Sonic Scope Quarterly #5 by Nuno Moita

SONIC SCOPE 4UARTERLY autumn 2005

SONIC SCOPE 4UARTERLY FOR CONTEMPORARY VISUAL ART

ISSUE#5 autumn 2005

INTRo INTRo

CONTAINS PHOTOGRAPHY, DRAWINGS, ILLUSTRATION AND DESIGN FROM : MAJA RATKJE [3] ·:· KITUNDU [9] ·:· CHARLES LAREAU [14] ·:· DIOGO VALÉRIO [19] ·:· MARC BEHRENS [26] ·:· PAZ BOÏRA [34] ·:· PAULO RAPOSO [39] ·:· NICK DELANEY [43] ·:· MORPH3U [48] ·:· KOJI ASANO [53] ·:· TEN/TEN_DO_TEN [58] ·:· IMAX [64] ·:· MARIANA DIAS DA CUNHA [69] ·:· PEDRO ALMEIDA [74] ·:· MANUEL MOTA [79] ·:· MARIANA DIAS DA CUNHA [80] ·:· PHILIP SHERBURNE [81] ·:· CHIPPY (HEUNG-HEUNG CHIN) [89] ·:· LARACRAFTS [92] ·:· STEINBRÜCHEL [97] “MOLTO”: A MP3 SINGLE, EXCLUSIVELY AVAILABLE WITH THIS AUTUMN ISSUE.

SONIC SCOPE 4UARTERLY #5 autumn 05_intro

Maja Ratkje WARNEMÜNDE 2003

THE WINTER WHEN THE TOURISTS ARE ABSENT THE SMALL CITY BY THE BALTIC SEA IS MOSTLY INHABITED BY SEAGULLS AND OTHER BIRDS. WARNEMÜNDE’S DIFFERENT TYPES OF SEAGULLS HAVE MIXED SO THAT MOST OF THEM ARE BASTARDS WITH BLACK SPOTS ON THE HEAD INSTEAD OF A CLEAN WHITE OR BLACK HOOD.

SONIC SCOPE 4UARTERLY #5 autumn 05_maja ratkje

CAMPING/RAFTING IN SIBERIA 2002

SUMMER

IN SIBERIA. THREE DAYS ON RAFTS WITH TWO THOUSAND RUSSIANS FLOATING DOWN THE RIVER MANA. MAIN INGREDIENTS BEING VODKA AND MUSIC, THIS FESTIVAL STARTED AS AN INITIATIVE BY THE PEOPLE. THE WATER IS SHALLOW, BUT MOVING SWIFTLY.

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KAIRO 2005:

THE

MAIN STREETS OF KAIRO ARE DOMINATED BY MEN AND MILLIONS OF CARS, BUT YOU MIGHT AS WELL FIND CHILDREN, MOSTLY RUNNING AROUND IN FLOCKS, SOME STILL IN SCHOOL UNIFORM SUCH AS THIS LITTLE GIRL. AND SOME MEANS OF TRANSPORT REQUIRE VEGETABLE LEFTOVERS RATHER THAN GAS.

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GURNA 2005

WOMAN

BRINGING WATER. THE EGYPTIAN AUTHORITIES ARE ASHAMED OF THE SHACKS JUST BENEATH SOME OF THE GREATEST SITES OF OLD EGYPTIAN GLORY, THEREFORE REFUSING TO OFFER INFRASTRUCTURE SUCH AS WATER. THESE EGYPTIANS MIGHT POSSIBLY BE THE HEIR OF THE ANCIENT WORKERS WHO DUG OUT AND DECORATED THE MANY TOMBS UNDERNEATH AND IN THE HILLS ABOVE THE VILLAGE.

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NIGHT AT MANA, RUSSIA 2002

YOU

HAVE TO RAISE YOUR TENT BEFORE IT GETS DARK, THEN THE LIGHT FROM THE MANY FIRE PLACES LIGHT UP THE RIVER BANKS ALONG THE RIVER MANA. FOOD IS MADE IN LARGE PANS PROVIDING SIMPLE NOURISHMENT FOR THE GROUP OF RAFTERS SURROUNDING THE FIREPLACE AFTER A LONG AND WET DAY ON THE RIVER.

