029 algorithmic accompaniment
028 high-performance computing
027 between utility and contradiction
026 outside recordings vol.5 _ sipoonkorpi 
025 additional thoughts on
024 signal extraction
023 avoinna joka päivä
022 fricciópressió
021 imagining new forms
020 akousma pt.II
019 an approach to resilience
018 one step back, everyone!
017 container
016 ōki-sa
015 experiri ensemble
014 outside recordings vol.4 _ japan
013 shinjuku electrical walk
012 three movements for cellphone
011 distorted tunes test
010 estudi modular
009 outside recordings vol.3 _ costa rica
008  1.1 plants are deceptive
007 akousma
006 soroll
005 las hojas 
004 outside recordings vol.2 _ bolivia
003 institute for new feeling 
002 outside recordings vol.1 _ iceland
001 (sub)urban plants



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cristian subirà hybrid sound documentalista


022  
sound pieces _ 5 min _ 2025


the invitation to contribute to the tenth-anniversary compilation of mutan monkey came while I was in delta de l’ebre, taking part in the eufònic festival residency.

at the time, I was recording with an ovno wood contact microphone—designed and handmade by rober martínez, the founder of the initiative. it was one of those coincidences one tends to interpret as a sign: accepting the proposal felt like a natural, almost reflexive decision, as I deeply resonate with the values that mutant monkey embodies.
 
I decided that my contribution would be a small homage—not only to rober, but also to the territory I found myself in: delta de l’ebre. a landscape in constant transition.

for that reason, I chose to work exclusively with the ovno wood contact microphone and two elements that felt deeply representative of the area: the observation towers—structures that invite attentive looking and listening—and the mistral wind, which blows forcefully from the northwest in april, drying the land, clearing the sky, and supporting bird migration.

the first piece, fricció, is built from the friction of my foot against one of these metal observation structures. I recorded five layers of sound, all derived from the same physical action, with minimal variations that produce an oscillating and fragile movement. the harmonies emerge almost by accident, hesitant, as if resisting resolution.

the second piece, pressió, stems from a less controlled situation. in this case, I recorded six independent tracks, all captured from the vibrations caused by the mistral wind on various surfaces in the surrounding environment. here, the human gesture disappears, and it is the wind itself that acts as composer—creating an unstable, generative, almost automaton-like texture.