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This is "Artpoética Serie Completa" by La Claqueta PC on Vimeo, the home for high quality videos and the people who love them.

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audios

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Catálogo de pre-viva voz para cualquier posible situación, 2016.
Audiotext for Playa de la Concha's public address system. Donosti, 1st-13th August. Curated by Mikel R. Nieto and José Luis Espejo within The Observatory of Listening / El Observatorio de la escucha project. Produced by Donostia / San Sebastián 2016 European Capital of Culture. Picture by Neme Arranz.

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 covered the 13 samples that sounded off in August 2016. As they were broadcasted imitating a sound system similar to the daily message notifying that the beach's services have concluded, they would have only be received by those who were 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: at the end, that means "poetry".

"... A speaker is an amplification device releasing defined notifications, it's a diffusion system which encourages an ordering and unidirectional narration, a perfect tool to sinuously move from the usual to the unlikely, reproducing a sound regime similar to the original message. All the forms of language manipulations, as W.S. Burroughs remembered, refer to the old magic arts, to the metrics of the archaic poetry, to the shifting and primigenial disposition of the arts. Listening to this hypnotic, ambiguous and successful audio performance brings us back to that claim." (From the Review published in Neural. Critical digital culture and media arts, 12 March 2018)
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Let her try / Deja a ella probar.
1 fragmento de Patriarchal Poetry (1927) de Gertrude Stein, 2015
Artefactos. Centro Holográfico Dados Negros, Villanueva de los Infantes, Spain.

Let: deja Her: a ella Try: probar To be: ser Shy: tímida She: ella Just: sólo Never: nunca What: Lo que He: él Said: dijo Not: no. The vocabulary used in this excerpt from Patriarchal Poetry is scarce. Seems at first simple. Takes little space at first. Short words that combinatorial speed makes sound and appear at a rhythm that balances sentences from grammatical to ungrammatical. A rhythm that moves thought, though it is an unreasoned way of thinking. If that's possible. It is possible. I pronounce with my marked accent, of a non-native English-speaker, and I translate it into a Spanish that rhythmically becomes a doubtful standard. I can't think of a better and more contemporary poet than Stein.

Let: deja Her: a ella Try: probar To be: ser Shy: tímida She: ella Just: sólo Never: nunca What: Lo que He: él Said: dijo, es dicho Not: no. El vocabulario empleado en este fragmento del poema Poesía patriarcal es escaso. Parece en principio sencillo. Ocupa poco en principio. Palabras cortas que la velocidad de combinatoria hace sonar y aparecer a un ritmo que bascula las frases de lo gramatical a lo agramatical. Es un ritmo que mueve el pensamiento, pero es un modo de pensar no argumental. Si es que es posible. Es posible. Yo lo pronuncio en mi acento marcado, de no nativa de inglés, y lo traduzco en un castellano que a ritmo se vuelve de norma algo dudosa. No se me ocurre poeta ni mejor ni más contemporánea que Stein.
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Incluso si ella era una ella estaba cambiando. 1 traducción de 1 fragmento de Orta or one dancing (c. 1911-12) de Gertrude Stein, 2011.
Festival 2011 poetas x km2, Casa de América, Madrid. Complete video by Beringola TV

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La Ninia de Valdebernardo, 2014.
Performance. Co-authored and performed with paula, javiera, kendall.
Riot-grrrl & euraca cover of Bob Wilson & Christopher Knowles' The Sundance Kid is Beautiful. Espacio Naranjo, Madrid. Audio by Kamen Nedev. In Tapin2
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Orfeo, 2009.
Text. Variations f. memory/time/space
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ciudad a / ciudad b / ciudad ce / hasta la zeta (wholesale / retail), 2013
Music. Composers: Fran MM Cabeza de Vaca & María Salgado & Acoustic Mirror. Featuring: Vertixe Sonora Ensamble. Durban. Festival Son. Musica de hoy, Casa de las Alhajas, Madrid. Ciclo Do Audible, Palabras, palabras, palabra, Museo de Bellas Artes, A Coruna.
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ciudad a / ciudad b / ciudad ce / hasta la zeta (wholesale / retail), 2013
Performance. With Fran MM Cabeza de Vaca & Acoustic Mirror. La noche de los libros, Café Molar, Madrid.

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Femenino Duro Maravilla, 2015.
Ted Berrigan + Le Parody Mashup. With Fran MM Cabeza de Vaca. Live performance in studio. Audio recorded by Francisco Javier Gómez Martínez. Published by Ruido Sisterhood, Madrid.
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Jinete último reino. Primer historia de la desobediencia, 2013.
Music. Composers: Fran MM Cabeza de Vaca & María Salgado. Oboe: Lola Díez Marcos (Smash Ensamble). III Concierto La Lengu'entrebescada; La Nave 73, Madrid (18/11); Jardín Botánico, Valencia (19/11). Scores: http://issuu.com/franmmcabezadevaca/docs/jinete_def4
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Escombro de un verano de 2011, 2011.
Mixing Radio audiotexts. Festival 2011 poetas x km2, Casa de América, Madrid. Complete video by Beringola TV
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Colgado de ready, 2012
With José Luis Maire. Galería Cruce, Madrid.
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De piedrha de ser. Rancherita queer, 2013
Music. With Le Parody. Sala El Sol, Madrid. Audio by Kamen Nedev. Picture by Patricia Esteban

