Spatialized audio
Galerie Waidspeicher 

Erfurt - Germany 13. 01. 2018

Mate-Realität is a multi-channel spatial musical composition and audio performance that intentionally explores the locatization of sound sources and their movement through space.

Performed for the first time at the opening of the exhibition »Materealität. Über Transformationen des Greifbaren / About Transformations of the Tangible« a collective art exhibition presented by the Multimediales Erzählen / Multimedia Narration course - Bauhaus-Universität Weimar

AudioLAB students –Bauhaus-Universität Weimar– together with students from Hoschschule für Musik Franz Liszt Weimar created this composition. I was one of the three students in charge of the audio spatialization. For this, we adapted a glove with a LightBlue Bean sensor and an Ultrasonic 4-pin proximity/distance sensor (HC-SR04), which allowed us to move the audio in the 3 axes and move it through 8 speakers located in the art gallery space. We use ‘the spatialization gloves’ as a fundamental composition parameter and a key feature for the listener.

The exhibition opening took place in the Galerie Waidspeicher, the performance was made under the direction of Teresa Carrasco, Artistic Assistant professor of Electroacoustic Composition and Sound Design • Bauhaus-Universität Weimar. 
The piece was elaborated in the class AudioLAB 1: Multidimensional Aspects of Live Electronics through the Application of Wireless Sensors, Tangible User Interfaces and Digital Interfaces. Jason Reizner and Dr. Teresa Carrasco were the instructors of this module. 
Amy Barnett, Ji Young Yoon (Chloe) and Pablo Silva Saray were the research assistants.  

Andreas Kühn
Benjamin Serdani
Denis Polec
Franziska Burkhardt
Gregor Trierweiler
Gellért Szabó (HfM)*
Heinrich Lenz
Ji Young Yoon (Chloe)
Jonas Friesel (HfM)*
Jordan White (HfM)*
Philipp Schmalfuss
Sandra Anhalt
Tupac Torres Bartsch

Amy Barnett 
Dasom Kim (HfM)* 
Yomayra Puentes-Rivera 

*Hochschule für Musik FRANZ LISZT, Weimar 

Documentation was made by Pablo Silva Saray who along with Benjamin Serdani made the video edition.

The collective art exhibition presents films, installations, projections and objects of more than 30 artists that can be seen between January 13 to March 4, 2018.

More info about the art exhibition: 

More pics:

Capítulo ocho / Achtes Kapitel
Digital photography 

This series is the product of the invitation made by OscarEnFotos in its newsletter number 4 in which he invites subscribers to send a series of photographs choosing a subject and a topic

Bilder- und Lebensgeschichten von Flüchtlingen
ISBN: 978-3-00-054525-2
Printed in Germany

Photo Exhibiton
2016 / 2017
in DNT between 22.10 until 16. 12. 2016
in AWO from 23.10. 2017 until - 5.12.2017

It is a publication of a photographic exhibition showing the result of a five-month photographic workshop with refugees who recently arrived in the city of Weimar in Germany and who at the time of the workshop lived in the refugee camp in the northern part of the city.  

The workshops were conducted under the name of Photoworkshop Bauhaus 2016 by Majd Murad (Syria), Razan Naser Eddin (Kuwait) and Yomayra Puentes-Rivera (Colombia). The refugees learned the basic knowledge of DSLR cameras and parallel to the basic technical aspects the participants analysed and worked around the concept of home.
The exhibition shows the results of this reflection.

The entire project was supervised a by Prof. Dr. Frank Eckardt (Department of Social Science Research - Faculty of Architecture and Urban Studies at Bauhaus-Universität Weimar).

