Sound
The Invisible Vault. 2013. Text sound composition. Ambient audio, stereo sound, DAW editing. 4:26" min.
“The Invisible Vault” reflects on the concept of freedom, establishing a metaphor between the realm of action of birds and machines, presenting a meditation on the multiple controls related to human flight and their absence for birds.
The sound, within the aeronautical space, denotes the construction of a cage where we hear organic and mechanical birds flying, trapped in an invisible confinement that raises questions about the autonomy of entities in an “open” space, evoking conflicting perceptions and emotions. Contains the poem "Metal birds in attack formation", written by the author in 2011 in response to illegal aerial maneuvers carried out in the urban area of Caracas.
Acoustic ocean . 2012. Text sound composition. Ambient audio, stereo sound, DAW editing. 3:12" min.
Ocean of Sound (Landscape Between Two Beaches) (Jesus Mogá, 2012) is based on sound recordings made at Platja de Llevant in Barcelona, Spain (taken from the sonoscop.net archive “19. End of Josep Pla Street”) and sound recordings made by the author at Cepe Beach in Choroní, Aragua State, Venezuela.
Addressing the idea of a boundary as a point in space, and presenting space as the vast expanse of water separating these beaches, the sound poem narrates a fictional journey between them, focusing on the sea as a flowing area whose shores share a sonic similarity where it is impossible to distinguish specific places.
In Ocean of Sound, the concepts of boundary and vastness blur, giving way to the continuity of space and evoking the landscape through the acoustic characteristics inherent in the density of the environment.
About the sound Art Praxis
Jesús Moreno-Granados developed a concern for listening and sound from an early age, thanks to the contact with sound tools, recording, reproduction and materials inherited from his father, who in life was radio amateur, music lover, systems analyst, and accountant. As a music enthusiast, this first approach to audio-technologies was linked to amateur musical experiencies he carried out in his very early youth after being part of rock, pop, punk-rock, and art-rock bands from the local scene in Caracas, experiences after which they approached him alone to to investigate and experiment computer music ,DAW platforms, analog electronic instruments and sound methodologies and aesthetics.
In 2001, these approaches to experimental music and the artistic field of sound achieved a place in the development of his sculptural work with experimentation in the sculpture workshops of the "Armando Reverón" Institute in Caracas, Venezuela. There he began intuitively to elaborate a body of work in the field of the sound arts that at the time was questioning about the relations of sound with the object, the image and the space, and from which begins to specify more clear questions about the materiality and spatiality of sound. While pursuing undergraduate studies in fine arts in Caracas, he attended the art radio seminar given by radiographer, producer, research professor Jorge Gómez; with which the relationship of Moreno-Granados with the field of the sound arts was affirmed. Research in this academic space revealed to him the work of John Cage, whose artistic work, musical understanding, and relationship with Zen practice and thought had a definitive influence on his artistic development.
This relationship is evident in his special work "Compendium", whose research and development approached Moreno-Granados to the works of Marcel Duchamp, Cristian Marclay, Benoit Maubrey and other sound explorers.
Within this transit, the development of experimental proposals such as "Noisebookx", "Re-plugged" and "La caja Canción" gave rise to Moreno-Granados' experimental deepening with sound, from which he began to build his own understanding of the relations of sound with disciplines typical of the plastic arts such as sculpture, painting, graphic arts and ceramics; to find himself in that exploratory research with a specific field whose possibilities (by requiring his own methodology and concrete theoretical knowledge) led him to study sound art at the University of Barcelona with artists-teachers such as Joseph Cerdá, Manuel Berenguer and Carmen Pardo.
The beginning of the body of work in sound art can be placed in the project "Dressed in sound" (2008), whose central axis is a dress made with hand-woven sound tape. By delving into these explorations, the creative and methodological dimension of their sound work begins to expand towards sound installation, analog electronics and theoretical reflection on the fundamental concepts of sound art and its historical development.
By using sound as a sculptural material, his proposals begin to show an understanding of listening understood as a meditative, relational and binding dimension. Taken from the plastic arts through various exercises, experiments and approaches, this issue acquires a specific weight within the creative production and the thinking of Moreno-Granados, to consolidate itself as a specific research work in the Master's Degree in artistic education of the National University of Colombia, where he constructs the elements of the research work entitled "The expansion of listening to a pedagogy of sound art", in which he places his arguments on pedagogy and research in the arts from the perspective of sound studies.