Charles River by Julia Boral

 June 22, 2020

In this current moment of much uncertainty, along with the constant stream of information and visual content it can feel at times that everything that is happening in the world right now is magnified. Images, statistics, video clips, and more about the pandemic, protests, the number of people who have tested positive, and the number of people who have died are constantly consumed by us all. Although this deluge of information can feel overwhelming, I think it is important to listen and learn. We are all living through a unique and important time period that is challenging the ways we think about life on a global scale and at the personal level. Much of the news and information I have been reading and listening to comes from what is happening around the U.S. and the world, rather than my town or neighborhood. I live in Cambridge, Massachusetts and since quarantine started on March 14, 2020 I have been spending a majority of my time at home, in my garden, and taking walks in my neighborhood. I have been noticing the different architecture styles around my town, hearing more birds, and my appreciation for green spaces has deepened. As a young person during this moment, I wanted to create a collection of writings and reflections about how I am making sense (or trying to) of this tumultuous period that I can look back on. I wanted my focus to be on my local environments, specifically how people use the space along the banks of the Charles River. The river is a central place in my city and the neighboring city of Boston. Looking out at the water there are often boaters of all kinds: scullers, kayakers, sailors, and paddle boarders. Along the river are paths for runners, walkers, and bikers. Trees and other plants line the banks, providing shaded areas for hammocks and the park benches. The river is a beautiful place, especially in the summer when it thrives with all kinds of people basking in the sun and taking in the lively atmosphere. But that has all changed now. 

Through a series of journal-like blog posts, images, videos, and audio recordings, I want to explore how people move around, spend time, and enjoy different locations along the river and whether activity around this public area has changed throughout quarantine. What do these places sound like? How do the different spaces make me feel? How do I remember how these spaces existed before the pandemic? Because so much of the information I have been thinking about and consuming is mostly centered around the national and global, I wanted to take the time to be more present in my immediate space. 

Historias sonoras del Covid-19


La casa del Sonido By Emily

When I was younger, my mom used to keep a large sea shell in her room because she believed that it held all the sounds of the ocean, and I believed her, too, because upon putting the shell next to my ear I imagined that I heard the repeated crashing of the waves - something I now know was just the ambient noise of the room bouncing off all of the curved inner cavities of the shell I was holding. Nevertheless, the sea shell transported me, though it didn’t hold other sounds that come with the beach -- not only are the waves present, but also other beach goers talking and splashing, passing boats lapping at the water, seagulls crying overhead, wind constantly whistling, bugs buzzing, and so on and so forth. Paisajesensorial manages to capture all of these nuanced sounds that fade into insignificance because of their repetition in our daily lives, and give that sound a new voice in their radio program La Casa del Sonido, or “the House of Sound.” Presented by Jose Luis Carles and Cristina Palmese, La Casa del Sonido is a radio program that centers sound as its protagonist. Through their radio program, they give sound a new life, allowing it to branch out from just an annoyance , and letting noise serve as a fulfilling character without necessarily having to rely on words or music to understand it. Every Tuesday, Jose Luis Carles and Cristina Palmese present an hour-long compilation of sounds from all around the world. Some are longer than others, but all have the unifying quality that boils down to just being a compilation of everyday sounds. 

I really recommend listening to La Casa del Sonido, even if you don’t speak any spanish at all and cannot understand the introductions given by Jose Luis Carles and Cristina Palmese. The sounds and music that they share speak for themselves, and transcend languages. They will reopen your ears to the world that you live in.

A propósito de Paisajesensorial

Paisajesensorial estudio de Arquitectura Múltiple

A propósito de Paisajesensorial

“Investigación, Creación , Transformación”

Paisajesensorial es un lugar para sentir, para compartir. Un lugar donde re-descubrir las relaciones sutiles que tejen la densa red que constituye nuestra experiencia cotidiana. Un espacio para reflexionar sobre la belleza fuera y dentro de los cánones establecidos, que nos permita inventar y escuchar nuestro cuerpo con el fin de mejorar los lugares de nuestra propia existencia. 
Paisajesensorial es una propuesta de la sostenibilidad  como escucha,   para sintonizar  con cuanto nos rodea y con quienes nos rodean, para entrar en resonancia con el lugar y hacerlo resonar. Aprender a  con-mover el espacio y a quienes lo comparten, hablarle, susurrarle, tal vez gritarle, y ante todo, escuchar su respuesta…dejando que de este lugar emerja todo aquello que ha sido olvidado, callado o que ha quedado sin expresar.
Paisajesensorial es un lugar de reflexión, investigación y design y producción artística, que poniendo en relación elementos que aparentemente no tienen nada en común, promueve y construye, construye entornos imprevisibles y enriquecedores donde dejar que crezca la creatividad que está en todo nosotros.
Paisajesensorial es un Cruce... escribirme, para pedir, comentar, proponer, resonar… 

directo por Cristina Palmese (Arquitecto y vídeo artista )   con sede en Madrid

Au tournant de l'expérience

Video de la presentacion del trabajo de doctorado de Cristina Palmese

Audiovisual Dimension of the Architectura 


Conférence internationale Architecture & Philosophie.

L’architecture et la philosophie ont vécu une rencontre mémorable en 1985 à Paris, lorsque le Centre de Création Industrielle et le Collège International de Philosophie organisèrent « Mesure pour mesure, architecture et philosophie », invitant leurs acteurs à discuter ensemble : comment la philosophie peut-elle saisir l'architecture au plus près de ce qui la détermine ? Trente ans plus tard, l’ARENA et le Gerphau reposent la question.

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
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:  or  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.

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