Cuneo day’s

As part of the Europe B-AIR project, these days have taken place in Cuneo (italy), at the Conservatorio di Musica G.F.Ghedini from 5 to 8 October 2022.

Taking inspiration from a phrase of Jean-Claude Risset (pioneer of musical research founder of Music Research Center ACROE and initiator of the AST-Art Science Technology concept): “One of my early desires as a musician was (…) to compose the sound itself, instead of merely composing with sounds.”

This contribution has involved, as active host, the METS (Electronic Music and Sound Engineering) Department of Cuneo Music Conservatory, as well as local realities related with B-AIR themes.

The event followed a format successfully adopted in previous face-to-face appointments: the mornings were devoted to public lectures, presentations, debates and meetings, while the afternoons and evenings were dedicated to on-field activities – research actions, workshops, performances – that also involved a broad public.

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abstracts

01 – Opening Welcome

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02 – Dance performance

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03 – Radio Promenade Time Machine
             Giuseppe Gavazza

While preparing Radio Wega B-AIR to be presented in Port Bou in September 2021, I collected hundreds of audio files of radio broadcasts covering the entire history of radio: from Marconi’s first broadcast in 1901 to a news broadcast in French on 30 January 2020 personally recorded on field in the Moroccan Sahara announcing the flu in Wuhan, China.

The 135 fragments from these files that I used for Radio Wega B-AIR will be uploaded to some thirty speakers will be loaded separately – collected for years in close proximity – onto some thirty portable speakers the size of a pocket radio. Each of these pocket speakers will thus become a time machine: a radio that, by broadcasting transmissions from more or less distant years, will accompany us on our walk from one venue to another of the B-AIR_Days 2022 inauguration events.

CONFERENCES – day 1 * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

04-1 – Sonic Experience: A Guide To Everyday Sounds
             Nicolas Tixier et juL McOisans

Are there qualitative tools specifically adapted to the analysis of the sound environment and what is their operational value? Since the seventies, several tools of reasoned description were proposed like the “sound object” or the “soundscape”. Theoretically fundamental, these instruments remain partially unsuited to the scale and pragmatic imperatives of architectural and urban design. The “sound effect” can be reduced neither to an exclusively objective data, nor to a subjective data. It is more precisely the product of an encounter, of a correspondence, of an interaction between the physical, “objective” soundscape, the soundscape of a cultural community and that specific to each individual. Susceptible of precise description either from the acoustic point of view, or from the point of view of the built environment, or from the point of view of the psychosociology of listening, the sound effect can first of all serve to decompartmentalize the fields of knowledge on the sound and the sound practices. It can also be particularly useful as an aid to measurement, as a descriptor of complex sound situations, as a tool of representation, of intervention or as a pedagogical tool. A repertory has been elaborated, it crosses the descriptions and the analyses of more than eighty sound effects and specifying their correlations, is a major contribution to the elaboration of a true instrumentarium adapted to the Listening of the environment.

see also +++ > https://aau.archi.fr/cresson/cres-s-o-u-n-d/la-boite-a-effets/

Bibliographic Reference

– Jean-François Augoyard, Henry Torgue (dir.) A l’écoute de l’environnement : répertoire des effets sonores. Parenthèses, 174 p., 1995.
– Jean-François Augoyard, Henry Torgue (dir.) Repertorio degli effetti sonori, Lucca : Libreria Musicale Italiana, 192 p., 2003.
– Jean-François Augoyard, Henry Torgue (dir.) Sonic experience, a guide to everyday sounds. McGill-Queen’s University Press, 216 p., 2006.

