Commented screening of the video Temporal Transfer Orbit by artist, writer and xenologist Adriana Knouf, followed by a conversation between her and Manuel Cirauqui, director of eina idea. Adriana Knouf’s practice centres on issues such as wet media, space art and trans and queer futurities. She is the founder of tranxxenolab, a nomadic art research laboratory that promotes interactions between trans and xeno entities. Her film, Temporal Transfer Orbit, places us on a vector that breaks free from repetitions of itself, and navigates towards a different space time. This Temporal Transfer Orbit requires energy input – research, practice and life – and is closely connected to Knouf’s trans and queer explorations of life in outer space. 

With the participation of:

• Lina Bautista
• Josep Manuel Berenguer
• Matias Klenner
• Anna Gatz
• Ginebra Raventós de Volart

Sons en Causa is a project based on an archive that the Orquestra del Caos has been working on since 2009. Constantly growing, the Sonidos en Causa archive is comprised of high-quality recordings of soundscapes, made by Carlos Gómez and Josep Manuel Berenguer, who have led different teams into locations in Latin America where human activities have increased significantly in the recent past. Sampling sound along trajectories between the zones most affected by human activity and those further away can convey an idea of ​​what the soundscapes of these areas were like before human influence transformed them as societies became increasingly more complex.

The archive currently contains 1700 binaural audio recordings made in Latin America, at 24-bit resolution, 48kHz sampling frequency and 20 minutes’ duration. The reason for their extended length is their slow chronicling of the way behaviour of sound sources in the landscape develops over time. We are not interested in isolated sounds, but in their relationships; their conflicts and their resolutions, which are appreciated gradually or suddenly and in relation to the equilibriums that immediately precede them. Listening attentively and deeply to the heartbeat of the world is very rewarding. It provides considerable aesthetic pleasure, which is of obvious interest to us, as artists and musicians, but sound recordings are not only a matter of aesthetics, so, despite our tendency to value their formal aspects, which are what guide our actions and projects most directly, we feel deeply responsible for their implications beyond the purely artistic. We are convinced that listening carefully to the soundscape is an important part of raising awareness about society’s need for healthy sound. This underlies our focus on sound recording in contexts that are of special human and social interest. Over time, it has become one of our main motivations. It guides us towards a reflection on the field of art and its function, always being redefined.