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WOMAN IN JENISEISK, RUSSIA 2002

THIS

WAS THE ONLY PLACE TO ORDER FOOD IN JENISEISK, AND THIS WOMAN TAKES CARE OF THE DISHES. YOU MAY PUT YOUR TRAY IN THE FRAME. THE SIBERIAN RUSSIANS MAKE THEIR HOUSES OUT OF WOOD.

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Kitundu

MONEY

IS AN INTRIGUING FORM OF ART. GOVERNMENTS CREATE FINE ART PRINTS IN VERY LARGE EDITIONS, SIGNED AND NUMBERED. THESE PIECES ARE THE MOST HIGHLY SOUGHT AFTER WORKS OF ART IN THE WORLD. PEOPLE WILL KILL EACH OTHER, RAPE THE LANDSCAPE, SACRIFICE THEIR INTEGRITY, AMONG OTHER THINGS, FOR THESE PRINTS. NICKEL AND COPPER MULTIPLES RIDDLE THE LANDSCAPE TOO. NOT AS HIGHLY VALUED, THESE PIECES ARE OFTEN GIVEN AWAY AND ARE CONSIDERED THE CURRENCY OF THE POOR, DISTOPIC MASSES. ART, MONEY, IS EXCHANGED FOR FOOD, SHELTER, AND STATUS. SOME HAVE MAGNIFICENT COLLECTIONS. OTHERS’ COLLECTIONS GROW TO THE POINT OF BECOMING CONCEPTUAL, ELECTRONIC; TRANSFERRED FROM COLLECTION TO COLLECTION VIA COMPUTER INTERACTION. STILL OTHERS YEARN FOR THESE ENGRAVINGS, STRUGGLING ALONG IN THIS ART DRIVEN WORLD, REDUCED TO BEGGING FOR CULTURE, STRIVING TO BECOME A COLLECTOR SO THEY CAN BARTER FOR THEIR NEXT MEAL. HOW CAN ANYONE HOPE TO ACHIEVE THE KIND OF UNPRECEDENTED ARTISTIC SUCCESS THE GOVERNMENT HAS HAD WITH THIS BODY OF WORK? THE AUDIENCE FOR THEIR WORK INCLUDES ALMOST EVERY MEMBER OF THE POPULATION. THE THIRST FOR ART, OTHERWISE KNOWN AS GREED, HAS BECOME INSTINCTUAL.

THIS

WHAT

IF OUR RULING BODIES DECIDED TO RETIRE FROM THE ART SCENE? WHAT IF THEY HAD NEVER BEEN

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INSPIRED IN THE FIRST PLACE? WHAT IF EVERYONE’S MEAGER CREATIVE EFFORTS WERE THE ACCEPTED FORM OF CURRENCY? WHO WOULD FEAST AND WHO WOULD LAY IDLE, KEEPING WARM BY THE MIST OF SEWER CAPS?

WOULD

WE SEE PERFORMANCE PIECES AS PAYMENT FOR SERVICES RENDERED? PRECIOUSLY ATTENDED CANVASES IN EXCHANGE FOR LUXURY CARS OR GROCERIES? HAND CRAFTED BONUSES AT CHRISTMAS TIME? PARENTS PUSHING THEIR CHILDREN INTO CAREERS AS DANCERS AND SONGWRITERS, AND REGARDING STOCKBROKERS AND FINANCIAL ANALYSTS AS LAZY AND UNPROFESSIONAL VAGRANTS? WHO KNOWS.

