Exposición "Una de Cada Tres"

My Augmented Sibyl - Divination Mania
In-situ experience and digital oracles of virtual representations

"The god to whom the Delphic oracle is dedicated does not speak nor hide, he sends signs."
Heraclitus, B 93

TUTORS:  José Luis Carles, Environmental Ecological Scientist, Composer, Professor at department of Music at University Autonomy of Madrid
                Cristina Palmese, Architect, Director of Paisajesensorial
     Spyros Papadopoulos, Architect, Professor of Architecture at University of Thessaly, Greece
     Helena Mantzari, Linguist
     Magdalini Grigoriadou, Architect
     Maria Loukou, Artist
     Avrokomi Zavitsanou, Architect

DATES: Saturday, July 14 until Sunday July 22, 2018. Amfissa, Greece.

DURATION: 10.00 AM-18.00 PM  

Number of participants: up to 20
Registration deadline: June 15, 2018                                             
A certificate of attendance will be given


The workshop proposes the metamorphosis of the in-situ experiences into oneiric future visions. Through observation and collective gathering, the fragmented micro-scenes will predict the future in multiple means:

·         through music, electroacoustic, soundscapes…
·         through choreography, audiovisual…
·         through manipulated images or collage/montages…
·         through augmented digital objects; or even augmented presences 

Upon the corporeal experience, a dynamic interface in between sensing and creating, we aim to explore multiple possibilities in the interaction of the body with the space-time. Taking as primary input “situationist” routes and exploration of urban, rural and archaeological spaces of Amfissa, as inspiration and analysis, the participants will map new diverse routes of narration and will detect space-times of interest. These geo-localized points will operate like doors towards augmented ecstatic sites, to future visions.

The strategies of the development of the project are:

·         Experimentation with augmented and digital tools, either as communication strategy either as creative design means.
·         Analysis of the space-time of Amfissa, recognizing emblematic sites such as the café where movies of Angelopoulos were filmed. Delineation of the connexion between everyday spaces and sounds and their cultural representations.
·         Rise of art narratives upon the idea of movie story telling as a poetic collective construction.
·         Awareness of the suitability of prophecies: augmented reality regarded as a mirror of our desires, fears and more
·         New innovative languages of art; from sound, audiovisual, images to digital modelling and augmented reality


The divination mania, experienced by all Sibyls, is the god-sent inspiration, a partly revelation of the future worlds. The word “mania”, “ecstasy”, especially in the way Plato and Plutarch use it, is interpreted as a highly emotional state, which includes all the types of transportation, enthusiasm and inspiration (Fontenrose, p. 212). The greatest good is being transmuted through ecstasy, says Socrates to Phaedrus, provided it is coming from the gods. He calls “ecstatic” the higher art which foresees the future. (Plato,244a-245c).

According to one version of the myth, the god Apollo became master of the Delphic Oracle when he killed Python, the son of Gaia, who was the guardian of the sanctum. There Pythia, seated on the high tripod over the chasm, taken over by “an enthusiastic spirit” according to Strabo (Geographica, 9-3-5) conveys the words of the god to the mortals. Like Pythia, Sibyls were all women that believed to be oracles, prophesying at holy sites, inspirited by the divine ecstasy from a chthonic deity. Heraclitus, the first known to mention these feminine figures, described them as creatures that were living thousand years (Heraclitus, fragment 92), possibly related to very much earlier mystic entities in the Near East. (Burkert, p.116)

Thus, Sibyls, these ecstatic creatures have been transmuted throughout the human history, being present at all times and spaces, from Babylonia to Renaissance and even appear in Shakespeare theatrical plays. Poetry, inspiration, enthusiasm, and sacred madness… the signs are thus revealed. All oracles are notoriously open to any interpretation and narration. The burden of the interpretation falls on the subject, the self, called upon to become considerate as beckons one of the Delphic commandments (Know thyself).

Bibliographic notes:
Burkert Walter, (1985), Greek Religion, Harvard University Press
Heraclitus. On Nature, B Fragments, 92, 93
Fontenrose, J. (1978) The Delphic Oracle, University of California Press, USA
Plato Phaedrus, 244a-245c
Strabo. Geographica, Book Θ. 3.5.

Workshop structure

The workshop is designed to prepare ecstatic experiences to participants and audience; we want to convert everyone to an augmented Sibyl; a contemporary oracle receiving future visions of humankind. The main objective is to create a magical, unreal, oneiric experience for all audience, a transmutation of the divine, a revelation of the deity through our own experience. Within the framework of this ecstatic research, which concerns the modern spatial representations, the qualities are deriving from the relationship among architecture, audio-visual language and digital technology, as means to enclose a holo-esthetic augmented experience.

