2016 – ongoing
ambisonic sound installation
6 hour 35 min (∞), 8-channel audio, horizontal octagon speaker ring
xirminja nahpy benry is an immersion into the sonic environments of flooded tropical amazonian rainforests. The project explores the stunning complexity of the sonic mesh created by insects, birds, amphibians, mammals, reptiles, fishes, vegetational species, and water through a 24-hour cycle. The work is based on a set of distributed listening strategies with more than two hundred hours of long-form field recordings produced over several weeks in diverse locations across the Amanã and Mamirauá territories within the Brazilian Central Amazon region during the dry season of 2015. This large body of environmental sound materials is explored compositionally as a multidimensional sonic object which can be traversed through different listening pathways, temporally and spatially.
The primary and most recent manifestation of the project is a durational ambisonic sound installation premiered at Sonorities Festival, Belfast, in November 2016. The installation features a durational sonic-spatial composition on an eight-speaker audio system, experienced in a dark space.
Other manifestations include an octophonic preview version installed at the Sonic Environments Interdisciplinary Conference (ICMC / NIME, July 2016) at the Queensland Conservatorium in Brisbane, and a quadraphonic live performance at EARSHOTS! concert series, One Hundred Years Gallery, London, September 2016.
This project has been produced thanks to the kind support of many individuals and several artistic and scientific research organisations. Mamirauá Institute (Tefé, Amazonas) granted access to these protected areas, providing stay in their field bases and headquarters in Tefé, and helping to coordinate all the fieldwork and local support. Santander Universities supported the project through a Mobility Scholarship articulated as a collaboration between the Sonic Arts Research Centre (SARC) at Queen´s University Belfast, and the Laboratory for Acoustics and Sonic Arts (LASom), at UNICAMP (University of Campinas, São Paulo). LASom supported the project as well with a residency and dissemination opportunities at UNICAMP and at the Research Center on Sonology (NuSom), University of São Paulo (USP). T-37 Hackspace in Madrid gave support through a residency devoted to the DIY construction and preparation of equipment. Sound and Music in London helped to offset part of the cost of the ambisonic software tools utilized.