{"id":160,"date":"2015-10-02T18:17:56","date_gmt":"2015-10-02T18:17:56","guid":{"rendered":"https:\/\/sylviamolina.wordpress.com\/?p=160"},"modified":"2015-10-02T18:17:56","modified_gmt":"2015-10-02T18:17:56","slug":"lets-save-gme-cuenca-obra-accion-gme-2-4","status":"publish","type":"post","link":"https:\/\/blog.uclm.es\/sylviamolina\/2015\/10\/02\/lets-save-gme-cuenca-obra-accion-gme-2-4\/","title":{"rendered":"Let\u2019s Save GME Cuenca \u2014Obra | Acci\u00f3n GME 2.4"},"content":{"rendered":"\n
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Obra compuesta con los archivos enviados por colectivos y compositores reivindicando la necesidad de Salvar el Gabinete de M\u00fasica Electroac\u00fastica de Cuenca, tras a\u00f1os  abandono y abocamiento al ostracismo institucional.<\/span><\/h1>\n<\/div>\n<\/header>\n
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T\u00edtulo obra: Oliendo el sonido (Matriosca)<\/p>\n

Surge como consecuencia de la propuesta realizada por la Asociaci\u00f3n de M\u00fasica Electroac\u00fastica de Espa\u00f1a AMEE  al Compositor Julio Sanz V\u00e1zquez para representar a dicha asociaci\u00f3n ante la APEM-CIME-Lisboa 2015<\/p>\n

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There are germs of organized beings spread everywhere, waiting for the right moment to grow up.<\/p>\n

This project is part of this belief, that sound can surge in any place of the world, and this space, we created, pretends to provide ideal conditions for its development.<\/p>\n

It is intended that the works composed with these strategies will enable us to expand and explore new compositional and performative horizons.<\/p>\n

The compositor can participate in Audio mixing by sending us a sound (as sound seed) and we will come together with everyone to make a \u2018cadavre exquis\u2019<\/em> sound that you can use anywhere and anytime.<\/p>\n<\/blockquote>\n

En esta \u201cPanspermia Sonora\u201d, mezclada y  realizada por Julio Sanz V\u00e1zquez, a propuesta del presidente de la Asociaci\u00f3n Electroac\u00fastica de Espa\u00f1a AMEE, Juan Luis Ferrer Molina, han colaborado miembros de la AMEE, ACuOSO, OSOMEX, Eugenia D\u00edaz y Joaku de Sotavento Huerto del Sonido ,Angel Albaladejo, Susana Chiocca, Mercedes Mestas, Ana, Equipo Elevador, Victor Aguado, Victor Vall\u00e9s, Ricardo Armas, Diana P\u00e9rez Custodio, Adolfo N\u00fa\u00f1ez, Pedro Guajardo, Enrique Mateu, Carlos D. Perales, Merce Capdevila, Roberto Pineda Tenor, Jos\u00e9 Andr\u00e9s Prieto Franco, Pablo Vega, Julio Sanz, Pedro Linde Navas, Miguel A. Garc\u00eda, Pablo Mart\u00ednez Garrido, Ricardo Climent, Apolo Vald\u00e9s, Joaqu\u00edn D\u00edaz, Sergio Bascu\u00f1ana, Jorge Sad Levi, SophiMacuac, J. Antonio Lle\u00f3, Miguel Molina, Marion Velasco, El Padre Castillejo y Sylvia Molina con el soporte de la Plataforma Poliedro Sinest\u00e9sico de Fabi\u00e1n Luna y la web Acci\u00f3nGME v2.4 con la colaboraci\u00f3n de Daniel del Saz y Javier Osona.<\/p>\n

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Title:<\/strong> Let\u2019s save the Cuenca Electroacoustic Archive
Year:<\/strong> 2015
Composer(s)<\/strong>: Julio Sanz V\u00e1zquez + Sylvia Molina + AMEE members + GME + ACuOSO
eMail<\/strong>: juliosanzvaz@hotmail.com
<\/a>Time:<\/strong> 7\u201924\u201d<\/p>\n