The project received the collaboration and support of:
AWO Kreuzverband Jena-Weimar
Weimar Kulturstadt
Heinrich-Böll-Stiftung Thüringen e.V.
Deutsches Nationaltheater und Staatskapelle Weimar DNT
Deutsche Akademische Austauschdienst e. V. DAAD

Here an article in the local press: „Der Himmel sieht überall gleich aus“

Director: Prof. Dr. Frank Eckardt
Project Coordinator: Yomayra Puentes-Rivera
Communications Manager: Razan Naser Eddin
Project Designer: Majd Murad
Project producers: Paul Böttcher and Joullanar Wannous
Design of the Magazine: Gato & Mono design OHG, Weimar 

Special thanks to:
Maria Brückner, Andy Faupel, Susanne Leibner, Oliver Held, Beate Seidel, Sussan Leine, Jenifer Plaul, Sieglinde Meinberg, Ana Carolina Lima e Ferreira, Angelica Carvajal, Catalina Giraldo Vélez, Edgar Guzmanruiz, Emir Genc, Greta Valentinotti, Hans-Jörg Röhrich, Jad Murad, Lucia Schmidt, Mohamed El Azzazy

Digital photography

Mythos Germania
Vision und Verbrechen
Thorau, Schaulinski
ISBN 978-3-86153-895-0

Publication of one of my photographs in the book Mythos Germania.
The photograph corresponds to the model created by the artist Edgar Guzmanruiz, an architectural overlay of the planned city of Germania on the present district of government of Berlin.

Las esculturas de San Agustín en el Museo Etnológico de Berlín
Instituto Colombiano de Antropología e Historia
ISBN 978-958-885-215-7

Catalogue of the sculptures of the pre-Hispanic culture of San Agustín. These pieces are part of the collection of the Berlin Ethnological Museum.
Photographs by Edgar Guzmán-Ruiz and Yomayra Puentes-Rivera

Fajardo, David. Edición Académica. La voz de las piedras: Las esculturas de San Agustín en el Museo Etnológico de Berlín. Instituto Colombiano de Antropología e Historia, 2015.

Sound Intervention
in situ

La Ruta aims to play children's songs on tours through the squares and streets of Madrid, with the purpose of stimulating the collective sound memory of Spanish-speakers citizens, especially those from Spain and Colombia.
 To this end, Carrito Kultural used its speakers, playing melodies and inviting passers-by to remember them, singing them and sharing the differences in the versions that they have learned.

La Ruta is a sound intervention carried out within the framework of the call Desplazamientos, a project of the Carrito Kultural, whose team coordinator was La Parcería in the city of Madrid – Spain; between 25 February to 01 March 2015.
Rounds such as Aserrín Aserrán or Un Elefante se Balanceaba are recognizable both in Colombia and Spain; Playing them is intended to create a space for public socialization of those sound memories that will wonder about the origin, migration, displacement and the cultural heritage of the participants.

Regardless of culture, children's rounds are part of sound heritage from our places of origin. As rounds are known for several generations, is possible to integrate audiences of different ages and appropriate them as a part of the intangible heritage, allowing also to connect and interact with the community and change the usual experience of the urban environment.

The rounds are sound texts that are open to change, to collective creation and its evolution can be traced to allow spaces of communication between citizens.
The amount known is wide so here I selected some examples:

Aserrín Aserran Los Maderos de San Juan – toycantando
Los Elefantes – Prof. David Barraza
Arroz con leche - SueNiñosAngulo
Bartolo tenia una flauta – VideoKidsTV Dibujos
Debajo un botón - MusicalBlogies
Había una vez un barquito chiquitito - ArantxaRiera
La Gallina Turuleca - KidsConcept
Tengo una vaca lechera – Gaby, Fofó, Milike y Fofito
                                    Película Los Padrinos 1973 Dir. Enrique Carreras -
La serpiente de tierra Caliente - maricielom
El puente esta quebrado – Isabellasalazar1‘s channel

Más rimas en: mamalisa

History of the evolution of the round: Ronda Arroz con Leche o La viudita del Conde Laurel.
Tomado de Esquenazi Pérez Martha - Acerca de las rondas infantiles tradicionales

 La viudita del Conde Laurel puede encontrarse en España, Chile, Nuevo México y Uruguay (Cadilla, 1940:185). Boggs añade Italia, Inglaterra (Poor widow), Argentina, Perú, Venezuela, El Salvador, Puerto Rico, Cuba y Santo Domingo. En la isla de El Hierro (Canarias) se conoce como Conde de Cabra (Boggs, 1955:233). Platt agrega Guatemala y Paraguay (Platt, 2000:28).