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04-2L’isolato: Geometries of cohabitation
             A.Ceraso, A.Fantino – Cuneo

see also the video +++ > https://www.youtube.com/watch?v=jjQloeKHnTg&t=4s

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04-3 – Noisy fairy tales: Aesthetic foresight and planning consistency in Sergio Liberovici’s didactic works.
             Francesco Cristiani – Torino

Sergio Liberovici, probably the most significant composer from Turin in the second half of the 20th century, dedicated the last years of his life to investigating children’s musicality. It is no coincidence that he came to the world of childhood after a life spent in ethnomusicological research, music for theatre, cinema, radio and television, musical theatre and opera. These divisions and categories for the child do not exist because in childhood, our experiences are always total.
I had the good fortune to collaborate with Sergio Liberovici during these intense years working in the field of musical theatre for children. I also inherited the class of Composition for Teaching at the Cuneo Conservatory where I still teach, following his premature death in 1991.

see also +++> https://it.wikipedia.org/wiki/Sergio_Liberovici

            +++> presentation

            +++> Video

Francesco Cristiani – Musicologist from Turin who is pursuing for the past two years the possibility of doing a PhD on Liberovici’s opus-will focus on works, in particular two (Il Grande Chiasso and Fogli d’Album) that propose listening to the soundscape as a theme and  subject of musical composition and didactics.

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04-4 – Radio compositions for babies
            Ntana Papachristou, Yorgos Samantas – TwixLab

Following RTVSLO’s proposition, sound artists Dana Papachristou and Yorgos Samantas presented a first sample of their upcoming work, “Together”, a radio piece for infants with experience of hospitalization. The work is initially driven by a narrative libretto (“the pairing of a hospital pillow white feather with a wounded black bird who misses a feather”), which is built upon with soundscape and musical composition.

The presentation is meant to be a “pitching” session, in order to initiate dialogue and receive feedback from more experienced partners who have been working systematically with neuroscientists, cognitive and developmental psychologists and in synergy with composers, so as to share best practices on the particular field of radio composition for babies and toddlers, and for vulnerable audiences, particularly for managing potential distress in hospitalization contexts.

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04-5 – Emotional music education and sonic identity in a context of social vulnerability: a Research- Action project on Educational Soundscapes composition in special needs music pedagogy.
            Silvia Cucchi – Cuneo Conservatory

Educational Soundscapes composition supports the construction of sense, through the evocation of symbolic valences and the activation of somatic processes: thanks to these features, the perception and communication of a personal soundscape encourages a specific mode of being-in-the-world and enhance awareness in all individuals. In this talk we briefly present an Research-Action project carried out by the Department of Music Didactic in Academic Year 2020-21 on this issue. Starting from the discussion and analysis of data collected in a survey on the problems encountered by music and support teachers in Italian schools, we document three experimental soundscape-based practices, respectively in the distinctive fields of vocal didactics, instrumental lessons and music listening didactics in schools, carried out in a blended mode (at distance and in-presence) devised by our students during their internship training.

see also +++ > presentation

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05 – Cresson Workshop

After the presentation of sonic effects in the morning, this workshop will simply be a practical exercise, going out into the field in small groups, to hunt for sonic effects. We’ll try to locate them, listen to them, record them, or even produce them.
It will also be the occasion to test & compare the different recording tools & type of microphones Cresson brought to Cuneo : Parabolic, ORTF stereo, MS micro & Dummy head.
At the end of the afternoon, we will pool and share what each group has brought back.

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06 – music_kitchen_performance LIVE (italian version)

Radio play for babies Music Kitchen: When a spoon becomes baby’s first ever instrument. And your kitchen a concert stage.

We’re inviting you to not only listen but also actively engage – accompany the piece or improvise with the help of graphic musical score that includes suggestions how parents and children can actively participate. But you can also just listen to the radio play. Maybe just once, or maybe you listen to it again and again. 

The spoken, rational language is preceded by the language of intonation, rhythm, different registers and melody. It is the sound stimulation, consisting of music, words, phonemes and the sound of objects in the environment that has a significant impact on a child’s early emotional, cognitive, social and motor development. 

Music Kitchen is a radio play for babies and toddlers from 6 to 18 months old. Its theme are baby’s early rituals when learning to seat at a dinning table and combines realistic sounds from an everyday kitchen environment with elements of electro-acoustic composition, creating a stimulativemusic composition accompanied by a text, narrated by actress Maja Kunšič. 

