by Florencia Curci, Fernanda Olivares & Nicolás Spencer
The noise emanating from the sea serves as a wake-up call, a mechanism or device, an artifice that heralds an emergency with nymphs’ cries from a place, be it a utopian or dystopian topos. This is how a narrative emerges, originating from the depths of the sea, carried by air currents and surface waves, creating turbulence as it interacts with the seabed and crashes against the coastal breakers. The mythological noise, or “Lärm,” undergoes a transformation and dissolves, taking on premonitory forms or dystopographies.
Jasmine Guffond is an artist and composer working at the interface of social, political and technical infrastructures. Her practice spans live performance, recording, sound installation and custom made browser add-on. Through the sonification of data she addresses the potential of sound to engage with contemporary political questions and engages listening as a situated knowledge practice.
Interested in providing an audible presence for phenomena that lies beyond human perception, via the sonification of facial recognition algorithms, global networks, or Internet tracking cookies she questions what it means for our personal habits to be traceable, and for our identities, choices and personalities to be reduced to streams of data.
In 2021 Dr. Jasmine Guffond completed her PhD at the University of New South Wales Art, Design & Architecture department, where she conducted research into sound as a method of investigation into online surveillance cultures. She teaches casually at the Sound Studies and Sonic Arts masters program at the UdK in Berlin.
A taxi driver from Punta Arenas, making tourist trips, travelling more than 700 km a day. He knows the terrestrial but also the marine territory with more than 25 years of experience sailing in fishing and factory vessels, Japanese squid-ships (which are called Jail Vessels). Aladino is a great connoisseur of the land and its people.
Anthropologist specialising in the human dimensions of biodiversity conservation. He currently works in the Department of Protected Wildlife Areas of CONAF Magallanes, developing a work of liaison and participation with local communities and indigenous peoples of the region.
Actress graduated from Teatro Escuela La Matriz de Valparaíso. Graduate in Scenic Studies, Universidad Mayor de Santiago de Chile. Master in Scenic Practice and Visual Culture, Universidad Castilla-La Mancha, Madrid Spain.
Her interest is focused on the development of practical research processes in performing arts, mainly associated with the areas of acting and directing.
Produces and manages artistic and training projects among which are considered Colaboraciones en Distancia / Fuego Acciones en cemento/ Encuentro MIXTAS.
Produces and co-directs the Centro de Investigación Teatro la Peste de Valparaíso, a space with 25 years of experience in stage creation.She is currently one of the resident artists at Teatro La Memoria, in charge of the direction and general production of the plays Inextinguible and Inmolar.
Marine Biologist graduated from Universidad de Valparaíso, currently studying the postgraduate Master’s in Oceanography program, which is taught jointly by the Universidad de Valparaíso and the Pontificia Universidad Católica de Valparaíso. Her professional development has been linked to research work, in conjunction with the Universidad de Valparaíso and the Instituto de Fomento Pesquero (Fisheries Development Institute) with a focus on the characterization of reproductive aspects in different species of hake. In addition, she’s part of the research team of the Centro de Investigación Teatro La Peste Research, given that her scientific work has been linked to investigative lines of artistic creation, providing advice on environmental issues. Currently, also maintains her research work associated with the Facultad de Ciencias del Mar de la Universidad de Valparaíso and it’s a member of the Suma Qamaña consulting firm.
I am a park ranger in charge of research and public use in Karukinka Park. I have been there since 2011. Director of Tourism at Fundación Hach Saye since 2022. I love the biodiversity of Tierra del Fuego, especially its bird life and its ancestral culture.
An itinerant lawyer, she has lived in various parts of Chile (including Puerto Williams and Punta Arenas) and South America. With experience in various areas of law, she is passionate about the relationship between people and their environment, the care of the environment and the promotion of clean energy. She is currently a member of the Chilean Geothermal Council, to integrate and raise awareness of grassroots renewable energies (which do not require any injection of fossil fuels to operate).
Audiovisual producer for 30 years, documentary work in the last 10 years, currently Director of the communications area of Fundación Prisma Austral, carrying out several scientific campaigns in the Southern Andes, and documentaries of the Magallanes region.
Iván Flores Arancibia (1978) is an academic and director of the Instituto de Artes Visuales and Galería Réplica at the Universidad Austral de Chile. PhD in Philosophy from the Universidad Autónoma de Barcelona, and Master in Contemporary Thought from the Universidad de Valladolid, he is also in charge of programming and curatorial work at the Museo de Arte Contemporáneo UACh Valdivia. His work lies on the frontiers between philosophy, visual arts, media and visual studies, cultural management, archiving, the body, new extractivisms, artistic research and creation. He has been an Erasmus Mundus ECW (2009-2010) and CONICYT (2011-2015) fellow, researcher at the Centro de Experimentación Artística La Escocesa (2019-2020), assistant professor at the Universidad Autónoma de Barcelona (2012-2019) and curator at the Centro de Cultura y Memoria El Born in Barcelona (2019-2021). He has proposed curatorials at MAC Universidad de Chile (2022), Ars Electronica Austria (2020-2022), Galería Réplica (2019-2023), FIFVAL (2022). Has been principal investigator in several projects, including “Cartografías del Entre” (VIDCA 2021-2022), “Los Seminarios de Ronald Kay” (FONDART 2022-2023) and “Memoria Visual de Germán Arestizábal” (2022-2023). He has exhibited artistic creation processes such as “Arqueología de la mutación” (Austria, 2020) and “Lañilawal” (Austria, 2022). Editor of the Archivism project of Galería Réplica / Ecfrasis and Centro Cultural de España. Researcher responsible for institutional projects such as Archivo Regional de Artes, Los Ríos, I Etapa (2021), UACh-CECREA agreement (2020-2023), Fondo de Patrimonio Audiovisual 2023, Programa Territorios en Suspenso 2021-2023, Programa de Residencias MINCAP-UACh 2023. Has published in specialized magazines such as ARTNODES, the book-object Cronogramas de una revuelta (2022, Almacén Editorial) and is currently working on the books De la Metaxologia (Metales Pesados, 2023), Cartografías del Entre (Ecfrasis, 2023) and Diferencias tecnológica y happening extendido en Ronald Kay (Almacén Editorial, 2023).