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ACAB Abalorio, 2014
Inverted rap. Composition & Featuring by María Salgado & Fran MM Cabeza de Vaca. Hacía un ruido. Madrid: Ruido Sisterhood, 2016. Picture by Julio Albarrán

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NEGRO (RSRJ RJRS) · JUR 3, 2017
Audiotext for earphones. With Fran MM Cabeza de Vaca. Curated by José Luis Espejo. Radio Reina Sofía, Madrid, released on 21/12/2017

NEGRO is an audio text built on a small section of sound material from the combinatorial piece entitled RSRJ RJRS, and belongs to an area of audio textual research into desire, norms, repression, and the night which we have called Jinete Último Reino. Our sound mechanism seeks to capture a moment of desire from which, if focused upon, the grain of deviation in the body can be heard, generally, and the gender binary norm, specifically. NEGRO (RSRJ RJRS)focuses on the inner and outer part of the body which deviates above and below a situation of (somewhat more) real speech or another which is (somewhat more) fictitious (or poetry).

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Cd. With Ixiar Rozas. San Sebastián: Donostia / San Sebastián, 2016.
Order a copy att: thelisteningobservatory@gmail.com
+ info: http://www.mediateletipos.net/archives/40309

"20.20, by the sound artists Maria Salgado and Ixiar, originates from a project supported by the Observatorio de la Escucha, during the events planned in San Sebastián, European Capital of Culture in 2016. The release records the performance they made with the public information system on the beach of La Concha and also includes a "bonus track", which the duo later recorded in the studio in Tabakalera, Salgado and Ixiar make a detournement of the communication of the beach, a communication process we can easily define as absolutely ordinary. The texts they presented in this special space had an estranging and unconventional flavor in relation to the audience. The Catálogo de pre-viva voz para cualquier posible situación increases the number of the verbal possibilities in the pre-recorded sentences. The works turn in the direction of an individual and sharp poetic activism, which is organized into accomplished verbal parts, despite being potentially capable of further proceedings. The tone of the announcements is normative, but also sometimes insinuating or interrogative. The musical jingles and the background voices present in iterations under the form of refrain, apparently showing an unintentional organization in the theoretically infinite mix of elements. But they also show the desire to have an emotional reply, with the use of experimental styles and practices typical of the contemporary and avant-garde waves. The background of María Salgado is already proof: here the influence of the sound poetry is very relevant, as well as the idea the sound may actually create active listening and develop some limited semantic units into something more adventurous and decontextualized. A speaker is an amplification device releasing defined notifications, it's a diffusion system which encourages an ordering and unidirectional narration, a perfect tool to sinuously move from the usual to the unlikely, reproducing a sound regime similar to the original message. All the forms of language manipulations, as W.S. Burroughs remembered, refer to the old magic arts, to the metrics of the archaic poetry, to the shifting and primigenial disposition of the arts. Listening to this hypnotic, ambiguous and successful audio performance brings us back to that claim."

Review published in Neural. Critical digital culture and media arts, 12 March 2018: http://neural.it/2018/03/maria-salgado-ixiar-20-20/

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Catálogo de pre-viva voz para cualquier posible situación, 2016. Audiotext for Playa de la Concha's public address system. Donosti, 1st-13th August. Curated by Mikel R. Nieto and José Luis Espejo within The Observatory of Listening / El Observatorio de la escucha project. Produced by Donostia / San Sebastián 2016 European Capital of Culture.

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El idioma de los dioses

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Nota autobiográfica

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Gloria Fuertes recita su "Nota biográfica"

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Ya te estoy imaginando

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Marwan recita "Ya te estoy imaginando" en Facebook Live

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Insomnio

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Insomio, poema de la propia voz del poeta español Damaso Alonso.

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Para vivir no quiero
(conversacional)

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Para vivir no quiero. Pedro Salinas; voz Manuel Castellanos.

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1,06 Si el hombre pudiera decir lo que ama

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La voz de Luis Cernuda: grabación original del poeta sevillano de la Generación del 27

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La gran dama del teatro español Núria Espert ha resaltado en la ceremonia de entrega de los premios Princesa de Asturias su relación de pasión y entrega que, durante su dilatada carrera como actriz, ha mantenido con esa "bellísima profesión" que es el teatro.

Durante su agradecimiento, la actriz ha recitando 'Doña Rosita', rememorando la soledad de la solterona de Lorca que clamaba por la libertad de la mujer.

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Núria Espert emociona interpretando a Lorca en los Premios Princesa de Asturias. Vídeos de España

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Teatro: Núria Espert emociona interpretando a Lorca en los Premios Princesa de Asturias. Vídeos de España. La gran dama del teatro español Núria Espert ha resaltado en la ceremonia de entrega de los premios Princesa de Asturias su relación de pasión y entrega

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Xirgu y Alberti

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Romancero Gitano. Federico García Lorca. Verde que te quiero verde. Verde viento. Verdes ramas. El barco sobre la mar y el caballo en la montaña - Romance

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Alberti

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Rafael Alberti. Las tierras, las tierras, las tierras de España. Capital de la gloria