WHO

KNOWS WHAT OUR CITIES WOULD LOOK LIKE IF CREATIVITY AND NOT CURRENCY WAS THE DRIVING FORCE OF OUR ECONOMIES. I ENVISION GRAFFITI ARTISTS SPRAYING FLAT, BLAND AREAS OF COLOR TO COUNTERACT THE ENDLESS FIELDS OF EXPRESSION. IS ART. NEVERTHELESS, IT IS OLD ART. ITS VISUAL RELEVANCE IS LIMITED TODAY. THE ICONS ARE DIFFICULT TO IDENTIFY WITH AND WE NOTICE ONLY THE SIZE, SHAPE, AND ASSIGNED VALUE OF THESE PRINTS AND SCULPTURES. MY WORK IS A COLLABORATIVE EFFORT. USING THEIR OLD FORMS AS A SOURCE OF INSPIRATION AND AS A PLATFORM FOR COMMUNICATION, I ADD MY CREATIVE EFFORT AND OFFER A GLIMPSE BEHIND THIS FACADE OF IMPENETRABILITY,CLASSICISM, AND SOLIDITY.

MONEY

IS INK ON PAPER. NOTHING MORE. ITS VALUE IS A PSYCHOLOGICAL, SOCIETAL CREATION COMPARABLE TO THE VALUES WE ASSIGN RACE, GENDER, RELIGION, POLITICAL AFFILIATION ETC.... THESE DISTINCTIONS MAY SEEM INDISPENSABLE BUT THEY ARE MANUFACTURED. WE USE THEM AS A MEANS TO GRASP AND CONTROL OUR SURROUNDINGS. LIKE A NET THROWN OVER OUR REALITY SO THAT WE MAY BEGIN TO UNDERSTAND AND MANIPULATE OUR ENVIRONMENT.

MONEY WE

FOOL OURSELVES BY BELIEVING IN CONJURED DISTINCTIONS AND VALUES. TAKE A NATIONAL BOUNDARY FOR INSTANCE. IN THE NORTH WOODS OF MINNESOTA, I CAN TAKE SIX STEPS AND BE IN ANOTHER COUNTRY. YET I STILL STAND UNDER THE SAME TREE, BY THE SAME STREAM, WITH NO PHYSICAL INDICATION THAT NOW, I MUST ABIDE BY DIFFERENT LAWS AND USE THE METRIC SYSTEM. SURELY THE INDICATION IS ON A MAP SOMEWHERE, INK ON PAPER, CONJURED UP AND TRANSPOSED OVER THE COUNTRYSIDE. BUT IN THE PHYSICAL WORLD, THE WORLD OF WIND, SUN, EARTH AND SKY, THE DISTINCTION IS IRRELEVANT.

RACE, CULTURE, NATIONALITY, RELIGION, SEXUAL PREFERENCE, MORALITY, AND, THE RELATIVE IMPORTANCE OF EACH OF THESE ISSUES WITH REGARD TO OUR OWN BEING. DEFINITIONS CAN AND DO OFTEN ACT AS BARRIERS. WE USE THEM TO ALIENATE OTHERS AND PROTECT OURSELVES, AND WE CONTINUE HIDING IN THE MIST. OUR COWARDICE STIFLES THE KNOWLEDGE AND EXPRESSION WHICH LIVES IN THE SPACE WHERE DISTINCTIONS CEASE TO BE DIVISIVE AND BECOME INSTEAD, PLACES FOR CONGREGATION.

THESE

WORKS SEEKS TO DRAW ATTENTION TO THE FACT THAT MANY OF THE THINGS WE THINK WE KNOW AND UNDERSTAND ARE DEFINED BY INTELLECTUAL AND PSYCHOLOGICAL STANDARDS THAT, OVER TIME, HAVE BECOME ACCEPTED AS TANGIBLE REALITIES. IN TRUTH, THE DISTINCTIONS ARE AS SUBSTANTIVE AS MIST. WE CAN, AND SHOULD, REDEFINE OUR RELATIONSHIPS WITH THESE DEFINITIONS. DEFINITIONS WHICH ENCOMPASS 10

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KITUNDU, 1998 ALL DOLLAR WORKS

SHOWN CREATED

1999

DWELLER RED CARPET

SONIC SCOPE 4UARTERLY #5 autumn 05_kitundu

BUCK 99 POINT 8

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KIGALI WANT

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Charles LaReau FIVE PHOTOGRAPHS- PART OF A LARGER ‘TRANSPORT’ SERIES SHOT WHILE WANDERING KOREA, 2005. GONGJU TERMINAL

