as the only source for interaction.

The paper will analyse the process lived by the participants—from the first pre-performance encounter to the public performance—as well as the new stories and reflections that emerged from the disruptive interaction: reflections about colonised and coloniser countries, witness accounts of sadness and violence, and the desire to migrate again, escaping from ‘broken’ and repetitive landscapes, which signified political instability and stagnant routine.”

The symposium invited me to think and hear the discussion about the role of participants in artistic/research projects, and subjectivities. I think each work must respond to the dynamics of the context and the people involved. There are not formulas either for art processes or for working with people, but always keeping in mind an ethical approach. The amazing book of Ruth Behar ‘The Vulnerable Observer‘ is a good reminder of the involvement we had with others in the creative and research process, an anthropological perspective.

Many thanks to the organisers!

ICT Art Connect – Bozart Brussels


Photo by Riitta Oittinen










Networked Migrations and Sounding Underground were exhibited on the 25 of September, 2014, in the festival of electronic art Bozart, in Brussels, as part of artworks that engage communities and use ICT. It was a great opportunity to make these works known in Europe, and to be part of ICT Art Connect, where artists have the chance to tell the story of their work and envision future collaborations.



Tasting Sound, Listening to Taste

Tasting sound, Listening to Taste – menu/score

Listen, taste and travel through your body memories. Send us your taste with your voice, words and other means (via mic). Receive ours with your guts, heart and brain. In real time.

Tasting Sound, Listening to Taste (a shared telematic journey through food and migrations) was a 20-minute improvisatory telematic performance, prepared for the Festival of Performances at the 2nd Deep Listening Art/Science conference, and created by Ximena Alarcón, Inês Amado and Ron Herrema in London, and with guests Sharon Stewart, Joe Patatucci and Jonathan Hoefs at Rensselaer Polytechnic Institute in Troy, New York. It took place on the 13th of July, 2014, at 1:00pm Troy time, and 5:00pm, London time.

In the making of the initial menu, which we shared with our guests, we focused on aspects of relocation and transformation of sound and taste as they are mediated from one environment to another, one location to another location. We invited them to exchange playfully experiences of taste and sound.

What would be the sensation, the perception and the memory of tasting a sound made by the foreign ingredient, which helped make that sound? How do we experience the displacement, within our improvisation and how does it sound?

How does sound influence taste? And how does taste inform sound?

Our menu was informed by spontaneous connections we made in our daily life with taste and sound, and which we were exchanging by texting each other via mobile phones; these texts created the material, which was used in the performance. We are migrants based in the UK, where people have and still rely on food from all corners of the world. Our experiences of food are enlarged by the fact that we have been recently identified as being allergic to certain foods, perhaps as a result of global mobility of food, and our bodies’ acceptance or rejection of these. Our bodies are silent witnesses of our process of geographical mobility.

We intended to manifest the perception, intuition, sensation and feeling of the food we taste and the sounds it makes, while crossing the borders of our bodies and minds.

“It was lively and funny and juicy and crunchy! What a thought-provoking score, and it was really magical to be carried in the stream of your words, thoughts and sounds.” (Sharon Stewart)

“O yesss it was… yummy, visceral and TOTALLY satisfying (despite reports that we would never be satisfied) Would love to perform the piece again, I was sharing with Sharon and Joe the other day that the process of relating to my food memories and sounding them was a very transformative one for me. Afterwards, when we went to lunch, we were giddy and completely in another dimension. Certainly signs of success. ” (Jonathan Hoefs)

“I continue to sense the texture of the fig we shared together in telematic space. We may never have seen it but we tasted it together, so it must exist.” (Joe Patatucci)

A video with the sound of both locations is forthcoming.

Here there are some excerpts from our work:

performance 1

Performing “Tasting sound, listening to taste” stills from video © Inês Amado


Here you can listen to a sound collage of some moments of the improvisation, from London’s location. Although Troy’s side cannot be heard; only as a distant voice as if it were a telephonic conversation (voice heard through the headphones), it is interesting to note our pauses, and synchronised responses to their sounds.

We triggered pre-recorded sounds from computer keyboards via a PD interface created by Ron Herrema, and performed live sounds too. We connected via the software Jacktrip, and our sounds were played in the cafe area of EMPAC at Troy, New York, where our guests were, just before lunch.


Performing “Tasting sound, listening to taste” stills from video © Inês Amado

Special thanks to Dave Samson, from Rensselaer Polytechnic Institute (RPI), for his amazing and swift support for the technical setting (Jacktrip connection and amplification). Many thanks to the network support (IP addresses and ports) offered by Severin Adou and Santhanarajah Krishnarajah, at the University of the Arts London, and Dave Bebb and Brian Cook at RPI.

