The publication Frequency Singular Plural stems from the opportunity to reflect on questions that were raised during the series of performances of the same name that took place at CentroCentro between April and November 2019.

Sound, musicality, voice, melody, spoken text and noise have all resonated as tools with which to self-define one’s self and the group during the performances; the audience could feel them. But they are also present in the intimate narrative written by Beatriz Alonso, an exceptional witness who accompanied the entire series, and in the conversations that were subsequently organised with the artists Laia Estruch, Marco Godoy, Ana Guedes, Ángela Millano, Nuno da Luz, Julián Pacomio and Hannah Weinberger. These personal narratives are accompanied by essays by Pauline Oliveros, Brandon LaBelle and María Montero Sierra, essays that could not exist without the works and the visual essay by Camille Aleña and the poems by Elena Aitzkoa and María Salgado.

The coral narrative and the various formats —essay, lyrical, visual— emphasise the narration that Frequency Singular Plural proposes on how the oscillation experienced by the subject in order to define him or herself as an individual and as a collective is materialized in an almost automatic way in the production of the sound and when listening to it. From the in-depth listening defined by Pauline Oliveros, whose famous text, translated for this occasion into Spanish, ‘Some Sound Observations’ (1968), reveals to us those visible and invisible noises, natural yet also artificial and human, that surround and accompany us; to the possibilities of subverting the orders given through a sound agency that Brandon LaBelle anticipates as a political opportunity for individuals and collectives to think of themselves from a more respectful, inclusive and imaginative place, from affection and accompaniment; to the relationship between learning and action and the confirmation of a reiterated sound gesture as an element of consciousness and autonomous expression in ‘The Deposit: Transmission, Iteration, Consciousness’ by María Montero Sierra. Without wishing to be strictly thematic, areas such as nature, politics, the body and learning, the interrelationships between thought, visualisation, action and the analysis of the multiple layers are revealed in their many formats between authors and artists in this open and lively dialogue which, with its many singular plural frequencies, is well chronicled in this publication.

EDITED BY: María Montero Sierra
YEAR: 2020
FORMAT: 12 x 18 cm
PAGES: 204
LANGUAGE: Spanish / English
ISBN: 978-84-18299-04-9
PUBLISHED BY: CentroCentro