Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. For more than thirty years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. He has realized hundreds of concerts, projects with field recordings, workshops and sound installations in over seventy countries of the five continents. His extensive catalog of sound pieces (with live and studio collaborations with over 150 international artists) has been released by more than 300 record labels worldwide. He has been awarded four times with honorary mentions at the competition of Ars Electronica Festival and is the recipient of the Qwartz Award 2010 for best sound anthology.
Visit Francisco López’s website: franciscolopez.net
Hyper-Rainforest [space-shifted portable version] is a monumental sound piece, both in duration and in spatial terms, created from original environmental recordings done between 1990 and 2010 at multiple locations of tropical, sub-tropical and cold rainforests in: Argentina, Australia, Brazil, China, Costa Rica, Cuba, Gambia, Mexico, Myanmar (Burma), New Zealand, Paraguay, Peru, Japan, Senegal, South Africa, USA, and Venezuela. Because of the vividness and presence of all the sounds and their spatiality, Hyper-Rainforest has the possibility of being perceived as a simulation. Beyond that immediate -and natural- reaction to this experience lies an entirely different possible territory: the realm of the phenomenologically ineffable. Sounds are not only indexical or referential (the standard view). They have their own life, their own ‘self-sufficiency’. They are the potential building blocks (substance, matter, magma) of a self-sustained sonic virtuality not grounded in representation, but rather on the emergence of a more free world.