SONIC SCOPE 4UARTERLY #5 autumn 05_Charles LaReau

HIGHWAY 23

SONIC SCOPE 4UARTERLY #5 autumn 05_Charles LaReau

SEOUL SUBWAY

SONIC SCOPE 4UARTERLY #5 autumn 05_Charles LaReau

SEOUL SUBWAY2

SONIC SCOPE 4UARTERLY #5 autumn 05_Charles LaReau

DAEJEON STATION

SONIC SCOPE 4UARTERLY #5 autumn 05_Charles LaReau

diogo valério I THINK MY SPACESHIP KNOWS THE WAY HOME THE BLUE SERIES, 2005

SONIC SCOPE 4UARTERLY #5 autumn 05_diogo valério

SONIC SCOPE 4UARTERLY #5 autumn 05_ 05_diogo valério

marc behrens BULLETHOLES

THESE

PICTURES ARE TAKEN FROM AN ONGOING PHOTOGRAPHIC PROJECT I STARTED IN 2001, FOCUSING ON THE WAY DIFFERENT NATIONS DEAL WITH BULLETHOLES IN BUILDINGS, DEPENDING ON WHICH WAR THEY ORIGINATE FROM.

SONIC SCOPE 4UARTERLY #5 autumn 05_marc behrens

MONTEPULCIANO, ITALY, 2003: HOLES FROM SOME SMALL-SCALE 16TH CENTURY REGIONAL WAR. I WAS INFORMED BY A LOCAL, BUT FORGOT WHO EXACTLY WAS FIGHTING WHOM. 27

SONIC SCOPE 4UARTERLY #5 autumn 05_marc behrens

BUDAPEST, HUNGARY, 2001: HOLES ON THE MATTHIAS CHURCH IN BUDAVÁR, MAYBE FROM WWII OR FROM THE HUNGARIAN UPHEAVAL IN 1956. WHILE I TOOK THESE PICTURES, WORK WAS ALREADY IN COURSE TO REPAIR THE WALLS. 28

SONIC SCOPE 4UARTERLY #5 autumn 05_marc behrens

JERUSALEM, ISRAEL, 2005: HOLES ON ZION GATE FROM THE SIX-DAY WAR BETWEEN ISRAEL AND JORDANIA, NOT REPAIRED ON PURPOSE BY ISRAELI AUTHORITIES. 30

SONIC SCOPE 4UARTERLY #5 autumn 05_marc behrens

BERLIN, GERMANY, 2004: HOLES ON GATES AROUND VICTORY COLUMN FROM THE DEFEAT IN 1945. IN WEST-GERMANY WWII-HOLES WERE COVERED AND HIDDEN VERY WELL - IRONICALLY, AT SUCH A LANDMARK THEY ARE STILL ONLY PARTLY PATCHED, WHICH MUST HAVE BEEN ON PURPOSE. 31

SONIC SCOPE 4UARTERLY #5 autumn 05_marc behrens

SONIC SCOPE 4UARTERLY #5 autumn 05_paz boïra

PAZ BOÏRA

2005

SONIC SCOPE 4UARTERLY #5 autumn 05_paz bo誰ra

paulo raposo LAKE (MOOSTE, ESTONIA) APRIL 2005

SONIC SCOPE 4UARTERLY #5 autumn 05_paulo raposo

nick delaney BOY MEETS DREAM 2005

SONIC SCOPE 4UARTERLY #5 autumn 05_nick delaney

CENTER FOLD 2005

SONIC SCOPE 4UARTERLY #5 autumn 05_nick delaney

HITNOMORE 2005

SONIC SCOPE 4UARTERLY #5 autumn 05_nick delaney

ICEANGEL 2005

SONIC SCOPE 4UARTERLY #5 autumn 05_nick delaney

JUNGLE MIDST 2005

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MOrph3u SOMEWHERE AT MADISON AV.