The workshop explores the spatial-temporal connection between ancient and modern storytelling aiming at a re-composition and search of the forms of the meta-human body, either in post-human or trans-human visions, within the ambiguous meaning of an oracle. The narrative represents a powerful expressive tool, shaped in a non-lineal way. The free association of these fragmented narrative scenes, previous prepared in the workshop, offer to the audience an each-time unique experience of gathering the revealed future. Based on the random sequence of experiencing the divine future images, everyone can prophesize the future as a contemporary Sibyl. Any ecstatic experience is unique, unrepeatable and personalized as the interpretation depends of the subject, body, state on mind and more.  

Perceiving space-time as the narrating body, the participants are called to interact with it through a parallelism: on the one hand the abstract approach of Sibyl´s future worlds and on the other the interpretation of the spatial impression of an oracle which is accomplished through the digital representations.

Through this experimental mapping of the space-time-body, a digital work-impression-interpretation of the oracle is produced and one of the modern version of the “divination mania”, or a “augmented Sibyl” as a memory of the past, understanding of the present and prediction of the future.

Timetable (10.00-18.00h)

Saturday 14th July
-  Reception (18.00h)

Sunday 15th July
-  Presentation of the workshop (17.00h)
-  Walk in the city (18.00h)

Monday 16th July
-  Augmented Reality and Post Cinematic Strategies
-  Constructing the primary narrative

Tuesday 17th July
-  Space and Sound, Ecologies of the Space
-  Random routes- space narrative

Wednesday 18th July
-  Producing oneiric atmosphere, mythological prophesies
-  Ecstatic corporeal experiences through dance, meditation

Thursday 19th July- Saturday 21st July
-  Working on Augmented Sibyl

Sunday 22nd July
-  Open experiences to the audiences (20.00h)

General info

It is addressed to:
Students of Architecture (3rd-5th year), post-graduate students, students of music, sound, audiovisual, dance etc., and artists under multidisciplinary profile. Participants will be selected according to their CV/portfolio.

Accommodation and costs:
The workshop will take place at Amfissa, Greece. Registration in the workshop, accommodation and subsistence allowance, as well as the attendance of the events, activities and lectures of ANIMART costs 200 Euros. More details in https://animartgreece.eu/2018/en/information/
Participation – Application:
The participation application (brief CV,150 words) and a sample of projects (two A4 pages, pdf file) must be sent to the following address: lecad@arch.uth.gr  or  cristinapalmese@telefonica.net  before June 15, 2018
Organized by
·  Laboratory of Environmental Communication and Audiovisual Representation (LECAD)/ Department of Architecture, University of Thessaly,
·  Universidad Autónoma de Madrid, UAM, Department of Music
in collaboration with ANIMART.

Madrid Suena

Three  Edicion de Jean Ariza Varela 


Desde Urban-Fluxus  trabajamos para entender y construir  nuestro hábitat. Un hábitat/entorno en el que poder desarrollar toda nuestra potencialidad y  que nos permita abrirnos a lo inesperado, al movimiento y a acceder al conocimiento a través de la experimentación y del arte. Por todo esto/ generamos/organizamos eventos que nos permiten experimentar/ensayar nuevas técnicas/formas de relación entre el ser humano y el entorno para así desarrollar nuevas formas/maneras de vivir en la cotidianidad.

En este sentido, estamos en constante búsqueda de nuevos lenguajes que comuniquen/permitan la comunicación entrelo diferente ...la ecología, la música 
... la arquitectura el humanismo... generamos nuevas espacialidades teniendo en cuenta nuestro cuerpo, costruimos nuevas topologias creando espacios y modificando los que ya están construidos donde desarrollar y re-pensar conceptos tan relevantes como la sostenibilidad, la integración y las estrategias de convivencia.

Madrid Sound Week 3-10 July

By Pandora Yiyi Tang Listen to the Madrid Sound WeekFind a Brand New World.

The Week of Sound is a creative sound festival that will take place from the 3 July to 7 July 2017 in Madrid, Spain.

The Week of the Sound will organize one week of events to introduce the
public for a better knowledge of sounds and inspire the audience to find a brand new world leading by the sound.