Many thanks to all improvisers for this listening exploration of memories, sounds and buds.

This performance was supported by Creative Research into Sound Arts Practice (CRiSAP), based at London College of Communication, University of the Arts London.

Paper published in Liminalities Journal

Published Liminalities Journal


Networked Migrations’ academic paper has been published in the Journal Liminalities, as part of a collection of essays exploring Body, Space and Time in Networked Performance, edited by Garrett Lynch and Rea Dennis.  The contributions to this issue have been compiled from the outcomes of the international conference Remote Encounters: Connecting Bodies, Collapsing Spaces and Temporal Ubiquity in Networked Performance held at the University of South Wales on the 11th and 12th of April 2013.

Liminalities issue 10.1 –

Direct link to the paper:


Listening to Deep Listening art/science conference


I had the opportunity and the pleasure to attend the first International Deep Listening Art/Science conference in Troy, NY, at the Experimental Media and Performance Arts Centre – EMPAC, organised by the Deep Listening Institute and the Rensselaer Polytechnic Institute.

It was an unusual conference, where people gathered to talk, but with the premise of listening deeply. I perceived this at all times, during the talks, performances, workshops and even during the lunch time. Previously I’ve heard and experienced in similar events that listening is demanding and therefore a tiring experience. After three days of continuous Deep Listening to lectures, workshops, performances, listening walks, poster sessions and round tables, I just wanted to listen more and more; I wanted an ever-lasting conference! I was fully energised, not exhausted (even in very high temperatures); this is because Deep Listening invites you to open not only your ears and intellect, but also your full body, to listen. As Pauline Oliveros stated in a round table discussion, listening is not about training the ears but about training the brain. When all sound flows through the body, because of our attentional dynamics, inner and outer perception combine in a delicious feeling which Pauline refers to as homeostasis, an equilibrium which is reached in the space/time continuum of sound, and creates the sensation of being inside of a musical piece that we customise as we listen, compose and perform; we are the music and the instrument for the music.

What was my music made of? It was made of every single paper and performance I heard, the workshops in which I participated, and the ‘sparks’ that these created in my stream of consciousness and knowledge. These ‘sparks’ were present in the anticipations and the surprises, in the non-thinking that occurs when I am performing guided by intuition, by listening, by flow. My own sounding materialised in my ‘Networked Migrations’ paper, and my participatory performance ‘Spider whispers’. The first one flew gently and used the right pace, as I felt listeners tuned into those in-between spaces (migratory and telematic), and into other unnamed spaces of sound. ‘Spider whispers’ was incredibly playful and sonically rewarding. I felt fear when I was standing in front of my audience/performers (I had never done this before, and never with so many people), but I said it, and we laughed and I felt we opened to the idea of becoming spiders, and connecting and bringing our own fears, love and laughter, our extreme fears, strange love and timid laughter that spiders provoke; we were connected.

There is a permanent feeling of gratitude when entering into a Deep Listening space; the flexibility and brilliance of space allows us to escape traditional boundaries of academic settings and protocols that could make us tense and tight. I was attracted to Ben Richter’s talk about Time Distortion, and his suggestion of Deep Listening as ‘a state’. I would say the Deep Listening state depends on each person’s ability to let go and simply listen. Removing all mental obstacles that constrain us to do so, and waiting for things to happen. In the conference, this ‘state’ was approached not only through artistic experiences but also through science. Seth Horowitz, in his keynote speech went deeply into the explanations of how our brain works for us to physically perceive sound, and he also acknowledged the mysteries that still remain in order for science to explain listening. While in the round table discussion, when the participants were discussing Hearing vs Listening, it was suggested that when hearing cannot be explained fully through our physical senses, such as in memories or listening in dreams, the temporality of sound disappears. This is when, I believe, we enter into a state of consciousness, as Richter also suggested, which can be accessed through Deep Listening. As we come into an amazing era of conscious awareness and world connectedness, dissolving all boundaries, including the ones between disciplines, Deep Listening is stimulating the expansion of listening in all kinds of educational, scientific and artistic practices all over the world. The conference gave me a wider breadth of my understanding of this philosophy and practice, and I am grateful to all organisers, presenters, performers and audiences for making possible this unusual event. Here is a link to the programme. I am looking forward to attending the second Deep Listening conference next year. Here an excerpt of ‘Wired for Sound’ by Jay Kreimer:

Wired for Sound by Jay Kreimer at the Deep Listening Conference, 2013 from Ximena Alarcón on Vimeo.