NEWCOMERS IN BIG CITIES CLIMB THEIR LOOK ABOVE SKYSCRAPERS. LIKE ACROBATS THEY TWIST THEMSELVES AND LOOK TO THE SKY CAPTURING NEVER REACHES THE GROUND.

SONIC SCOPE 4UARTERLY #5 autumn 05_MOrph3u

THE LIGHT THAT

BRYANT PARK

SONIC SCOPE 4UARTERLY #5 autumn 05_MOrph3u

ITS ALMOST SPRING (STREET)

SONIC SCOPE 4UARTERLY #5 autumn 05_MOrph3u

LEARN FILMAKING AT 3RD FLOOR

SONIC SCOPE 4UARTERLY #5 autumn 05_MOrph3u

LITTLE BRAZIL

SONIC SCOPE 4UARTERLY #5 autumn 05_MOrph3u

koji asano A PHOTO WHICH I DIDN’T USE FOR MY CD COVER - 1 2003

SONIC SCOPE 4UARTERLY #5 autumn 05_koji asano

A PHOTO WHICH I DIDN’T USE FOR MY CD COVER - 2 2003

SONIC SCOPE 4UARTERLY #5 autumn 05_koji asano

A PHOTO WHICH I DIDN’T USE FOR MY CD COVER - 3 2003

SONIC SCOPE 4UARTERLY #5 autumn 05_koji asano

A PHOTO WHICH I DIDN’T USE FOR MY CD COVER - 3 2003

SONIC SCOPE 4UARTERLY #5 autumn 05_koji asano

A PHOTO WHICH I DIDN’T USE FOR MY CD COVER - 3 2005

SONIC SCOPE 4UARTERLY #5 autumn 05_koji asano

Ten/ten_do_ten 5 “SEX IS SEKSO” CRAZY STRIPES CLOTHES

IN ESPERANTO

“SEX

IS SEKSO”

COMPLEX FEELINGS OF ESPERANTO IS MY HOPE. COMPLEX FEELINGS OF ESPERANTO IS MY DESPAIR. ESPERANTO IS AN ARTIFICIAL LANGUAGE THAT WAS INVENTED BY LUDOVIC ZAMENHOF IN 1887, WITH GRAND HOPE OF DISSOLVING BARRIERS, TRANSCENDING COUNTRY AND RACE DIFFERENCES AND MITIGATING VIOLENT CONFRONTATION. EVEN THOUGH ESPERANTO NEVER BLOSSMED INTO THE TRANSCENDENT UNIVERSAL LANGUAGE THAT IT WAS DREAMED TO BE, IT LEFT A KARNEL HOPE EVEN IN IT’S FAILURE THAT I CARRY AROUND WITH ME AND WANT TO SHARE.

SONIC SCOPE 4UARTERLY #5 autumn 05_Ten/ten_do_ten

imax I’VE BEEN TAKING PHOTOGRAPHS FOR A FEW YEARS NOW, IN BETWEEN RUNNING THE SLOW SOUND SYSTEM (WE HAVE A CD ON GRAIN OF SOUND, SO YOU MIGHT HAVE HEARD OF US). I’VE PICKED FIVE RECENT SHOTS FOR SONIC SCOPE. I’M HONOURED THAT NUNO’S ASKED ME TO CONTRIBUTE. I USED TO MAKE ABSTRACT PAINTINGS. BUT NOONE THOUGHT THEY WERE MUCH GOOD, AND I DIDN’T REALLY LIKE THEM EITHER. SO I STARTED TAKING PICTURES INSTEAD. ‘ENOUGH ABSTRACTION,’ I THOUGHT. ‘I’LL STICK TO THE REAL WORLD.’ BUT I SOON FOUND MYSELF TRYING TO FRAME THE REAL WORLD IN THE SAME WAY. I BEGAN WORKING WITH SIMPLE COLOURS, TEXTURES AND SHAPES. I GOT FASCINATED BY THE PLAY OF LIGHT, REPEATING FORMS AND REVEALED PATTERNS. PERHAPS I WAS TRYING TO MAKE THE WORLD A LITTLE SIMPLER, BUT I’M ALSO TRYING TO MAKE PEOPLE LOOK HARDER AT WHAT SURROUNDS US. SO I’VE COME BACK TO WHERE I STARTED OUT. WHEN I SHOW MY PHOTOGRAPHS TO PEOPLE NOW, THEY SAY ‘OH, THAT’S NICE, IT REMINDS ME OF SOME ABSTRACT PAINTING.’ OR SOMETIMES THEY SAY, ‘MMM. BUT WHAT IS IT?’ WHAT CAN YOU DO? SOME PATHS JUST LEAD YOU BACK AGAIN.