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View the source sound files<\/a><\/p>\n

Short composer biography:<\/p>\n

Julio Sanz V\u00e1zquez. Cuenca, Espa\u00f1a.<\/strong><\/p>\n

Musician, Composer and Multidisciplinary Artist<\/p>\n

He has awarded by the International Tribune of UNESCO Music.<\/p>\n

For 26 years he has been president of the AVADI (Audio Video Digital Art and Interactive Design for its acronym in Spanish) which is a cultural association to promote digital art and interactivity.<\/p>\n

He has combined these activities with his work as professor\/coordinator of the Gabinete de M\u00fasica Electroacustica (Electrocustic Cabinet of Music) until 2007. Also he is involved in the Conservatorio Profesional de M\u00fasica of Cuenca (Professional Conservatory of Music) on the design, formation and maintenance of GME., dedicated to put within the reach of all the composers and creators the possibilities of the new technologies.<\/p>\n

In their work in electroacustic music He has been president of CITA (Applied Technology Initiative Center for its acronym in Spanish) from 1991 to 2000; Coordinator of the electrocustic Music Sample from 1989 until 2006 at the Conservatorio de M\u00fasica de Cuenca (Conservatory of Music of Cuenca); Coordinator of the Seminarios Internacionales sobre M\u00fasica y ordenadores (International Seminaries on Music and Computers) from 1990 until 1995 in the Universidad Internacional Mendez Pela (Mendez Pelayo International University).<\/p>\n

Sylvia Molina. Madrid, Espa\u00f1a.<\/strong><\/p>\n

PhD Cum Laude in Fine Arts at the University Complutense of Madrid. Currently, I teach art and New Media and Final Projects in the Faculty of Fine Arts of Castilla La Mancha in Cuenca \u2013Spain-. It is since the early 90s that I research and I develop projects focused on the interaction field, creating artistics and music\/sound projects research project based on which I have developed numerous projects both on-line and off-line, individual and collaboratives (Brandenburg 3, Fuge \/ Lemoine, Ovum, Inexterno, El Rastro, Bach-Piranessi \u2026), national research projects or internationally renowned (in someone else\u2019s shoes, Yumgaga, The Banquet, \u2026). I have written numerous articles and given numerous national and international conferences and lectures on the subject.<\/p>\n

AMEE The Spanish Asociation for Electroacoustic Music was created in 1987.<\/p>\n

ACuOSO Computer Symphony Orchestra (OSO) is a musical ensemble with musicians\/artists leaded by the Cuenca Friends Society of the Computer Symphony Orchestra (ACuOSO) and it is legally bound by its statutes.The ACuOSO interactive participation. Born at Cuenca City, the Computer Symphony Orchestra, is to allow computers and digital devices a space for music and performance interventions.<\/p>\n

GME Gabinete de M\u00fasica Electroac\u00fastica de Cuenca opened in1983.<\/p>\n

The Cabinet of Electroacoustic Music of Cuenca was the first public Spanish center dedicated to the creation, research, teaching and dissemination of electroacoustic music. It was opened in 1983, linked to the Conservatory of Music of Cuenca. Because of bureaucratic problems it closed in 1996, leaving all its equipment and all the works produced in it stored in boxes. Today all that material is still in boxes and is awaiting for cataloging and evaluating of their status. Fortunately, there is already a project to catalog, restore and publicize all these works, thanks to different institutions, and counting with the participation of the composers. Along with the recovery of the works we want to retrieve the laboratory as a unique historic instrument. We must value the repertory and the research done from 1983 to 2006 and reopen the Cabinet of Electroacoustic Music of Cuenca for the present and future times.<\/p>\n

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Origen: Let\u2019s Save GME Cuenca \u2014Obra | Acci\u00f3n GME 2.4<\/a><\/p>\n\n\n