Target audience are babies and toddlers in sensory-motor phase, which developmental psychology defines as a period in a child’s life, when they learn about the world with the help of activities that engage and stimulate their senses. Parents or caregivers play an important role in this process as they represent a model for the toddler’s interaction with the outside world.

Therefore, we are inviting you to take a look at the graphic musical score and use it while listening to the play with your baby. With singing, playing with objects, verbal imitations, improvisation and other forms of spontaneous engagement your kitchen can become a concert stage. And the spoon your baby’s first ever instrument. 

Make the listening playful, creative, be open-minded and let it be your ear into the world.

Radio play was produced as part of B-AIR research project. 

CREDITS: 

Author of the text and Director: Tajda Lipicer
Composer and Author of original music: Alenja Pivko Kneževič
Interpreted by: Maja Kunšič
Expert advisors: Saška Rakef, dr. Katarina Zadnik, dr. Katarina Habe, dr. Katarina Kompan Erzar
Sound Engineer: Urban Gruden
External Collaborator: Žiga Hren

Produced by: B-AIR LAB, Radio Slovenija

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07 – il_ciangottio (the chatter – le babil) LIVE in parco della resistenza

Irena Pivka, Brane Zorman: Chatter

an introduction for adults

during a listening session with a child

Psycho-energetic radio play Chatter is a musical tale, its theme is toddler’s vocal creativity – different ways to create sounds together with animals, trees and small children. When toddlers begin learning their first syllables, they usually enjoy it very much; but not because they want to communicate (like adults), they have other tools for that since they mostly communicate on an energetic level from the day they’re born; instead, while learning different syllables they actually enjoy the process of creating (with) their own voices and the music made in this process.

Chatter‘spoetic vantage point is its assumption that children may be able to understand the language of animals, and that animals understand the language of toddlers. Children and animals communicate at a level, inaccessible to adults. Practicing non-verbal, meaningless chatter children are able to enter this dialogue. Interpretation of syllables – chatter – is not about exchanging verbal information; it’s more of an energetic sound exchange.

INSTRUCTIONS – MAKE IT A SHARED EXPERIENCE

Radio play Chatter is not meant for toddlers to listen to it by themselves; firstly, because they don’t have the concentration needed to be able to listen for that long. Instead, it can encourage and strengthen the bond between an adult and a child – as a shared experience of an artistic piece. The key role is given to the adult who listens together with a toddler. The adult plays the role of a mediator or rather an animator.

We’ll offer some suggestions but you can also include your own ideas.

You can listen to this radio play only once or  multiple times, together with your toddler. In the latter case, you can use different ways to animate your child, for example, changing they way you listen to the play and how to create with your voice.

Get a quality mobile loudspeaker and a player (maybe a laptop with Bluetooth or something similar). You’re supposed to listen to this radio play while walking in a park or sitting in a garden at home. Of course you can also listen to it inside the house but be active and change locations, find a space where you can pretend there’s a tree or a meadow. Sounds of animals were recorded in early Summer but you can listen at any time. To animate your child more easily, prepare some objects, which can represent a bird and a frog as well as the location of the tree.

The radio play is divided in three parts.

Introductory part is there to guide you further into the story and help you prepare for the a-part of deconstructing the syllables, chattering. Listen attentively and observe the surroundings where you walk. The best way to do this is in a park or at home in a garden.

In the second part you’ll be invited to find a spot under a tree. Look at the tree, sit under its treetop, look at the tree together with your child, give your child a leaf to hold in their hand, or a piece of roots, bark… Try to repeat words and syllables as they appear in the play and in doing so animate your child. The adult shows the child various objects, explains notions, distances.

A tree. T-ree.
A treetop. Tree-top.
A leaf, leaves rustle.
Lea-ves ru-stle.
A tree listens.

Listen to the bird, continue deconstructing words into syllables. While doing so, you can use an object that represents a bird, like a feather for example, or something similar. Do the same when you come to the part about a frog and imagine a pond, maybe use a blanket and an object that can represent a frog. You can also communicate using gestures.