SONIC SCOPE 4UARTERLY #5 autumn 05_imax

BROKEN GLASS, LONDON FIELDS, 2005

OLD CITY SCULPTURE GARDEN, HAVANA 2005

SONIC SCOPE 4UARTERLY #5 autumn 05_imax

REAR WINDOW, E8, 2005

SONIC SCOPE 4UARTERLY #5 autumn 05_imax

SCOPELLO BEACH, SICILY 2004

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SNOWY TWIGS, SHROPSHIRE 2004

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Mariana Dias da Cunha BICHOS 2004

SONIC SCOPE 4UARTERLY #5 autumn 05_Mariana Dias da Cunha

S/T 2005

SONIC SCOPE 4UARTERLY #5 autumn 05_Mariana Dias da Cunha

INDIOS E COWBOYS 2005

SONIC SCOPE 4UARTERLY #5 autumn 05_Mariana Dias da Cunha

POLVOS FAMOSOS 2005

SONIC SCOPE 4UARTERLY #5 autumn 05_Mariana Dias da Cunha

S/T 2005

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pedro almeida FOTOLOG SELECTION BOAT, CABANAS

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FLOOR, FRUIT

FLOOR, PAINT

SONIC SCOPE 4UARTERLY #5 autumn 05_pedro almeida

FLOOR, TRASH FLOOR, WATER

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TEXTURE, MONDARIZ

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TYPE, WALL

WALL, VIANA

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Manuel Mota POSTER FOR TETUZI AKIYAMA, ERNESTO RODRIGUES E MANUEL MOTA: LIVE AT LISBOA BAR, OCTOBER 3, 2005.

— poster art —

SONIC SCOPE 4UARTERLY #5 autumn 05_Manuel Mota

Mariana Dias da Cunha POSTER FOR CAVEIRA, ONE MIGHT ADD, GOODBYE TOULOUSE, PAUL DE JONG, ZERN VS OK.SUITCASE: LIVE AT GALERIA ZDB, JULY 21 AND 22, 2005.

— poster art —

SONIC SCOPE 4UARTERLY #5 autumn 05_Mariana Dias da Cunha

Philip Sherburne LA CHICA PAULA @ OCEAN CLUB, CLUB MARIA, BERLIN SEPT 2004

— live archive —

SONIC SCOPE 4UARTERLY #5 autumn 05_Philip 05_ Sherburne

LUCIANO @ PIKNIK ELECTRONIK/MUTEK, MONTREAL MAY 2005

— live archive —

SONIC SCOPE 4UARTERLY #5 autumn 05_Philip 05_ Sherburne

THOMAS MELCHIOR @ MUTEK, MONTREAL, JUNE 2005

— live archive —

05_ SONIC SCOPE 4UARTERLY #5 autumn 05_Philip Sherburne

RICARDO VILLALOBOS AT BEAT STREET, BERLIN, SEPTEMBER 2004.

