Fellowship awarded to Margarida Garcia for the project And I Wake to the Perfect Patience of Mountains
Honorable Mentions: Helder Luís and Ricardo Jacinto
Jury: Phill Niblock, Katherine Liberovskaya, Manuel Costa Cabral, Rui Eduardo Paes, Emanuel Dimas Pimenta, João Paulo Feliciano and Isabel Alves.

And I Wake to the Perfect Patience of Mountains

Using sounds recorded in multi-track, and played through several loudspeakers in a room, movement is created in line drawings on 4 video-monitors, creating a composition that gathers sound and space. The sound source is based on captures of contact microphones over several materials and several surfaces. The line drawings are three dimension virtual models made in black and white (similar to the ones made with pencil and paper) but they’re made over three axes (x, y and z) and it’s over this same axes that the movement is created. In spite of their three dimensions the perspective effect is taken away from them in such ways that it is only perceptible when they move. The three dimensional models are divided by for different parts, spread through 4 video-monitors; their order will not be the same as in the computer screen (the original order) but a new one, which allows the models to move from monitor to monitor, loosing their initial orientation and moving through the room. This composition will have a medium-low volume, making slow most of the model’s movements. Different models move in different directions, speeds and timings which means that each of the models can only respond to one or two frequencies; This behaviors are different for every sound and unknown to the composer because it depends on the mixing of the 6 track random player and how this sounds all together. The perception will be different for each individual, depending on their position or movement in the room due to the spread out displacement of the speakers and monitors in the space. This composition integrates by one hand, a physical side (the sound capture process through contact microphones) and the organic (the movement of the three dimensional models often resembles the one created by trees and plants) and by the other hand, the electronic (the use of software for the sound and image manipulation).


Margarida Garcia was born in Lisbon, 1977. Musician  and artist, she works on installation, video, drawing and music.  Selected music collaborations in live/recording settings include Manuel Mota, Nöel Akchoté, Barry Weisblat, Otomo Yoshihide, Toshio Kajiwara, Oren Ambarchi, Ferran Fages, Alfredo C. Monteiro, Ruth Barberán, John Tilbury, Sean Meehan, Eddie Prevost, Rhodri Davies, Matt Valentine, Erica Elder, David Keenan, Alex Neilson and Mattin.  Some exhibitions: “Sleep’s Bright Land”, sideshow gallery, Nova Iorque, 2007  “Mary”, sideshow gallery, Nova Iorque, 2007 “Sleep’s Bright Land”, Tart Gallery, São Francisco, 2006 “Sleep’s Bright Land”, Peer Gallery, Nova Iorque, 2006 “and I wake up to the perfect patience of mountains” (tributo a E. E. Cummings), Experimental Intermedia Foundation, Nova Iorque, 2003