Ingold, Tim. Making: Anthropology, Archaeology, Art and Architecture. Routledge. 2013.
The book is a balanced description of the art of making, using the four disciplines Anthropology, Archaeology, Art, and Architecture. Tim Ingold’s background in anthropology serves as a way for him to analyze and describe different ways humans have created through time.
Este libro indaga la dimensión estética de la modernidad para hacer visible una perspectiva inédita: su colonialidad; primero como teo-estética en los siglos XVI-XVII y luego como ego-estética secular en la segunda modernidad, desde el siglo XVIII en adelante. La estética en su operar colonial oculta y subordina otras estéticas y prácticas; de ahí que en la argumentación se pase de la estética en singular a las estéticas en plural y a las estéticas decoloniales en especial. El argumento central del libro consiste en una doble operación que devela la acción de la colonialidad estética y, al mismo tiempo, la irrupción de prácticas decoloniales desde la aiesthesis colonizada; esto es, desde la frontera ontológica construida por la colonialidad del poder.
El objetivo no es hacer una historia de las ideas estéticas, sino visibilizar un conjunto de prácticas artísticas en el presente y en su contexto dentro y fuera del denominado "campo" del arte en Colombia. Tres obras del artista José Alejandro Restrepo, la práctica de las estatuas vivas urbanas o estatuismo y el cine documental de Marta Rodríguez conforman los estudios de caso que le dan cuerpo a esta indagación.
Publicaciones Universidad Andina. Universidad Andina Simon Bolivar. Ecuador.
Sound Healer
I made this pen and ink life drawing of Tito La Rosa, in 2015. Tito performed at the opening reception of Dutch sculptor Lika Mutal* at the Museo de Arte Contemporáneo, Barranco, Lima, Peru. 2015.
* Lika Mutal is a Dutch-Peruvian sculptor well known for her hand carved stonework, which focuses on the interconnectedness of the human and non-human world. Wikipedia.
Tito La Rosa played Ocarinas, Antaras, Pan-flutes, Quenas, bird whoisle and Pincullos. As a ritual he called spirits with a Pututo, a conch shell. He invoked us, listeners to get "inside of ourselves" by listening to the sounds of the double spout water whistling jar.
He believes that instruments in ancient Peru where considered alive and by playing them we enter another level of existence. He proposed that we are responsible to rescue and revive the old knowledge
Instagram. Carlos_Llerena_Aguirre. MacLima, 2015
Tito La Rosa, Sonic Healing
Tito la Rosa, a Peruvian sound healer talks about the use of each instrument to call spirits, to enter the spirit world and to enter a trance for heallng.
VICA PACHECO
A collection of ceramic instruments which Vica Pacheco produced at the EKWC form the basis for two new works: the kinetic installation Mitote and the dance performance Ollin created with Siet Phorae, Francesca Mariano and, Fernanda Soberón. Vica seeks to produce a ritual in which minimalist and repetitive movements and sounds transport the listener toward an expanded state of consciousness.
Fragments of Extinction
by David Monacchi
"in 1998, while conducting a field recording campaign on Italian natural soundscapes, I had the intuition that the biological sound of untouched forest ecosystems should exhibit a more structured behavior, maximizing efficiency within diversity. I realized that, if properly reproduced, soundscape recordings of these ecosystems could be powerful means for raising awareness of acoustic biodiversity and its heritage, now being destroyed by rapid deforestation and climate change. When in 2002, with the help of Greenpeace, we traveled to the equatorial Amazon to record in an undisturbed area of old-growth rainforest, my hypothesis was immediately confirmed by finding extremely balanced acoustic systems produced by hundreds of species of insects, amphibians, birds and mammals neatly vocalizing within stunningly regular circadian cycles."
The Fragments of Extinction 67 minutes film can be seen here:
https://www.fragmentsofextinction.org/dusk-chorus-film/
Alfredo Najarro, artisan, ethnomusicologist
Alfredo Najarro worked many years at the Larco Museum of Archeology in Lima Peru. There he had access to authentic musical instruments from Chavin, Moche, Nazca, Paracas and Vicus pre-columbian cultures. He returned to Cuzco twenty years ago, and started to make exact reproductions of the musical instruments.
I own five Nazca pan-flutes with original scales. In this video he demonstrated the sound of a whistling jar.
Huacos Silbadores*
Whistling moulded ceramics
In Peru, pre-columbian cultures before the Incas created double spout ceramics with different moulded animals. these ceramics were used for sacred rituals and they have been found surrounding mummies, lords, caciques, children and royal women.
The sound is activated by water and air in the two chambers, as the air leaves the spout a whistle sounds in a particular way. The meaning and or effects of sound have not been discovered yet. I think many people played these instruments to alter their state of mind. (New York Times article, 1979)
Reviviendo los Sonidos Ancestrales. Ecuador
Ethnomusicologists, ceramists, explain how water bottles worked. Specifically they discussed the making of the actual clay whistles inside and how to make replicas of broken water bottles in Ecuador.