{"id":3789,"date":"2021-02-28T10:58:09","date_gmt":"2021-02-28T10:58:09","guid":{"rendered":"https:\/\/taniarubio.com\/?post_type=obras&#038;p=3789"},"modified":"2024-09-03T21:32:32","modified_gmt":"2024-09-04T03:32:32","slug":"windows-of-listening","status":"publish","type":"obras","link":"https:\/\/taniarubio.com\/en\/obras\/windows-of-listening\/","title":{"rendered":"Windows of Listening"},"content":{"rendered":"<p>&nbsp;<\/p>\n<p style=\"text-align: center;\"><strong>A\u00f1o: 2019<\/strong><br \/>\n*Comisi\u00f3n por el Festival SKOP<\/p>\n<p>Obra electroac\u00fastica en la que cuestiono la relaci\u00f3n humano-m\u00e1qunia-naturaleza a partir de una narrativa que aborda los l\u00edmites entre la ficci\u00f3n, lo real y lo imaginario.<\/p>\n<p>Para la obra realic\u00e9 grabaciones en Alemania, Estados Unidos y M\u00e9xico, a partir del trabajo de campo, me surgen 5 preguntas que intento responder mediante el proceso creativo de la obra.<\/p>\n<p>\u00bfCu\u00e1l es la diferencia entre la composici\u00f3n musical con paisaje sonoro y el paisaje sonoro \u201cpuro\u201d?, \u00bfQu\u00e9 es un paisaje sonoro?, \u00bfCu\u00e1l es la diferencia entre un paisaje sonoro natural y uno artificial?, \u00bfDe qu\u00e9 manera afecta la tecnolog\u00eda de audio a la escucha durante la grabaci\u00f3n de campo?, \u00bfCu\u00e1l es el rol del compositor y el grabador de campo durante el proceso de escucha al paisaje sonoro?<\/p>\n<p>&nbsp;<\/p>\n<p>Gracias al bi\u00f3logo A.C. por las charlas, discusiones y por compartir sus conocimientos.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\"><strong>2019<\/strong><\/p>\n<p style=\"text-align: center;\">*Commission for the SKOP Festival<\/p>\n<p>Electroacoustic work in which I question the human-machine-nature relationship through a narrative that addresses the boundaries between fiction, the real and the imaginary.<\/p>\n<p>For the work I made recordings in Germany, the United States and Mexico, from the field work, 5 questions arise that I try to answer through the creative process of the work.<\/p>\n<p>What is the difference between a musical composition with soundscape and a \u2018pure\u2019 soundscape, what is a soundscape, what is the difference between a natural and an artificial soundscape, how does audio technology affect listening during field recording, what is the role of the composer and the field recorder during the process of listening to the soundscape, what is the role of the composer and the field recorder during the process of listening to the soundscape, what is the role of the field recorder during the process of listening to the soundscape, what is the role of the composer and the field recorder during the process of listening to the soundscape?<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><iframe title=\"Windows of listening_Tania Rubio by Tania Rubio\" width=\"800\" height=\"400\" scrolling=\"no\" frameborder=\"no\" src=\"https:\/\/w.soundcloud.com\/player\/?visual=true&#038;url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F696985082&#038;show_artwork=true&#038;maxheight=1000&#038;maxwidth=800\"><\/iframe><\/p>\n<p>&nbsp;<\/p>","protected":false},"featured_media":1060,"template":"","categories":[212],"class_list":["post-3789","obras","type-obras","status-publish","has-post-thumbnail","hentry","category-musica-acusmatica"],"acf":[],"_links":{"self":[{"href":"https:\/\/taniarubio.com\/en\/wp-json\/wp\/v2\/obras\/3789","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/taniarubio.com\/en\/wp-json\/wp\/v2\/obras"}],"about":[{"href":"https:\/\/taniarubio.com\/en\/wp-json\/wp\/v2\/types\/obras"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/taniarubio.com\/en\/wp-json\/wp\/v2\/media\/1060"}],"wp:attachment":[{"href":"https:\/\/taniarubio.com\/en\/wp-json\/wp\/v2\/media?parent=3789"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/taniarubio.com\/en\/wp-json\/wp\/v2\/categories?post=3789"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}