Alexandre Marino
Sound-artist, teacher, researcher and sound designer.
Master in Musicology, School of Communications and Arts, University of São Paulo, Brazil (2013). Post-graduate in Musical Composition in Contemporary Technologies, Pompeu Fabra University, Spain (2008) and technician in Audio and Acoustics, Institute of AudioVisuals, IAV-SP, Brazil (2006).
In 2008, was awarded with Beca Phonos for Young artists (Spain) and, in 2009, was selected as resident artist at the Project LABMIS-SP (Museum of Image and Sound of São Paulo).
Works as sound designer and composer for audiovisual and theater, having worked in the short features Por Ela (2016), Cuco (2014), Ruído de Passos and Versus (2013), and as composer in the urban intervention Contos de Lua no Chão (2009) and in the play Três Estações (2007).
Performs at venues dedicated to experimental arts, such as: niu: Espai Artístic Contemporani (Barcelona), Espaço Cultural Walden (SP), Ibrasotope Música Experimental (SP), Estúdio Fitacrepe (SP), Trackers (SP) and Audio Rebel (RJ).
As an educator, participated in the social projects Educom.Rádio (2004) and Primeiro Emprego (First Job – 2004). Since 2005, teaches at the Anhembi Morumbi University, imparting classes in the fields of audiovisual communications and electronic music production.
In 2013, started to practice Hatha Yoga. In 2015, achieved specialization in Hatha Yoga at Nazaré, University of Light.
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When I look back and analyze my work with sound art, since its beginning in 2004, when I produced the radio-show Sinfonia Concreta Eletrônica Aleatória, I realize that my main theme is the Listening process. This has lead my research, in the last years, to Deep Listening, which allowed me to associate several aspects of my life which firstly I considered to be apart from each other: field recording, performance, free improv, sound design, but also spirituality (through the practice of Yoga), and the re-signification of objects into musical instruments (through hardware hacking practices). Nowadays I’ve been acting in two basic fronts: in one side in performances of improvisation (free or structured), utilizing bent-loudspeakers (loudspeakers turned into microphones), which I use to capture several gestures, from breath sounds, vocalizations, to percussive sounds, etc.; on the other hand with the production of radio-art shows, such as Ressonância, Escuta and more “didactic” shows about the material released by Al Revés Netlabel.
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https://alreves.bandcamp.com/album/improvisos-com-um-alto-falante-alterado
https://alreves.bandcamp.com/album/atmosfera-esquizofr-nica