erratico

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	<title>erratico</title>
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	<pubDate>Fri, 21 Nov 2025 21:47:10 +0000</pubDate>
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		<pubDate>Sat, 16 May 2020 16:00:29 +0000</pubDate>

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		<pubDate>Sat, 16 May 2020 16:00:29 +0000</pubDate>

		<dc:creator>erratico</dc:creator>

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errático.info
‘errático’ es un podcast destinado a ser una herramienta educativa de libre acceso para capacitar a los ‘no-profesionales’ en el desarrollo de proyectos de participación pública para impulsar el cambio social.
'errático' es una serie sonora que aborda la intersección entre biología, arte y antropología. Sin embargo, la proporción en la que estas áreas se mezclan es completamente variable y depende del proyecto del que esté hablando. En otras palabras: traduzco proyectos de arte-ciencia en un podcast. La serie está disponible en estas plataformas:
︎ ApplePodcast
︎ GooglePodcast︎ SoundCloud
︎ Spotify
Mi nombre es Alejandro Valencia-Tobón. Trabajo en las intersecciones del arte público y la ciencia biológica, desarrollando proyectos socialmente comprometidos descritos por la curadora francesa Annick Bureaud como ‘divertidas quimeras’. 

Coordino actividades de Cucusonic, un colectivo de científicos biológicos, antropólogos y músicos que graban y utilizan señales sonoras de murciélagos, aves y ranas para monitorear la biodiversidad y para hacer música.

Trabajando con Matthew Dear y Fer Isella, produje ‘The Sound of Paradise’, el primer sencillo de Cucusonic, un disco homónimo que también cuenta con la participación de artistas como Brian Eno, Martyn Ware, Iggor Cavalera, Kate Simko y el Instituto Mexicano del Sonido y que fue lanzado con The Vinyl Factory.

He producido proyectos para la Universidad de Manchester (UK), In Place of War (UK), Kone Foundation (Finlandia) y Global Challenges Research Fund-GCRF (UK). En Colombia he trabajado para la Universidad EAFIT, Universidad ICESI, Universidad Autónoma de Occidente, Cartama, Fundación WWB y MinCiencias.

Mi trabajo ha sido presentado en el Banco Interamericano de Desarrollo, Leonardo (MIT Journal), The Vinyl Factory, Saari Residence, Granada Center For Visual Anthropology, Open Eye Gallery, SciArt Magazine, Sala de Arte Suramericana, International Symposium on Electronic Art, Festival International de cerf-volant de Dieppe, Horniman Museum &#38;amp; Gardens, Royal Anthropological Institute, Miami Science Museum, Museum of Science &#38;amp; History, La Plata Audiovisual Art Festival, entre otros.

Siempre he sido una suerte de cazador de dragones. Soy un biólogo que se convirtió en antropólogo, interesado en combinar esas disciplinas con las prácticas artísticas. Al hacerlo, me pregunto para quién y de qué manera las etiquetas 'biólogo', 'artista' y 'antropólogo' realmente importaban, o para decirlo de otra manera, incluso si los dragones no existen, ¿deberíamos crearlos?Se puede apoyar mi trabajo y la producción de este podcast a través de este enlace a PayPal.Me.Servicios: diseño sonoro, mezcla de sonido, edición de video, postproducción sonora.


errático.info
‘errático’ is a podcast meant as free education tool to train non-professionals in the development of public engagement projects to drive social change.

This is a collection of distinct projects, uniting as an experiential sound series in which I address the intersection of biology, art and anthropology, with the focus varying for each project within the series.
In other words: I translate art-science projects into a podcast. You can listen to the sound series on these platforms:

︎ ApplePodcast
︎ GooglePodcast︎ SoundCloud
︎ Spotify
My name is Alejandro Valencia-Tobon.&#38;nbsp;I work at the intersections of public art and biological science, developing socially-engaged projects described by French curator Annick Bureaud as ‘playful chimeras’. 
I also coordinate activities of Cucusonic, a collective of biological scientists, anthropologists and musicians that record and use bats’, birds’ and frogs’ sound signals to monitor biodiversity and to make music. 
Working with Matthew Dear and Fer Isella, I produced ‘The Sound of Paradise’, the first single of Cucusonic, a self-titled album which also features artists like Brian Eno, Martyn Ware, Iggor Cavalera, Kate Simko and Mexican Institute of Sound and which was released with The Vinyl Factory.
I have produced projects for The University of Manchester (UK), In Place of War (UK), Kone Foundation (Finland), and Global Challenges Research Fund-GCRF (UK). In Colombia I have worked for Universidad EAFIT, Universidad ICESI, Universidad Autónoma de Occidente, Cartama, Fundación WWB and&#38;nbsp;MinCiencias. 