A bird. A bird sings.
A bird jumps in the treetop.
Si-ngs. Si-ngs. Si-ngs
Chirrups, chi-rrups.
Chirrups, chi-rrups
Si-ngs,  chi-rrups
A bird sings. A bird sings.

From the spot under a tree you can move to a more open space, maybe close to a meadow, maybe you just move a few meters further. You do this when you come to the part in the text where it says  Let’s go on a hike. Break words into syllables, motivate your child to engage in a dialogue so you chatter together, creating different sounds.

A child. A small child.
A meadow. Mea-dow
A child crawls is the meadow. Chi_ld.
A child chatters in the grass.
A child chat-ters.

In the third part you can freely chatter together with your toddler or just listen to the radio play in silence. The voice is singing syllables, which are the same syllables that were part of words in previous segments but now they’ve become musical elements. Singing intervals serve as the basis for fine-tuning and the significance of associating singing with child’s repeating of individual syllables becomes that much more visible and real. Encourage your child to sing along but don’t expect them to sing a particular song or pronounce a particular word. In this segment you’re meant to let your imagination run free and just enjoy listening to your own voice singing.

Concluding part is devoted to listening – listen to the radio play and the sounds in your surroundings, be it the sound of a bird singing, rustling or the noise in the street and the humming of appliances in your home. Listen and when the story ends – try to name the sound(s) that you hear.

BACKGROUND

Before the two of us, authors of this radio play, began conceiving and working on this piece, we’ve read an extensive amount of research and listened to several high-quality and inspiring interviews, conducted by  Igor Mihael Ravnik for the B-AIR project. We were intrigued by research showing that few months old babies begin to chatter in distinct ways, depending on the linguistic environment they’re growing up in. For example, the chatter of French babies is different from Slovene or Chinese babies – the sound of words, the rhythm, etc. reflect the linguistic environment within which they develop.

As one can hear in interviews we mentioned, and we’ve seen ourselves listening to our daughter chatter, babies’ chatter isn’t primarily focused on communicating. Children communicate very clearly from the day they’re born and they don’t need words for that. Instead, babies simply enjoy chatter because they listen to their own voice, they create using their voice…

Tackling this subject, this radio play offers a helpful tool – a possibility of a shared musical creative process with animals. A particular branch within the research of musical creativity is studying musical creations of animals and people, called zoomusicology. There are several artists who engage in these practices, with more and more scientist following their lead. But experiencing it first hand – the synchronicity of joint creation of animals and humans – either coincidentally or when framed as an artistic event, this connection becomes much more evident.

What’s also interesting is the mythological and fairy tale-like background as part of the explanation why small children are able to comprehend the language of animals. In this view, human speech – as one’s desire to communicate clearly – blends heavily with the desire to create music(ally) and the boundaries between the two become blurred.

The small boy we recorded for this play, was a little over one year old, growing up bilingually and was just beginning to articulate his first word. His parents who recorded the chatter, used the text of this play (in Slovene) to stimulate him. The toddler was repeating after them, at his own pace, while enjoying his own creation. These parents are also generally very encouraging when their toddler  engages in musical creativity.

The baby-girl recorded in the introductory chatter and whose voice – here and there – intertwines with the voice of the toddler, was a few months old when she was recorded. However, the grown-up singer we hear in this piece is this same baby-girl, 17 years later. Singing and musical creations are very familiar to her.

We recorded the frog in Cerknica lake in 2021, as well as sounds of the lake; the singing of a nightingale was recorded at Ljubljana Marshes in 2022; the rustling of the wind was recorded at Bukovniško Lake; and all other sounds come from the sound archive of the the author of the musical composition.