A number of spainish musicians and international artists will perform their original sound installations and share their experience and thoughts.
What is the relationship with the heathy and sound?  How is sound sound stream and rising currents?  With the combination of sound and image, what kind of the visual & aural awareness could be leading

The organization of the festival consist out of three member associations:  the French association  La se maine du Son (http://www.lasemaineduson.org), the Spainish association Urban-Fluxux (https://urbanfluxus.blogspot.com.es/ ), and the multidisciplinary studio Paisajesensorial (http://www.paisajesensorial.com).

TALLER : Modos de interacción sensorial con el entorno: Orientación, percepción y construcción sensorial del espacio urbano | José Luis Carles y Cristina Palmese. 

La ciudad  nos envuelve con una multiplicidad de estímulos sensoriales de los que somos poco conscientes.  Vivimos en una época caracterizada por el  “horror vacui” una necesidad compulsiva de llenar y rellenar todos los espacios físicos y mentales, en la acumulación  de informaciones y en la vorágine de la actividad frenética de la ciudad, hemos perdido nuestra orientación. Del mismo modo, el espacio-tiempo urbano se llena de sonidos que generan un ruido de fondo continuo que estrecha el horizonte acústico del ciudadano.
Con este taller proponemos una reapropiación del espacio, de nuestro entorno, desde el silencio y la meditación, a partir del redescubrimiento y la ampliación de nuestras  propias posibilidades sensoriales. Partiendo de una crítica al ruido, entendido en un sentido amplio (acústico, informativo…), proponemos una reflexión sobre nuestra manera de relacionarnos con el entorno proponiendo una nueva mirada, una nueva escucha, una nueva aproximación sensorial al entorno, en definitiva  se trata de reflexionar sobre las conexiones y el proceso cuerpo-movimiento-espació-acción-lenguaje.
Con este taller prestaremos particular atención a las características del entorno sonoro cotidiano, un aspecto a menudo ignorado en un mundo dominado por la imagen; El sonido construye en nuestra percepción un espacio inestable, discreto, cambiante e inmersivo. Nos interesa reflexionar y LABORATORIZAR  nuestra manera de percibir y recrear el entorno con nuestro cuerpo, abriéndonos a nuevas posibilidades perceptivas y a nuevas conciencias. A través de acciones “in situ” proponemos profundizar en el conocimiento de la interacción entre ser humano y entorno La dialéctica ruido y silencio, y  lleno - vacío en el espacio urbano nos ayuda a asumir nuevas perspectivas te;oricas y aplicadas mediante un análisis crítico de nuestra interacción plurisensorial con el entorno. Experimentaremos formas creativas a partir de una ralentización y de una desconfiguración (o desalinemiento) de nuestros movimientos y rutinas urbanas, favoreciendo posibilidades desconocidas del habitar; de forma colectiva planteamos la necesidad de experimentar  un nuevo espacio-tiempo que transforme el tradicional y cerrado concepto de espacio predefinido y repleto en un lugar [territorio] por explorar abierto a nuevas posibilidades y nuevas relaciones. Nos acercaremos de forma creativa al carácter, al tiempo y a la atmósfera del lugar.
Con la propuesta de acciones performativas e intervenciones propuestas por los propios participantes en el taller estimularemos la  acción y la búsqueda de nuevas intimidades, nuevas exigencias, en definitiva, nuevas formas perceptivas en los espacios públicos, que queden fuera del control masivo al que estamos, cotidianamente y muchas veces inconscientemente, sometidos. 

 Como espacio de trabajo se propone  el entorno urbano de la Casa Encendida. (Lavapiés).

Diálogos de paseantes ... un recuerdo

El sonido de las olas en la playa del Postiguet,  la mezcla sonora urbana recogida desde el castillo de Santa Bárbara, las voces de los mercadillos callejeros, el ambiente nocturno de la movida, las campanas del barrio, los ruidos de tráfico o las señales sonoras del puerto... forman parte de una acción artística con intérpretes y medios audiovisuales desarrollada en el Museo de Arte Contemporáneo de Alicante.
Dos intérpretes dialogan y guían  en el  recorrido que discurre en torno a tres pantallas atravesando la ciudad,  planteando  la cuestión de la percepción de lo cotidiano, de lo vivido, lo recordado y lo esperado o imaginado, del contraste entre la vivencia in situ, la vivencia virtual y los recuerdos y siendo también un debate sobre el arte, la creación y las formas de conocimiento.
De est trabajo ha surgido una cartografía sonora colectiva.
Esto pasó El 29 de Septiembre de 2012  en el Museo Contemporáneo de Alicante, 
Bajo la atenta mirada de Ester Ferrer

Con la tecnología de Blogger.