Según Trapero se trata de un romance ritualizado como juego de ronda infantil en que existe un diálogo entre dos grupos de niñas en forma estrófica (Trapero y Esquenazi, 2002:301); lo hemos observado como ronda cantada al unísono en la que se agachaban al decir “rin ran”.

Versión cubana de La viudita del Conde Laurel:
      Arroz con leche                         se quiere casar
2    Con un viudita                           de la capital                    rin ran
      Que sepa coser                          que sepa bordar,
4    Que ponga la aguja                    en su canevá                   rin, ran

      Aurora de mayo                         al campo salía
6    En busca de flores                      de mayo y abril
      Yo soy la viudita                        que mando en la ley
8    Quisiera casarme                        y no encuentro con quien.
       —Tan linda y tan mona,             no encuentras con quien,
10   Elige a tu gusto                          que aquí tienes quien
       —Contigo sí, contigo no,            contigo me caso yo.

En las versiones encontradas en otros países generalmente se conservan los primeros versos y cambian los finales.

Versión chilena:
Arroz con leche,                  me quiero casar,
con una señorita                  de Portugal,
que sepa coser,                    que sepa bordar,
que sepa las tablas               de multiplicar.
Con ésta, sí, con ésta, no.    Con ésta, sí que me caso yo.

En Guatemala es el niño el que quiere casarse:
—Papá, mamá, me quiero casar,
con una muchacha que sepa bailar.
—Cásate, cásate, que yo te daré,
zapatos y medias color del café.
—Arroz con leche, me quiero casar.
Si me caso con la negrita,
se me enoja la blanquita.

Versión argentina:
Arroz con leche,               me quiero casar,
con una señorita               de San Nicolás,
que sepa coser,                que sepa bordar,
que sepa abrir la puerta    para ir a jugar.

Versión uruguaya:
Arroz con leche                  me quiero casar,
con una niñita                    del barrio oriental,
que sepa coser,                  que sepa bordar,
que sepa hacer medias       para un general.

Versión de República Dominicana:
Arroz con leche                se quiere casar
con una viudita                de la capital,
que sepa coser,                que sepa bordar
que ponga la aguja           en su mismo lugar.
Tin, tan,                          sopita de pan,
si no me dan                    café con pan,
le saco la leva                  al sacristán.

Versión venezolana:
Arroz con leche;                          me quiero casar
con una mocita de la capital,      que sepa coser,
que sepa bordar,                         que ponga la mesa
en su santo lugar.
—Yo soy la viudita,                      la hija del rey,
me quiero casar                          y no encuentro con quien.
—Pues siendo tan bella                y no hallas con quien,
elige a tu gusto                           que aquí tienes cien.
(Platt, 200:23-28).

Sound Installation
in situ

They are not cut yet but their luck is already sentenced.
About 60 trees leave their home in the north wing of the Weimarhallenpark to make room for the new residence of the Neues Bauhaus-Museum.
Birds, bats, banks and the others trees will say goodbye to this group of future outcasts.
adieu is an interactive sound-installation that wants to offer the opportunity to Weimarers and other habitants of the city that usually dwell this park to join this mourning’s chorus and begin to say goodbye to the each other.
If the plan is accurate, only five trees located on the other side of the road will survive in its current position and they will be the witnesses of the announced arrival of the new neighbour of 30 meters.

Weimar in Germany has currently nine big parks and the Weimarhallenpark is the only one in the centre of the city. This park was and is a very popular venue for adults and children.

