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About "Aotakark", acousmatic piece for 16 channels [here in stereo reduction – a binaural version to be heard with headphones] Reading Murray Schafer’s curious book The Tuning of the World, I came across the following passage: “The loudest noise heard on this earth within living memory was the explosion of the caldera [volcano eruption] Krakatoa in Indonesia on August 26 and 27, 1883. The actual sounds were heard as far away as the island of Rodriguez, a distance of nearly 4,500 kilometers, where the chief of police reported: ‘Several times during the night ... reports were heard coming from the eastward, like the distant roars of heavy guns. These reports continued at intervals of between three and four hours, until 3 p.m. on the 27th....’ On no other occasion have sounds been perceived at such great distances, and the area over which the sounds were heard on August 27 totaled slightly less than one-thirteenth of the entire surface of the globe. (R. Murray Schafer, The soundscape: our sonic environment and the tuning of the world [originally: The tuning of the world], Rochester, Vermont: Destiny Books, 1994, p. 28) At the time he wrote the book (1977), this sound event on this Indonesian island was a unique milestone, having reached a force equivalent to 200 megatons and having reached 172 decibels, well above the maximum limit of bearability of the ear, at 130 dB. The tragic eruption threw debris 100 km away and killed around 36,000 people. Later, very close to the present day, in January 2022, another eruption, this time of the Hunga Tonga-Hunga Ha’apai volcano on the island of Tonga, surpassed the Krakatoa event and its sounds could be heard up to 9,600 km away. Regardless of the recent phenomenon, I was very interested in the reference to the Krakatoa eruption in Schafer’s book, itself a landmark in the sociological evaluation of sounds, because the author will then go on to criticize, very pertinently, the overpowering of loud sounds in the modern industrial age, for which sound intensity is commonly associated with power. By naming the natural phenomenon of immense sound power, Schafer ends up introducing the predominant role of high-intensity sounds as symbols of modern capitalism. So, I decided to make use of the stark contrast between high-powered, very short-lived sonic blows and their very diverse and spatially varied reverberations, extending the catastrophic events in a detailed dive into the filigrees of sonorities, sometimes of quite subtle intensity. I thus inverted the event, trying to pay more attention to the resonances than to the booms from which they emanate. Hence the inversion of the island's name, giving rise to the title of the piece: "Aotakark". Just as in "Perpetui decoris structura", I used granular synthesis above all, shattering the sound over 16 channels, and also in record time: that piece was made in 3 days at the EMS (Elektronmusikstudion) in Stockholm, in 2022; this one, between October 21 and 28, 2024, so in just 1 week of deep concentration, inaugurating the Studio in my new home, the future headquarters of a Foundation whose purpose will be to study my work... Jandira (SP), on October 24, 2024 Flo Menezes