My work has been featured at the Inter-American Development Bank, Leonardo (MIT Journal), The Vinyl Factory, Saari Residence, Granada Centre For Visual Anthropology, Open Eye Gallery, SciArt Magazine, Sala de Arte Suramericana, International Symposium on Electronic Art, Festival International de cerf-volant de Dieppe, Horniman Museum &#38;amp; Gardens, Royal Anthropological Institute, Miami Science Museum, Museum of Science &#38;amp; History, La Plata Audiovisual Art Festival, among others.


I have always been a sort of dragon hunter. I am a biologist who became an anthropologist, and I am interested in combining those disciplines with art practices. In doing so I asked for whom and in what ways the labels ‘biologist’, ‘artist’, and ‘anthropologist’ really mattered, or, to put it another way, even if dragons do not exist, should we create them? 

You can support my work and the production of this podcast via this PayPal.Me link.Services: sound design, sound mixing, video editing, sound post production.


In this section, you’ll find a series of recorded talks and lectures where I share insights into my artistic journey, creative process, and the ideas that shape my work. These videos offer a deeper look into the evolution of my practice and the contexts behind key projects:


︎Tecnológico de Artes
Débora Arango &#38;amp; Instituto Tecnológico Metropolitano (ITM). Lecture: ‘Science–Art–Technology: Artistic
Practices from an Interdisciplinary Perspective’. 28 October 2024. Medellín,
Colombia. 


︎University of London. Lecture: ‘Engaging with Nature Using Sound, Anthropology and Art’. 2 March 2023. Centre for Latin American and Caribbean Studies. Institute of Modern Languages Research. School of Advanced Study.


︎Instituto Tecnológico Metropolitano (ITM). Public lecture: ‘Cucosonic: soundscapes, music, frogs and bats’. 21 August. Medellín, Colombia.
 

︎Compromiso.D (artista) Museum of Modern Art of Medellín, Fundación Sofía Pérez De Soto and Moving-Desk. Guest curators: Karen Grimson (MoMA) and Alejandra Sarria (Espacio Odeon) Medellín, Colombia. 30 September – 25 November, 2017.


	Se puede ver&#38;nbsp;acá&#38;nbsp; mi portafolio.


	You can see a copy of my&#38;nbsp;portfolio in this link.
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		<title>Cucusonic</title>
				
		<link>https://erratico.info/Cucusonic</link>

		<pubDate>Sat, 30 Oct 2021 19:51:42 +0000</pubDate>

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Cucusonic[2019-2025]


Cucusonic es un colectivo de biólogos, antropólogos y músicos que graban y utilizan las señales sonoras de murciélagos, aves y ranas para monitorear la biodiversidad y crear música. 
Este proyecto es el ganador del premio Outstanding International Engagement in The Making a Difference Awards de la University of Manchester.

Yo coordino las actividades del colectivo. Trabajando con Matthew Dear y Fer Isella, produje ‘The Sound of Paradise’, el primer sencillo de Cucusonic, un álbum homónimo que también cuenta con artistas como Brian Eno, Martyn Ware, Iggor Cavalera, Kate Simko y El Insituto Mexicano del Sonido, y que fue lanzado en colaboración con The Vinyl Factory.

El álbum se inspiró en los sonidos y frecuencias de los bosques neotropicales de Colombia, para sensibilizar al público nacional e internacional sobre su biodiversidad.

En Cucusonic, estamos interesados en identificar cómo los múltiples registros sonoros de los animales pueden ser aprovechados para reunir a diferentes grupos de personas y trabajar hacia un propósito común, que es la exploración del potencial transformador de la biodiversidad. Actualmente, actúo como coordinador de esta red multidisciplinaria.

Exploramos cómo estas señales pueden promover un cambio en las personas para apreciar a los murciélagos y ranas como seres vivos con extraordinarias capacidades sonoras, en lugar de verlos simplemente como animales despreciados o peligrosos.

La idea detrás de Cucusonic es investigar las capacidades de grabar, compartir y escuchar paisajes sonoros naturales para valorar los entrelazamientos más allá de lo humano. Queremos que las personas reconozcan la interdependencia y los beneficios que los seres humanos reciben de la naturaleza. 
Por ejemplo, los murciélagos dispersan semillas, polinizan plantas y controlan plagas. Las ranas y los sapos no solo constituyen un nivel muy significativo en la cadena alimentaria como consumidores primarios y secundarios (alimentándose de insectos), sino que también tienen una función ecológica como fuente de alimento para niveles tróficos superiores, ya que aves, serpientes o lagartijas se alimentan de otros pequeños vertebrados como ranas y sapos.