— live archive —

SONIC SCOPE 4UARTERLY #5 autumn 05_Philip Sherburne

MAMBOTUR @ MUTEK MEXICO, MEXICO CITY APRIL 2005

— live archive —

SONIC SCOPE 4UARTERLY #5 autumn 05_Philip Sherburne

WIGHNOMY BROTHERS @ ROSI’S, BERLIN OCTOBER 2004

— live archive —

SONIC SCOPE 4UARTERLY #5 autumn 05_Philip Sherburne

RICHIE HAWTIN @ POLLERWEISEN/C/O POP, COLOGNE SEPTEMBER 2005

— live archive —

SONIC SCOPE 4UARTERLY #5 autumn 05_Philip Sherburne

DJ OMAR @ CREAMFIELDS BENICASSIM AUGUST 2005

— live archive —

SONIC SCOPE 4UARTERLY #5 autumn 05_Philip Sherburne

Chippy (Heung-Heung Chin) ERIK FRIEDLANDER - “MALDOROR” PUBLISHED BY BRASSLAND CD RELEASE DATE: 10/20/03 ILLUSTRATION AND DESIGN BY CHIPPY (HEUNG-HEUNG CHIN)

COVERSIDE

— cover art —

SONIC SCOPE 4UARTERLY #5 autumn 05_Chippy (Heung-Heung Chin)

INDSIDE

— cover art —

SONIC SCOPE 4UARTERLY #5 autumn 05_

INLAY

— cover art —

SONIC SCOPE 4UARTERLY #5 autumn 05_Chippy (Heung-Heung Chin)

laracrafts TRANSFORMING, REINVENTING

IS THE KEY...

— Ltd.EDT —

ART4FUN

SONIC SCOPE 4UARTERLY #5 autumn 05_laracrafts

2005

— Ltd.EDT —

AND CHANGING THE LIFE OF DAILY NON-USED-ANYMORE STUFF, IS THE MAIN THEME AND PURPOSE OF LARACRAFTS (HTTP:// LARACRAFTS. BLOGSPOT.COM), A SHELF OF HANDMADE OBJECTS ON THE LARAPAL.ORG PROJECT ( HTTP:// WWW.LARAPAL.ORG). THE CREATIVE UNIVERSE OF TWO PEOPLE — LARA SILVA (REPORTER) AND PEDRO ALMEIDA (DESIGNER, MUSICIAN AND PERFORMER) IS A LAB OF IDEAS AND ADVENTURES BUILT OF AUDIOVISUAL, TECHNOLOGY, RECYCLING, PHOTOGRAPHY AND DESIGN MANOEUVERS.

PAPER BOX MATERIALS: SHOE BOX, ACRYLICS AND DRY-TRANSFER LETTERING

— Ltd.EDT —

HAND BAGS MATERIALS: TEXTILE (NEEDLE ART)

2005 93

SONIC SCOPE 4UARTERLY #5 autumn 05_laracrafts

COVERED BASKETS MATERIALS: TEXTILE (NEEDLE ART) AND BUTTONS

— Ltd.EDT —

2005

SONIC SCOPE 4UARTERLY #5 autumn 05_laracrafts

PAPER CUP MATERIALS: PAPERS, WATER, GLUE

— Ltd.EDT —

2002

SONIC SCOPE 4UARTERLY #5 autumn 05_laracrafts

— Ltd.EDT —

MIRROR MATERIALS: WASTED OBJECTS AND MIRROR

2005

SONIC SCOPE 4UARTERLY #5 autumn 05_laracrafts

steinbrüchel ARTIST: STEINBRÜCHEL TITLE: MOLTO RUNNING TIME: 2’00” FORMAT: MP3

COMPOSED IN BAVENO, ITALY. DEDICATED TO ... CAT. NR: FLEXIGOS 001 DESIGN: JOÃO VICENTE COVER LAYOUT: NUNO MOITA RELEASE DATE:

OCTOBER 2005

CONTACTS: WWW.SYNCHRON.CH WWW.GRAINOFSOUND.COM

ON ISSUE #5, AN AUDIO TRACK IS EXCLUSIVELY AVAILABLE WITH EVERY NEW RELEASE OF THE SONIC SCOPE QUARTERLY. IN THIS ISSUE: “MOLTO” BY STEINBRÜCHEL. ]

