The Goal

2014 | ars acustica,

winner category sound art, 2014

balonbabel, CMMAS, Mexico

 

 10 minutes: stereo or 16-channel

Call for works by CMMAS (Centro Mexicano para la musica y las Artes Sonoras:

(BALL-BABEL-BRAZIL 2014) OUR OWN NARRATIONS WORLD CUP

How many narrations of one same event can be compiled?
How many ways can there be to talk about the same sequence of actions? What is the most simultaneously translated visual sequence, into different languages?
How would all these narrations sound if they could be heard at the same time? Can a ball work as the baton of a babelic voice concert?
Are other sound interpretations of a soccer match possible?
Is it possible to make a narration encounter, different from the one offered by FIFA? Is it possible to concentrate these narrations in an audio control and play with them? Should we respond with inclusion to the pretension of exclusivity?
Can we, then, collectively generate an artistic answer and in sound counterpoint to the media show of the FIFA World Cup?   While all over the globe, once again, an avalanche of consumerism and massive alienation is displayed, surrounding the FIFA World Cup in Brazil, venue country for the event, a wave of protests emerges: against economic inequality and social exclusion that remain unattended by a government that prefers to invest huge resources in the organization of such an event, rather than doing so in the needs of its people. Ever since the world cup held at Argentina (1978), we had not witnessed such a critical environment surrounding a FIFA World Cup. Back then, the global critical citizenship, protesting against the dictatorship, promoted a boycott to the championship. Today, just like in those days, the great business machinery has been started and it will not stop. However, it is possible to work creatively within the global communication nets, beyond expressing nonconformity. Protests must not renounce imagination and can be constructive. Facing the commercial value of exclusivity, the Mexican Center for Music and Sound Arts (CMMAS) proposes a poetic model of inclusion: Ball-Babel-Brazil 2014.