Este proyecto cuenta con el apoyo del Global Challenges Research Fund del Reino Unido, de la organización benéfica británica In Place of War y del Granada Centre for Visual Anthropology de la University of Manchester. Kone Foundation también apoya mi trabajo en Cucusonic, gracias a la residencia artística en Saari Residence.

Este proyecto ha sido destacado en el periódico colombiano El Espectador, en la iniciativa de participación pública (vía Twitter) #ElDesparche, y en BIME Pro Bogotá. 
Hablé sobre el proyecto durante la conferencia pública Cucosonic: paisajes sonoros,&#38;nbsp;música,&#38;nbsp;ranas y murciélagos, en el Instituto Tecnológico Metropolitano (ITM). También describí este proyecto en la charla pública Engaging with Nature Using Sound, Anthropology, and Art, para la University of London. 
El equipo de Cucusonic presentó recientemente una instalación de audio inmersiva de 7 canales y una proyección del film Cucusonic en la Anthony Burgess Foundation (Manchester, Reino Unido). Este evento se llamó Desde el amanecer hasta el anochecer: Desde el amanecer hasta el anochecer: una inmersión a los cambiantes paisajes sonoros de un bosque colombiano.

 
	Cucusonic is a collective of biological scientists, anthropologists and musicians that record and use bats’, birds’ and frogs’ sound signals to monitor biodiversity and to make music.This project is the winner for Outstanding International Engagement in The Making a Difference Awards at the University of Manchester.
 I coordinate activities of the collective. Working with Matthew Dear and Fer Isella, I produced ‘The Sound of Paradise’, the first single of Cucusonic, a self-titled album which also features artists like Brian Eno, Martyn Ware, Iggor Cavalera, Kate Simko and Mexican Institute of Sound and which was released with The Vinyl Factory.
The music album was inspired by the sounds and frequencies of the Colombian Neotropical forests, to raise awareness of their biodiversity to national and international audiences.
In Cucusonic we are interested in identifying how the multiple sonic registers of animal sound can be harnessed to bring different groups of people together to work towards a common purpose, which is the exploration of the transformative potential of biodiversity. I am currently acting as coordinator of this multidisciplinary network. 
We explore how such signals can promote change in people to appreciate bats and frogs as living beings with extraordinary sonic capabilities, rather than simply seeing them as despised or dangerous animals.
The idea behind Cucusonic is to investigate the capacities of recording, sharing and listening to natural soundscapes to value more-than-human entanglements. We want people to acknowledge the interdependence and benefit humans receive from nature. For example, bats disperse seeds, pollinate plants and control pests. Frogs and toads not only constitute a very significant level in the food chain as primary and secondary consumers (feeding on insects), but they also have an ecological function as a food source for higher trophic levels, because birds, snakes or lizards feed on other small vertebrates like frogs and toads. 
This project is supported by the UK’s Global Challenges Research Fund, UK charity In Place of War and the Granada Centre for Visual Anthropology at the University of Manchester. Kone Foundation also supports my work in Cucusonic, thanks to the artist residency at Saari Residence.
This project has been featured in Colombian colombian newspaper El Espectador, in the public engagement initiative (via Twitter) #ElDesparche, and in BIME Pro Bogotá. &#38;nbsp;I talked about the project during the public lecture Cucosonic: soundscapes, music, frogs and bats, at the Instituto Tecnológico Metropolitano (ITM). I also described this project during the public talk, Engaging with Nature Using Sound, Anthropology, and Art, held at the University of London.The Cucusonic team recently presented an immersive 7-channel audio installation and film screening at the Anthony Burgess Foundation (Manchester, UK). This event was called From dawn to dusk: Inside the changing soundscapes of a Colombian rainforest.
 

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Inner sleeves for the Cucusonic vinyl were&#38;nbsp; designed by Paul Pensom, I created the concept:&#38;nbsp;

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The work of Cucusonic has just been featured at the BBC Wildlife Magazine. Check out the article on #ecoacoustics by Andrew Griffiths:

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		<title>Fibonacci</title>
				
		<link>https://erratico.info/Fibonacci</link>

		<pubDate>Wed, 19 Nov 2025 20:46:16 +0000</pubDate>

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Fibonacci[2025]


alejandrovalenciat · Fibonacci


Esta pieza sonora fue construida siguiendo la secuencia de Fibonacci, donde cada nota se repite de acuerdo con los números que rigen el crecimiento natural: 1, 1, 2, 3, 5, 8, 13…, marcando la transición entre origen y expansión.