SONIC SCOPE 4UARTERLY #5 autumn 05_steinbrüchel

SONIC SCOPE 4UARTERLY #5 autumn 05_steinbr端chel

SONIC SCOPE 4UARTERLY FOR CONTEMPORARY VISUAL ART

ISSUE#5 autumn 2005

outro CONCEPT: NUNO MOITA

outro

DESIGN: JOﾃグ VICENTE

PUBLISHED BY GRAIN OF SOUND, 2005

F fon t s :

Lipo D; close call _ http://www.fountain.nu

SONIC SCOPE 4UARTERLY #5 autumn 05_outro

Tenacity _ http://www.minifonts.com]

CONTACT SHEET MAJA RATKJE EMAIL: MAJAR@NOTAM02.NO; URL: HTTP://WWW.RATKJE.COM KITUNDU EMAIL: KITUNDU@CPCARTS.ORG; URL: HTTP://CPCARTS.ORG/KITUNDU CHARLES LAREAU EMAIL:VOOSTVISZT@YAHOO.COM; URL: HTTP://WWW.ZEROMOON.COM/FOREIGNLANDS DIOGO VALÉRIO EMAIL: HELLO@THEDRONESPEECH.ORG; URL: HTTP://WWW.THEDRONESPEECH.ORG MARC BEHRENS EMAIL: INFO@MBEHRENS.COM; URL: HTTP://WWW.MBEHRENS.COM; PHONE +49 (0)69 7073708 BRÜDER-GRIMM-STR. 46, 60385 FRANKFURT A.M. GERMANY. TO SUBSCRIBE TO THE MAILING LIST, SEND A NOTE TO <INFO@MBEHRENS.COM> PAZ BOÏRA EMAIL: PAZ@ALL2ALL.ORG; URL: HTTP://WWW.FREMOK.ORG/PAZBOIRA PAULO RAPOSO EMAIL: SIRR@SIRR-ECORDS.COM; URL: HTTP://WWW.SIRR-ECORDS.COM/PAULORAPOSO NICK DELANEY EMAIL: NDEY@NDEY.ORG; URL: HTTP://WWW.NDEY.ORG HTTP://WWW.NTOTHEDEGREE.NET M0RPH3U EMAIL: M0RPH3U@GMAIL.COM; URL: HTTP://WWW.LOMOHOMES.COM/M0RPH3U HTTP://WWW.FLICKR. COM/PHOTOS/M0RPH3U KOJI ASANO EMAIL: INFO@ASANOPRODUCTION.COM; URL: HTTP://WWW.KOJIASANO.COM TEN EMAIL: TEN@TENTENTEN.NET; URL: HTTP://WWW.TENTENTEN.NET IMAX EMAIL: IMAX@SLOWSOUND.NET; URL: HTTP://WWW.SLOWSOUND.NET HTTP://WWW.LOMOHOMES.COM/IMAX MANUEL MOTA EMAIL: I---I@CLIX.PT; URL: HTTP://WWW.GEOCITIES.COM/HEADLIGHTSRECORDINGS MARIANA DIAS DA CUNHA EMAIL: RICEFIELDPRODUCTIONS@HOTMAIL.COM PHILIP SHERBURNE EMAIL: PSHERBURNE@GMAIL.COM; URL: HTTP://WWW.PHILIPSHERBURNE.COM CHIPPY (HEUNG-HEUNG CHIN) EMAIL: CHIPPYPRINT@EARTHLINK.NET; URL: HTTP://WWW.BRASSLAND.ORG PEDRO ALMEIDA EMAIL: LARAPAL@IP.PT; URL: HTTP://WWW.FOTOLOG.NET/PEDROALMEIDA HTTP://WWW.LARAPAL.ORG LARACRAFTS EMAIL: LARAPAL@IP.PT; URL: HTTP://LARACRAFTS.BLOGSPOT.COM HTTP://WWW.LARAPAL.ORG STEINBRÜCHEL EMAIL: STEINBRUCHEL@SYNCHRON.CH; URL: HTTP://WWW.SYNCHRON.CH 100 SONIC

SCOPE 4UARTERLY #5 autumn 05_contacts