In its form, it is a sort of heretic mantra; in its substance, it is a piece of humanity. A catalogue of phonic figures is reiterated within a “moment of cinema”, entirely constructed around a circular vocal gesture. Here, each indefinite repetition of words leads towards a destruction of language, liquefied in a magma of sound.
I’ll wait outside
sound performance
conception and implementation: Daniela Cattivelli
text and voice: Raquel Silva
with: Leo Ventura
production with the support of Xing
AI’ll wait outside (Sonic Cars #1) is a sound performance that takes place in an urban environment, specifically in a black car, equipped with a CD player and parked in a street of the city. The performance is to be experienced by one person at a time and it lasts about 5/7 minutes. The installation doesn’t require an actual physical movement of the car. The vehicle is parked, it`s stationary. It is a symbol movement, but in this case it represents as a “dead body”.
Inside the car, pressing the play button on the CD player, the audience will listen to an audio track that last for about 4 minutes, where a recorded voice is listing a long list of fears.
I’ll wait outside comes from the idea of a car as a lodging, temporary space that is “neither out nor inside”. In fact the vehicle itself creates volumes in the urban landscape, it defines and confines holes, sounding and resonant cavities.
I’ll wait outside is focused on the sound space inside the car: the shell-bodywork creates, indeed, a space that incorporates, produces a kind of niche that makes the listening experience more particular and acute.
I’ll wait outside is part of the SONIC CARS project, a collection of different sound works that were thought of and created to be listened to in car.
SONIC CARS has two goals: to explore the “peculiar” dimension of listening to sound that is experienced on the means-car and to “compose” score music for devices of which car is normally equipped (car radio, CD player, car alarm, car horn) to these elements we can add voice of singers or passengers if/when necessary.
The vehicle is therefore explored in two different dimensions: on one hand as a space of sound, and on the other as a “ sound machine” that generates sounds itself.