El patrón se desarrolla en la escala pentatónica de Do mayor, expandiéndose como una espiral sonora que evoca las proporciones presentes en las hojas, las conchas y las galaxias. Es una representación del crecimiento proporcional y del ritmo que atraviesa los procesos naturales.

La obra está compuesta por dos fases: el inicio representa los primeros cinco números de la serie (1, 1, 2, 3, 5), y la segunda amplía el patrón hasta el séptimo número (1, 1, 2, 3, 5, 8, 13), simbolizando el crecimiento continuo y armónico de la secuencia.

Al escucharse como un ciclo que se expande con suavidad, la pieza invita a una atención consciente: reconocer patrones que ya existen, observar el crecimiento paso a paso y notar cómo pequeñas repeticiones pueden transformarse en algo más amplio.
 Finalmente, puede apreciarse también como una forma de meditación, pues la obra solo se revela plenamente cuando la escuchamos con presencia.La obra fue creada por Alejandro Valencia-Tobon (biólogo y artista), y Rafael Alcaraz Barrera (matemático), este último afiliado al Instituto de Física de la Universidad Autónoma de San Luis Potosí (UASLP).


	This sound piece was built following the Fibonacci sequence, where each note repeats according to the numbers that govern natural growth: 1, 1, 2, 3, 5, 8, 13… marking the transition between origin and expansion.


The pattern unfolds within the C-major pentatonic scale, expanding like a sonic spiral that evokes the proportions found in leaves, shells, and galaxies. It is a representation of proportional growth and of the rhythm that moves through natural processes.


The tune has two sections: the first covers the initial five numbers of the series (1, 1, 2, 3, 5), and the second extends the pattern to the seventh number (1, 1, 2, 3, 5, 8, 13), symbolising the continuous and harmonious growth of the sequence.


Heard as a cycle that expands gently, the piece invites a state of conscious attention: recognising patterns that already exist, observing growth step by step, and noticing how small repetitions can unfold into something larger. 
It can also be experienced as a brief&#38;nbsp;meditation, revealing itself fully only when we  listen with presence.This piece was created by Alejandro Valencia-Tobon (biologist and artist), in collaboration with Rafael Alcaraz Barrera (mathematician), who is affiliated to the Physics Institute of the Autonomous University of San Luis Potosí (UASLP).


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	<item>
		<title>Diapausa</title>
				
		<link>https://erratico.info/Diapausa</link>

		<pubDate>Fri, 21 Nov 2025 21:47:10 +0000</pubDate>

		<dc:creator>erratico</dc:creator>

		<guid isPermaLink="true">https://erratico.info/Diapausa</guid>

		<description>
	

Diapausa[2025-2026]


cotiledon.info · Diapausa


Diapausa es un podcast que explora el arte de detenerse. Está disponible en SoundCloud, Spotify, Apple Podcas y YouTube.
Nace desde la visión de Cotiledón: cultivar presencia, claridad y bienestar desde lo cotidiano.
Diapausa invitación a bajar la velocidad, observar con más atención y abrir un espacio interior donde se mezclan la ciencia, la intuición y la experiencia humana.


Cada episodio combina reflexión, lenguaje sencillo y metáforas tomadas de la naturaleza para acompañar procesos de cambio, autocuidado y reconexión. 
Hablamos de ciclos, descanso, creatividad, límites, propósito y de cómo navegar la vida moderna sin perdernos en el ruido:El Nicho de la Abeja propone entender el propósito de vida como un “nicho ecológico”, ese rol funcional que cada organismo cumple en su ecosistema.

El Ritmo de las Estaciones invita a reconocer los ciclos internos a través de la metáfora de las estaciones, recordando que cada etapa vital tiene su propósito.


El Pulso del Océano explora el propósito como una corriente vital que orienta y nutre nuestra vida, del mismo modo que las corrientes marinas sostienen la biodiversidad.

Ecosistema Interior presenta nuestro mundo emocional, mental y corporal como un ecosistema interdependiente que requiere equilibrio y diversidad.

Metamorfosis del Propósito muestra que el propósito evoluciona con nosotros, igual que la mariposa atraviesa fases de transformación antes de volar.

Diapausa propone la pausa consciente como una estrategia vital para reorganizar la vida interna antes de avanzar, inspirada en la diapausa biológica.


El Desierto invita a ver los periodos de aparente silencio o sequía interna como espacios fértiles donde la vida sigue gestándose en profundidad.

El podcast es conducido por Rita Isabel Vélez-Ruiz, PhD, quien aporta una mirada que integra la biología, la pedagogía y el coaching transpersonal.
La producción, grabación y edición están a cargo de Alejandro Valencia-Tobon, PhD, investigador, creador sonoro y diseñador de proyectos que conectan ciencia y arte.&#38;nbsp;
Es un espacio para escuchar sin prisa, pensar distinto y recordar que todo proceso necesita pausas, igual que los organismos que entran en diapausa para renovarse y emerger con nueva fuerza.


