Claudia Huenchuleo Paquien
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The Four Winds: A Cartography of East

Four Winds: A Cartography of East proposes a conversation in relation to place, sound and noise reflecting on the fourfold divisions of the world taking the movement principles from the Mapuche cartography in which East is the main point of reference. The sound installation does not replicate traditional indigenous songs, and remains opaque in relation to indigenous traditional sound knowledge. The work opens questions about how to imagine other forms of sound compositions that consider listening in relationship to place and sound, and the space where the piece is presented considering our positionality as listeners. I approach sound territory not with static boundaries of settlement, instead, I am interested in experimental sound as a perceptual experience of listening in relation to space. As well as, the conversations about the problematic ideologies embedded in our perception.

The Four Winds: A Cartography of East is part of the four movements of Lof in Transit.

Link to essay: Fourth Movement, Counterclockwise Rotation

Best experience with headphones.

The Four Winds: A Cartography of East  (2020-2022), four-channel sound installation (played with a Kultrun, a Mapuche ceremonial drum), 04:32 minutes, mix by Maya Finlay. Installation presented in the black room atrium at the Fine Arts Gallery, San Francisco State University. 

 

The Four Winds: A cartography of East, documentation. Performance by Sun Park.

Sound constitutes space. —Dylan Robinson

Robinson describes in his book Hungry Listening critical listening positionality as “a practice of guest listening, which treats the act of listening as entering into a sound territory, constituted through lived experience of movement across our lands. Listening is perhaps always a listening through, or in relation with land.”