CREDITS

Text and story: Irena Pivka
Musical composition: Brane Zorman
Interpreters
Narrator’s vocal: Nada Vodušek,
Toddler: Kiran Benjamin Rosenbluth – Orli
Toddler’s vocal guides: Nina R. Orlić, Brandon Rosenbluth
Baby-girl and grown-up singer: Naomi Uma Zorman
Producer: Saška Rakef

Production: Radio Slovenija, B-AIR project RTVxxx

CONFERENCES – day 2 * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

08-1 – Composing Radio Plays for babies
            Katarina Kompan Erzar – RTV Slovenija

Related PDF => 08-1–Composing radio plays for babies

The sound of secure relationship – radio plays that promote connectedness

Developmental and neuroscientists have repeatedly demonstrated and confirmed that the development of the baby is only possible in attuned and safe relationship with the caregiver, thus highlighting their relationship as the basic target of our intervention. When dealing with implicit, unconscious part of our brain and experience, the sound is one of the most powerful media that could promote development and formation of secure attachment relationship and thus enabling the baby’s and the adult’s growth and creativity. The music perception skills of prelinguistic infants are surprisingly similar to those of listeners who have had years of informal exposure to music and that is why composing the interactive artistic audio performance for babies is not an easy task.

In baby’s first year, development is extremely rapid and all-embracing, prompted mainly by the relationship primary caregiver establishes with the baby. Talking about the connection a caregiver has with her baby, we refer to the process that goes both ways – it includes not only adult’s capability to perceive, accept and adjust to their baby but also baby’s capability, when seeking to connect with the caregiver, to be able to communicate their needs, their feelings and in general, what is happening to them. We know well that baby’s brain grows only and through relationship with adult caretaker. If we enable the caretaker to be spontaneous and attuned to the baby thus, we could create the space for optimal development of the baby. Aesthetic experience that is attuned to the process of interplay between parent and baby is indispensable tool of creating more secure and competent society.

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08-2 – Sound, rhythm, music and communal care
            Rajko Muršič – RTV Slovenija

Related PDF =08-2–Sound_rhythm_music_communal_care

In Rhythmanalysis, Henry Lefebre rehabilitated rhythm as a very potential analytical concept. Repetitions in space and time, returns and reprises justify our lives. However, are rhythms we live with “natural” gifts or acquired practices? Perception of natural rhythmic movements among the toddlers is a bit naïve: they must learn rhythms experientially and/or by surrendering “natural frequencies”.

The author will take into consideration experimental radio drama and opera for infants, toddlers and parents in order to discuss relationship of sounds, music, voices and movement in communal care for babies, children and other people.

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08-3 – ”It would be great to hear wolves howling. I’ve never heard it.”
            Jukka Mikkola – Suomen Yliopisto

A toneful inside look at the Evening of Sounds in Finland

Sounds can affect us in many ways. And they do it, whether we like it or not. Sounds create feelings, they bring up memories, they can bring our past, the days gone by, back to life again. You can remember and feel many kinds of feelings and memories connected with sounds. Everyday sounds or special kind of sounds, sounds which are common or sounds that are no longer to be heard.

Sounds and sounscapes are a very important part of our life. Sounds carry our history and they tell us many kinds of things and stories. That is the idea behind the Evening of Sounds.

Evening of Sounds is a live radio show broadcasted since year 2012 – that means for ten years now. It is broadcsted by The Finnish Broadcasting Company (FBC). FBC (YLE in Finnish language) is Finland’s national public service media company.

The basic idea of the show is simple and very natural to the radio. The listeners are asked to request for sounds and to share their experiences and memories of the sounds. This all is discussed with them during the live show with the host of the show and the expert guests present in the studio. This may sound simple, but there much more going on when the show is on the air.

As the host of the radio show I will make an inside look at the Evening of Sounds with some spoken words and a lots of sounds.

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08-4 – Radiophonic media and sound memories of the oldest
            Helmi Järviluoma & Heikki Uimonen  Suomen Yliopisto

Finnish Broadcasting Company’s call-in live programme on environmental sounds called Äänien ilta (Evening of Sounds) consists of callers’ sound requests, narratives on their personal experiences, and memories on the contemporary and historical sonic phenomena of diverse settings. The concept will be expanded to a programme International Evening of Sound in collaboration with public radio stations and sound art in Slovenia, Serbia, France and Finland.