	Diapausa&#38;nbsp;is a podcast that explores the art of slowing down.&#38;nbsp;It is available on&#38;nbsp;SoundCloud, Spotify, Apple Podcas and&#38;nbsp;YouTube.
It’s born from the vision of Cotiledón: cultivating presence, clarity, and wellbeing through everyday life. 
Diapausa is an invitation to move at a gentler pace, observe with attention, and open an inner space where science, intuition, and human experience converge.


Each episode offers gentle reflections and nature-based metaphors to help you through change, self-care, and reconnection.
We talk about cycles, rest, creativity, boundaries, purpose, and how to navigate modern life without losing ourselves in the noise:


El Nicho de la Abeja suggests understanding life purpose as an “ecological niche,” the functional role that every organism plays within its ecosystem.


El Ritmo de las Estaciones invites listeners to recognise inner cycles through the metaphor of the seasons, reminding us that each life stage has its purpose.


El Pulso del Océano explores purpose as a vital current that guides and nourishes our lives, just as ocean currents sustain the planet’s biodiversity.


Ecosistema Interior presents our emotional, mental, and physical worlds as an interdependent ecosystem that requires balance and diversity.


Metamorfosis del Propósito shows that purpose evolves with us, just as a butterfly moves through transformative phases before taking flight.


Diapausa proposes conscious pausing as a vital strategy to reorganise our inner life before moving forward, inspired by the biological phenomenon of diapause.


El Desierto invites us to see periods of apparent silence or inner drought as fertile spaces where life continues to take shape in depth.


The podcast is hosted by Rita Isabel Vélez-Ruiz, PhD, who brings a perspective that integrates biology, pedagogy, and transpersonal coaching.
Production, recording, and editing are carried out by Alejandro Valencia-Tobon, PhD, a researcher, sound artist, and designer of projects that bridge science and art.

It is a space to listen without rushing, think differently, and remember that every process needs pauses; just like the organisms that enter diapause to renew themselves and emerge with new strength.


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</description>
		
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	<item>
		<title>Espectro</title>
				
		<link>https://erratico.info/Espectro</link>

		<pubDate>Sun, 12 Dec 2021 22:44:01 +0000</pubDate>

		<dc:creator>erratico</dc:creator>

		<guid isPermaLink="true">https://erratico.info/Espectro</guid>

		<description>
	

Espectro[2021]


‘Espectro’ es una pieza que evidencia la posibilidad técnica y sensorial de investigar y apreciar paisajes sonoros en espectros sónicos (frecuencias &#38;lt;20 kHz) y ultrasónicos (frecuencias&#38;gt; 20 kHz)*. Con ella busco invitar a las personas a valorar la biodiversidad presente en los múltiples ecosistemas colombianos.

Esta composición se divide en tres secciones. 
En un inicio presento paisajes sonoros nocturnos grabados tanto en espectro sónico como ultrasónico, donde se logran apreciar señales acústicas de insectos, murciélagos, pequeños roedores, ranas y búhos.
Luego presento una lluvia intensa, justo antes del amanecer. La tercera parte es una composición hecha usando grabaciones de más de 20 especies de aves, todas ellas grabadas en bosque montanos, del departamento de Antioquia. 

Basándome en una combinación de métodos participativos y modos de representación sonora, con la composición ‘Espectro’ busco traducir preguntas asociadas al mundo natural en mecanismos de acción social. Así, invito a las personas a valorar los&#38;nbsp; ecosistemas Neotropicales, y la riqueza de especies que ellos albergan. A través del sonido podemos generar ‘formas de conocimiento’ sensorial, con el fin de invitar a las personas a abordar las amenazas a la biodiversidad. 
*Nota: Para hacer estos registros en ultrasonido audibles para los humanos, las grabaciones realizadas a altas frecuencias de muestreo (por ejemplo, 192 kHz) se reproducen con una frecuencia de muestreo declarada más baja, como 48 kHz. Esta expansión temporal reduce las frecuencias ultrasónicas al rango audible humano. 

Esta obra fue reconocida con una&#38;nbsp;Menciones de Honor en la categoría de ‘Radio Arte’, en la Convocatoria de Nuevos Talentos en el Arte 2021, de la Cámara de Comercio de Medellín para Antioquia, junto con el&#38;nbsp;Museo de Antioquia.


