Pre-live-recorded catalogue for any possible situation
From 1 to 13 August (20:20 PM)
Place: La Concha beach public address system
Public address systems are amplification devices that emit semantically constrained notices. Inside the megaphone, all sentences sound imposing and unidirectional. Over the public address system, all sentences are for something, and never for themselves. Also, for safety reasons, public address systems do not allow messages to be read live: a pre-recorded CD contains the variety of messages that are broadcast every day, and those that might be needed. My idea is to expand this CD’s number of verbal possibilities by recording fragments of language that are so off-beat and strange that they could not be useful at all, in so much as the multiplied combination of verbal possibilities provides something that is impossibly some type of command or information. Not serving any great purpose, avoiding the standardisation or functionality of language is the poetry of this piece, which consists of three units: 1) a written file with finite verb parts that provide nearly infinite combinations when subdivided 2) a CD that contains the oral recording of said parts, and 3) a repertoire of fourteen examples of impossible messages to use in improbably experienceable situations. Various improvised semantic forces will cover the 14 samples that will sound off in August. As they will be broadcast imitating a sound system similar to the daily message notifying that the beach’s services have concluded, they will only be received by those who are actively listening to distinguish the improbable from the habitual. I think that the robotisation and phantomisation effect of split pre-recorded sentences is brought to life if the post-recording assembly does not comply with semantic restrictions.
María Salgado. Madrid, 1984. Poet, performer and researcher. She works with language as a material for texts, audiotexts and actions. In December 2014, she received a Doctorate Degree in Literary Theory and Shared Literature from the Universidad Autónoma de Madrid by completing her thesis on language oriented poetics in Spain since 1964. This inverted history of Spanish poetry from the second half of the 20th century will be published as a book towards the end of 2016. Together with Patricia Esteban, she started the Seminario Euraca research group, a device for reading, writing, and thought that is now a collective that has had various head offices in Madrid. She has published four books of poetry and has performed in Spain, Germany, Mexico, Peru, and the United States. Since 2013, she has been working with the composer Fran MM Cabeza de Vaca in the creation of performance pieces that use sound for active listening. Her last piece, Hacía un ruido, was presented at the CDN Teatro Valle Inclán in June 2015.