Sound requests are fulfilled with the help of sound archives and present-day soundscape recordings. The latter will be enabled by collecting sound-related memories during fieldwork and workshops in care-homes and among elderly people in aforementioned countries. Sonic remembering workshops make it possible to create a platform to connect the three pasts with their diversities, but also the common lives; taking into account the closeness through the past of the three countries.

The main result of the article is the analysis of radiophonic programmes and sound related memories on diverse European sound cultures. Sound artists, radio personnel and established sound researchers are producing radio content in close collaboration, bringing forth the issues of transformation and diverse European sound heritages.

The presentation brings forth the cultural, social and aesthetic nature of the sound requests of the callers and collected field recordings, considering them being equal to those of music call-ins in sharing music and experiences related to them. It will raise awareness of Europe’s common history and values by enhancing the understanding of its acoustic heritage. Special attention is paid to the social inclusion and agency promotion of the oldest people, between the so-called third and fourth age in Europe.

We investigate the relevance of sound within personal trajectories, especially affective dimensions of sounds which, as we hear, continue to resonate in the radio program participants’ bodies sometimes more than half a century after the event of hearing. When studying social remembering connected to sounds, we focus on the ways in which memories are being produced in the processes of telling both personal and shared stories.

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08-5 – Composing using AIR tools   
            Jan Jona Javorsek – Institut Jožef Stefan, Gregor Pirš – RTV Slovenija

???

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11 – Concert/Performance
Prof. Faraci & METS students

CD OUTLINES, (DaVinci Classics C00648) Twenty years of young italian electronic music The first discographic legacy of METS department (Electronic Music and Sound Engineering).

The 14 titles in this collection represent a small part of the educational legacy of the first twenty years of life (2001-2021) of the Department of Music and New Technologies dl Conservatorio Ghedini di Cuneo, which since 2011 has taken the name METS (Electronic Music and Sound Engineering), and through this disc we wanted to celebrate an anniversary that is symbolic and significant for us. The choice to open up to the world of experimentation and electronic composition, as much as to that of recording and sound processing, have represented, for our Conservatory, the transition to a vast and articulated world of sound, fruitfully flanking and complementing the traditional study of classical music. This disc, where selected experiences among METS students of different compositional generations are collected, represents the testimony of paths developed over two decades; in them we find the free interpretation of various compositional means and, more specifically, the mixture, the dialogue, between electronics and some traditional musical instruments, voice included.

Like the previous production (Asymmetric Thought, 18 pieces for guitar and electronics, DaVinciClassics C00318, 2020), Outlines (DaVinci Classics C00648) was also sponsored by the prestigious European initiative EASTN-DC (European Art, Science and Technology Network for Digital Creativity).

CONFERENCES – day 3 * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

            12-1 – Composition sonic memory, trauma, soundscapes and narratives
            Ntana Papachristou, Yorgos Samantas- TwixLab

“Récits” (sound composition based on research on the theme of sonic monumentality),

presented in a relaxed performance format. Sonic memory is further linked to TWIXTlab’s  ongoing “Audibility” research, concerned with the Deaf and hard of hearing experience with sound. According to contemporary research findings, the development of sonic memory (-ies) is crucial for the cognitive development for early-aged cochlear implant users. It is hereby presented as a promising field for developing pedagogical curricula that elaborate deeper into the linking of sensory perception with cognition. Departing from “Récits”, the presentation further presents an argument on the soundscape as commons, and its relation to citizenship and political agency for Deaf and hard-of-hearing individuals and communities.

Sonic monumentality

What if monuments where made of sound? How could practices and artefacts related to monumentality be formed, when acoustic experience incites remembrance? What are the sounds we consider as “monumental”, and how do they differ or simile to conventional, public monuments that are primarily physical, visual structures?

Sonic monumentality is a speculative concept developed by Athens-based transdisciplinary art group Akoo-o (Dana Papachristou, Nikos Bubaris, Yorgos Samantas), that seeks to inspire contemplation about public memory, its relation to history and to national imagination, and public space politics, in aural terms.