	Espectro is a piece that showcases the technical and sensory possibility of investigating and appreciating soundscapes in both sonic&#38;nbsp;spectrum (frequencies &#38;lt;20 kHz) and ultrasonic spectrum (frequencies &#38;gt;20 kHz)*. With this piece, I aim to invite people to value the biodiversity present in Colombia’s diverse ecosystems.

This composition is divided into three sections.

At first, I present nocturnal soundscapes recorded in both the sonic and ultrasonic spectra, where acoustic signals from insects, bats, small rodents, frogs, and owls can be appreciated. Then, I introduce an intense rain&#38;nbsp; just before dawn. The third part is a composition made using recordings of over 20 bird species, all recorded in montane forests in the department of Antioquia.

Based on a combination of participatory methods and modes of sonic representation, with the composition ‘Espectro’, I aim to translate questions associated with the natural world into mechanisms for social action. In this way, I invite people to appreciate Neotropical ecosystems and the wealth of species they harbor. Through sound, we can generate sensory ‘forms of knowledge’, inviting people to confront threats to biodiversity.

*Note: To make ultrasonic recordings audible to humans, high-sample-rate recordings (e.g., 192 kHz) are played back at a lower declared sampling rate, such as 48 kHz. This time expansion lowers ultrasonic frequencies into the human audible range.

This artwork received an Honorable Mention in the ‘Radio Art’ category at the 2021 New Talents in Art Call organised by Cámara de Comercio de Medellín para Antioquia, in collaboration with the Museo de Antioquia.
 

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</description>
		
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	<item>
		<title>Saari</title>
				
		<link>https://erratico.info/Saari</link>

		<pubDate>Sun, 11 Apr 2021 23:13:35 +0000</pubDate>

		<dc:creator>erratico</dc:creator>

		<guid isPermaLink="true">https://erratico.info/Saari</guid>

		<description>
	

Saari Residence (Kone Foundation)
[2021]

	
Saari Residence (Kone Foundation)

Durante esta residencia artística en la Saari Residence&#38;nbsp;trabajé alrededor de las prácticas de la biología, la ecología de paisajes sonoros, la antropología, la bioacústica y el arte sonoro.

¿Cuál era el objetivo?

Mi objetivo era demostrar que los datos bioacústicos, las grabaciones sonoras y el arte participativo pueden ofrecer una forma de representar la multiplicidad de relaciones (y limitaciones) entre humanos y no humanos como un entramado de múltiples especies.

Logré esto mediante la ‘traducción de información’ de un dominio a otro. Busqué mostrar cómo, en términos disciplinarios, la ‘biodiversidad,’ el ‘arte público’ o la ‘bioacústica’ son intrínsecamente valiosos. Sin embargo, al combinarlos en el contexto de un paisaje biodiverso y de postconflicto en Colombia, pueden generar nuevas relaciones, conocimientos y oportunidades de desarrollo.

El principal producto de la residencia fue una serie de estrategias de arte público (textuales, sonoras y visuales) que, al mismo tiempo, revelaron perspectivas biológicas, sociales y artísticas para fomentar diálogos creativos y una apreciación de la biodiversidad.

Mis actividades se enfocaron en dos proyectos: (1) Expedición Biológica en Anorí y (2) Cucusonic.


	Saari Residence (Kone Foundation)
My project at the Saari Residence was based on my work across the fields and practices of biology, soundscape ecology, anthropology, bioacoustics and sound art.

What was the point?
I aimed to reveal that bioacoustic data, sound recordings and participatory art can offer a way to enact the multiplicity of relations (and limitations) between humans and non-humans as multispecies entanglement.I did this by ‘translating information’ from one domain to another.&#38;nbsp; I aimed to show how, in disciplinary terms ‘biodiversity, ‘public art’ or ‘bioacoustics’ are inherently valuable. Still, when combined, in the context of a bio-rich, post-conflict-landscape Colombia, they can produce new relations, expertise and development opportunities. 
 The main product of the residency was a series of public art strategies (textual, sonic and visual) that simultaneously revealed biological, social and artistic perspectives to encourage creative dialogues and appreciations of biodiversity. 
My activities were focused on two projects: (1)&#38;nbsp;Bio Expedition in Anorí and (2) Cucusonic.


	(1) Expedición Biológica en Anorí:La Expedición Bio en Anorí fue un proyecto que contó con la participación de excombatientes, líderes comunitarios e investigadores en biología. Uno de los resultados clave fue la publicación de un artículo académico que explora el concepto etnográfico y estético detrás del proyecto, mientras traduce el conocimiento científico al dominio público (este artículo fue publicado por Leonardo del MIT Press).