On the other hand Weimar is very well know for be the first quarter of Bauhaus, the school of art founded by Walter Gropius in 1919. Since 1995 a temporary building houses the Bauhaus Museum Weimar that shows a small part of the collection that represent the architectural style of Bauhaus.
Around 2008 the city began planning the construction of a new Bauhaus Museum to replace the existing today, which is too small to host the complete actual collection.
After a huge competition and the redesign of the district planning law the winner was chose in 2012.
Around April 2014 Mr. Röhrich an inhabitant of the city, who grew up and has lived most of his life in the surroundings of the Weimarhallenpark area, contact me with the aim to create a strategy that allowed him to make duel with his memories an the new changes.
The construction of the Neues Bauhaus Museum will remove Mr. Rörich’s preferred wood bench in the Weimarhallenpark as well as the sixty trees that are behind of it. When we began to talk bout his feeling was clear that the result of our actions would be therapeutic art.
The first strategy was to visit the park regularly every Sunday between 11 and 14 hrs. In those sessions, we interviewed locals about their memories in the park as well as their opinion about the site chosen to the construction of the new museum.

I taught to Mr. Röhrich how to manage a Blog and between April and May 2014 he wrote the texts and I was in charge to the sound recordings. The title chosen by him was: Bauhaus oder Hausbau?.

On this process I noticed how the opinions about the places were more frequent than the memories of the place, also because many of the interviewees not grew in Weimar, they arrived in the city after.
Despite the difficulties was possible to collect some of the recollections and create an album, named Bürger zum Weimarhallenpark 
Our fieldwork led me to a few insights that have implications for design an interactive installation and the potential ways of using sound in public spaces and creates an intersection between memory and time.

As the future of the trees is that they will be cut in the autumn of 2014 I choose the Sunday 28 of September as the day to install the piece.
adieu consisted in nine audio tracks of branches being cut with mowers an the sound of trees falling on the grass.

The original idea consisted that at different distances, different audios will be activated with the pass of the pedestrians, but the constant overlapping of tracks showed that it was better to use a single composed track.
The audios were reproduced in the site, and a red and white construction tape was installed around the area of the trees that will be cut, pretended to foresee the future outlook of the area and evoke in the citizens a spirit of solidarity with the trees as well as a moment of mourning and farewell.

Also I provided some yellow labels where people could write messages and leave them hanging in the trees.

Technical Aspects:

To the Audio Installation I used one board of Arduino Duemilanove with a WaveAudio Shield, the use of the Arduino AF_Wave library and a SD card, nine uncompressed 22KHz, 12 bit, mono Wave (.wav) and a pair of head speakers, also a PING))) Ultrasonic Distance Sensor.
For the Audio edition I use the programs Cubase LE AI Elements 6 and Audacity.


in situ

Alphabet der Vier Elemente / Alphabet of Four Elements is a permanent interactive installation, inspired and created in the frame of the workshop: Fahrradnixen- LandArt of Ilmtal-Radweg at Kromsdorf-Germany

The Ilmtal-Radweg is the most popular cycle route in Thuringia and 4-star quality cycling route. The path of the route is near to the Ilm river that creates the perfect scenario to combine nature and cycling.
The frame of the workshop was precisely explore this relation. Cycling and mermaids were called.

In order to enable the communication between humans and mermaids and also the other elements around, I used the Alphabet of the Magi invented in the 16th century by Philippus Aureolus Theophrastus Bombastus von Hohenheim (also known as Paracelsus). He used it in his time to engrave the names of angels on talismans which he claimed could treat illnesses and provide protection.

This interactive sculpture allows visitors to write little messages (with the letters mounted in the bicycle wheels) that later others can decode and read and also leave new messages, providing the possibility to continuous communication.


Photo taken by Kreuzbube in April 2016 as part as his journey:

 More info about his endless tour in Artfahren Gunter Bubi!

Caín Press

Historia corta dentro de la publicación Estrategias - Plan de Escape.