Liminal(mente)

 

The idea of liminality is defined, according to folklorists Arnold van Gennep and Victor Turner, as “the intermediate moment in a ritual characterized by a sensation of ambiguity and disorientation, where the subject transitions from a process of restructuring in which their notions of identity, time and community are dissolved in anticipation of the following state of being. It’s then the moment where trivialities are suspended, which allows the step between one social condition and the other.”

“La liminalidad es el momento intermedio en un ritual … que permite el paso entre una condición social y otra.” Victor Turner, antropologist.

The experience of crossing the border is the epitome of the liminal experience, in which a sector of the population of México and the USA experience a ritual in which its notions and customs are in redefinition during that period of transit. There are uncountable amount of anecdotes in which there is a description of a switch in morals and social behaviors when a person crosses to “the other side” due to the socioeconomics and policies of each Nation-State. By highlighting these differences, liminal(mente) proposes to catalyze new possibilities of thinking stemming from a sonic disruption to a common situation as is the border crossing.

liminal(mente) is a piece and performance divided in two moments: The first component is a capture of the soundscape of the San Ysidro Border Crossing in the Tijuana-San Diego region through strategic field recordings. Later, a brain-computer interface (EEG) will be used during the ritual of border crossing to create a generative composition made up of said recordings with the objective of posing the question: What is the internal sound (the individual) and the external sound (collective) in waiting between the sociocultural contexts of Mexico and the United States? The result of this performance will be recorded and later transmitted through the temporary pirate radio station of Cognate collective.

 

La idea de la liminalidad se define, según los académicos del folclóroricos Arnold van Gennep y Victor Turner, cómo “el momento intermedio en un ritual caracterizado por la sensación de ambigüedad y desorientación, dónde el sujeto transiciona de un proceso de restructuración en la cuál sus nociones de identidad, tiempo y comunidad se disuelven en anticipación del siguiente estado de ser. Es el momento dónde se suspenden las trivialidades, lo cuál permite transitar de una condición social a otra.”

El antropólogo Victor Turner la define cómo “La liminalidad es el momento intermedio en un ritual … que permite el paso entre una condición social y otra.” Victor Turner, antropólogo

La experiencia de cruzar una frontera es la epítome de la experiencia liminal, en la cuál un sector de la población mexicana y estadounidense vive un ritual en el cuál sus nociones y costumbres se redefinen durante el periodo de transición. Hay un número ilimitado de anécdotas en las cuáles se describe un cambio de morales y conducta social cuándo una persona cruza “al otro lado” debido a las normas socioeconómicas de cada Nación-Estado. Al resaltar éstas diferencias, Liminal(mente) propone canalizar nuevas posibilidades de pensamiento a raíz de una disrupción sónica a una situación familiar cómo el cruce fronterizo.

liminimal(mente) es una obra y presentación dividida en dos momentos: La primera etapa es capturar el ambiente sonoro del cruce fronterizo de San Ysidro a través de grabaciones de campo estratégicas en la región de Tijuana-San Diego. Despúes una interface cerebro-computadora (EEG) será usada durante el ritual de cruzar la frontera para crear una composición generativa utilizando las grabaciones con el objetivo de posar una pregunta: ¿Cuál es el sonido interno individual y el sonido externo colectivo mientras se espera entre contextos socioculturales de México y Estados Unidos? El resultado de ésta presentación será grabada y transmitida a través de la estación temporal de radio pirata de Cog•nate Collective.

 

Moisés Horta Valenzuela (Tijuana, November 29 1988) is a musician, composer and sound artist. Taking inspiration from the sociocultural border context of Tijuana and being part of a generation exposed to the consumption of information via the Internet, the objective of his work is to express the ways in which the human mind is transformed by the constant movement between the virtual and physical realms. His work is characterized by exploring the juxtaposition of dichotomies such as tradition and hypermodernity, dystopia and utopia, low resolution and high definition using new technologies and electronic musical instruments, both software and hardware.

He studied a Bachelor in Science in Audio Production at the Art Institute of San Diego, California (2010). He has participated in a series of workshops that focus on the use of technologies for the creation of multimedia art: Potencial de Acción: Introduction to Neurofeedback (Alumnos 27 Foundation, 2015), Biofeedback workshop (Biblioteca Vasconcelos/Centro de Cultura Digital, 2014), Introduction to physical computing (Protolab, 2010).

His incursión into the field of sound has manifested itself through a string of electronic music projects with an experimental focus: Kixly (2006-2009), Los Macuanos (2009-2016), DJ Nombre Apellido (2012- Present) and ℌEXOℜℭℑSMOS (2013-Present). His music has been published by various international labels such as: Inmersiva – ℌEXOℜℭℑSMOS (Centro de Cultura Digital/Fonoteca Nacional, MX, 2015), El Origen – Los Macuanos (Nacional Records, USA, 2013), El Fin – Los Macuanos (New Other Thing, USA, 2010), V.A. – Fifteen sounds of the War on the Poor Vol. 2 (Public Record, USA , 2009), V.A. – Groan / Grown Zone ( States Rights Records, USA, 2009). His music is also distributed freely around the globe via the Internet.

He has played around the world in various international forums including: Festival Pirineos Sur (Sallent de Gállego, Spain, 2015), Södra Theatern (Stockholm, Sweden, 2014 y 2011), Gramercy Theatre (New York, USA, 2014), Fesival Supersónico (Los Ángeles, USA, 2014), Steinvorth (San José, Costa Rica, 2013), Folk Fest (Guatemala, Guatemala, 2012), SXSW (Austin, USA, 2011), MUTEK_Mx (CDMX, México, 2010), as well as residencies at Elektron Musik Studion (Stockholm, Sweden, 2014) and the Red Bull Music Academy (London, England, 2010).  

 

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