(1) Bio Expedition in Anorí:
The Bio Expedition in Anorí was a atural science project that had the participation of ex-combatants, community leaders and biology researchers.One key outcome was the publication of an academic paper exploring the ethnographic and aesthetic concept behind the project, while translating scientific knowledge into the public domain (this paper was published by Leonardo at MIT Press).


(2) CucusonicCucusonic es un colectivo de biólogos Colombianos, antropólogos y músicos que graban y utilizan las señales sonoras de murciélagos, aves y ranas para explor el potencial transformador de la biodiversidad. Buscamos grabar, compartir y escuchar dichos paisajes sonoros naturales. Actualmente, actúo como coordinador de esta red multidisciplinaria. 
Durante mi residencia, la idea fue traducir las señales sonoras de diferentes animales en una serie de composiciones del bosque. 
El resultado fue el sencillo ‘Flying Bats’.


(2) Cucusonic
Cucusonic is a collective of Colombian biological scientists, anthropologists and musicians who  record and use bats’, birds’ and frogs’ sound signals to investigate the capacities of recording, sharing and listening to natural soundscapes to explore the transformative potential of biodiversity. I currently act as coordinator of this multidisciplinary network.During my residency, the idea was to translate sonic signals of different animals into a series of forest compositions.The outcome here was the single 'Flying Bats'.


(1) Bio Expedition in Anorí:


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	&#60;img width="3200" height="1744" width_o="3200" height_o="1744" data-src="https://freight.cargo.site/t/original/i/d9e8286ef6218e5d2043ef42c10ff171a564ba01e03157e250682bc237f5f9b7/Leonardo.png" data-mid="104937979" border="0"  src="https://freight.cargo.site/w/1000/i/d9e8286ef6218e5d2043ef42c10ff171a564ba01e03157e250682bc237f5f9b7/Leonardo.png" /&#62;
~ Tämä teos on toteutettu Koneen Säätiön ylläpitämän Saaren kartanon taiteilija- ja tutkijaresidenssissä. ~


	(2) CucusonicEl trabajo de Cucusonic se basa en tres temas:

- Ecología de paisajes sonoros: exploramos cómo las señales sonoras pueden promover un cambio de percepción en las personas, de forma que ellas puedan apreciar a animales como los murciélagos o las ranas como seres vivos con capacidades sonoras extraordinarias, en lugar de verlos simplemente como animales despreciados o peligrosos. -
También buscamos construir una línea de base con información acústica en las áreas en las que trabajamos, reconociendo la interdependencia y los beneficios que los humanos reciben de la naturaleza.
- Grabación ‘dialógica’: se trata de registrar las diversas formas en que los humanos conocen el mundo a través de los sonidos ambientales y de trabajar de manera colaborativa con las personas locales.


La idea detrás de Flying Bats es investigar las capacidades de grabar, compartir y escuchar paisajes sonoros tanto en el espectro sónico (frecuencias &#38;lt;20 kHz) como en el ultrasonido (frecuencias &#38;gt;20 kHz) para apreciar los entrelazamientos más allá de lo humano.

Esta pieza está dividida en tres secciones. Durante los primeros 25 segundos, introduzco un paisaje sonoro editado con grabaciones en el espectro sónico. Luego, la pista evoluciona hacia música experimental, creada en colaboración con Carlos Restrepo, utilizando ruidos tanto sónicos como ultrasónicos. En la parte final (a partir de 1’40”), presento una composición del bosque hecha completamente con grabaciones ultrasónicas. 
Para hacer estos registros en ultrasonido audibles para los humanos, las grabaciones realizadas a altas frecuencias de muestreo (por ejemplo, 192 kHz) se reproducen con una frecuencia de muestreo declarada más baja, como 48 kHz. Esta expansión temporal reduce las frecuencias ultrasónicas al rango audible humano.

Las siguientes son algunas de las especies de murciélagos cuyas llamadas ultrasónicas aparecen en la pieza sonora: Eumops bonariensis, Lasiurus blossevillii, Lasiurus ega, Molossus molossus, Myotis riparius, Promops centralis y Tadarida brasiliensis.

Todas las grabaciones se realizaron en un bosque lluvioso andino en Colombia. Agradezco a Ana Gómez, Juan Camilo Arredondo, Danny Zurc, Rupert Cox y Jorge Medina por su amable apoyo.
Este trabajo se realizó como parte de la residencia artística en la Saari Residence, mantenida por Kone Foundation. [Tämä teos on toteutettu Koneen Säätiön ylläpitämän Saaren kartanon taiteilija- ja tutkijaresidenssissä].