The questions stemming from the concept have informed a small-scale research with academics and professionals working with sound, monumentality and public space. The research took place in 2021, during the year of commemoration of 200 years from the Greek Revolution. During that year, cultural institutions, art practitioners, public intellectuals and academics where invited to reflect on and revisit national historiography and narrative, collective imagination, and remembrance practices.

Récits is a sound composition by Papachristou and Samantas, that was based on our research interlocutors’ answers. The two composers invited attendants in Cuneo to engage with the work in a relaxed performance manner, and to discuss both on the theme of the work, as well as the presentational strategy.

What’s a relaxed performance

A relaxed performance is a presentational strategy for audiovisual spectacles that seeks to ease or facilitate attendance for a wider range of people of all ages and within a wider neuro-diverse spectrum. As “able-bodied” audiences are used to attending performances following the unwritten rule of stillness and silence in concert halls, hosting institutions often disregard people who might feel uncomfortable, excluded, non-fit, or simply non-conforming with this neuro-typical canon: babies, toddlers and seniors, people on the autism spectrum, people with Tourette’s or Parkinson’s syndrome, agoraphobia, and many others.

The relaxed performance is a proposition to widen the range of participation with Disability in mind. In negotiation with, and possibly with additions to structured space that should render it fully accessible, this performance strategy invites people to watch for as long as they like, get in and out at will, talk, make noise, and make themselves as comfortable in the space as they wish.

From the side of hosting institutions and show curators, the question is how to create a framework for accessible and inclusive attendance. From the side of creators, how to shape and present audiovisual content in the most inclusive manner. And for all audiences, how can we engage, embrace and enjoy a show actively, with their bodies, while contemplating on the conventions that exclude a wide range of potential fellow attendants from music, theater, and other forms of art as a communal experience.

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12-2 – A Guide to Life: Sound, Time and Environment/Space
            Nikoleta Dojcinovic, Marijana Gojkovic – RTS – SRBije

RTS will present research progress in relation to WP6: will present the sound walk of a blind colleague who once a month, on the same date, but at a different time, records his way to work at Radio Belgrade.
Will also present research in sound archeology that will be related to EEoS.

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12-3Radio UGI, The voice of UGI’s world
            Nicola Derio – UGI Torino

Over 40 years, UGI ODV has been working to improve the children and teenager’s quality of life during their treatment and help their families to address all difficulties (personal, financial and logistics) that may arise during their children’s
disease. Beyond these goals, UGI believes in engaging youth from many perspectives.

That is why in 2018 the Radio UGI’s project began, an ever-growing communication project that has two main goals. Makes the voice of hospitalized young people heard outside and to create a link between the hospital’s environment and the many associative entities that gravitate around the Regina Margherita Hospital institution.

In addition, the Radio is a permanent laboratory of experimentation, language and training. From voice over activities to vocal expression up to the technical and directional parts. Thanks to technology and Internet, our participants can come out of the hospital isolation while remaining in touch with the outside world. Radio UGI also has a cultural goal, the creation (as well as enjoyment) of contents made by young people for their peers and those who gravitate to the UGI “universe”.

These experiences allowed them to experiment and expand the participated radio’s concept itself (arriving at the creation of audio content of semi-professional quality), as well as to live true social moments with other inpatients, families, and more importantly, with the outside world, during live broadcasts or events that UGI organizes in Turin and Piemonte Region.

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11-5 EARTHEART
            Gianluca Verlingieri – Cuneo

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These recordings are part of the research:

B-AIR – Art Infinity Radio – How does the world sound?

https://b-air.infinity.radio/fr/

This publication [communication] reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.


OpenEdition vous propose de citer ce billet de la manière suivante :
juL McOisans (4 avril 2023). Cuneo day’s. Le Cresson veille et recherche…. Consulté le 14 juillet 2024 à l’adresse https://doi.org/10.58079/qsmm


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