	(2) Cucusonic
The work of Cucusonic is based on three themes:
-
Soundscape ecology: we explore how sound signals can promote change in people to appreciate animals like bats or frogs as living beings with extraordinary sonic capabilities, rather than simply seeing them as despised or dangerous animals.- Constructing an acoustic baseline of an area, while acknowledging the interdependence and benefit humans receive from nature.

- 
Recording ‘dialogically’: This is about recording the various ways humans have of knowing the world through environmental sounds and of working collaboratively with local people.
Flying Bats


The idea behind 'Flying Bats' is to investigate the capacities of recording, sharing and listening to soundscapes in both the sonic (&#38;lt;20 kHz frequencies) and ultrasonic (&#38;gt;20 kHz frequencies) spectrums to appreciate more-than-human entanglements.

This piece is divided into three sections. During the first 25 seconds I introduce a soundscape edited using recordings in the sonic spectrum. The track then evolves into some experimental music, created in collaboration with Carlos Restrepo using both sonic and ultrasonic noises. In the final part (from 1’40’’ onwards), I present a forest composition entirely made with ultrasonic recordings.&#38;nbsp;
To make ultrasonic recordings audible to humans, high-sample-rate recordings (e.g., 192 kHz) are played back at a lower declared sampling rate, such as 48 kHz. This time expansion lowers ultrasonic frequencies into the human audible range.

The following are some of the bat species whose ultrasonic calls are featured in this track: Eumops bonariensis, Lasiurus blossevillii, Lasiurus ega, Molossus molossus, Myotis riparius, Promops centralis and Tadarida brasiliensis.

All recordings were made in an Andean rainforest in Colombia. I thank Ana Gómez, Juan Camilo Arredondo, Danny Zurc, Rupert Cox and Jorge Medina for their kind support.

This work was done as part of the artist residency at the Saari Residence, maintained by Kone Foundation [Tämä teos on toteutettu Koneen Säätiön ylläpitämän Saaren kartanon taiteilija- ja tutkijaresidenssissä].


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Bioacoustic Data
&#60;img width="6236" height="2238" width_o="6236" height_o="2238" data-src="https://freight.cargo.site/t/original/i/b5932763fbefbf84ba44f560861405e98065ea932d7c4b74e49ee6e74c8c0b89/Rhynchonycteris_naso.jpeg" data-mid="104941395" border="0"  src="https://freight.cargo.site/w/1000/i/b5932763fbefbf84ba44f560861405e98065ea932d7c4b74e49ee6e74c8c0b89/Rhynchonycteris_naso.jpeg" /&#62;
	

Bat sound signals appear to be divided into three phases: search, approach and terminal phase (this latter one also called ‘feeding buzz’).&#38;nbsp;


Narratives

&#60;img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/df3b40c86d3457673526a0d0258a041ba865550450cd1066d2567cf996510e21/Miguel_Mitu_bienparaos.JPG" data-mid="104941963" border="0"  src="https://freight.cargo.site/w/1000/i/df3b40c86d3457673526a0d0258a041ba865550450cd1066d2567cf996510e21/Miguel_Mitu_bienparaos.JPG" /&#62;
 

Miguel Portura, an indigenous birdwatching naturalist guide in the Colombian Amazon (please listen to this 30-second edited version in native Tucanoan language).

You are listening to Miguel’s story of the 'potoos', a family of birds people in Colombia call 'bienparaos'. This name means 'standing properly/well'. Given that these birds perch on top of broken sticks, they appear to be 'looking at the sky'.


Miguel recently found a Rufous Potoo near his community during this Covid lockdown. This is the very first record of this species for Mitú locality, and one of the very few confirmed records of this nocturnal mega bird for the country… Miguel will be publishing a short note about this in a scientific journal soon.


Climate Change and Global Warming


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Music

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	Este trabajo se realizó como parte de la residencia artística en la Saari Residence, mantenida por Kone Foundation.&#38;nbsp;Tämä teos on toteutettu Koneen Säätiön ylläpitämän Saaren kartanon taiteilija- ja tutkijaresidenssissä.


This work was done as part of the artist residency at the Saari Residence, maintained by Kone Foundation.Tämä teos on toteutettu Koneen Säätiön ylläpitämän Saaren kartanon taiteilija- ja tutkijaresidenssissä.


</description>
		
	</item>
		
		
	<item>
		<title>Anorí</title>
				
		<link>https://erratico.info/Anori</link>

		<pubDate>Thu, 28 May 2020 19:43:36 +0000</pubDate>

		<dc:creator>erratico</dc:creator>

		<guid isPermaLink="true">https://erratico.info/Anori</guid>

		<description>
	

Anorí[2018]


Expedición BIO en Anorí
Mientras se consolida el proceso de paz en Colombia, los territorios anteriormente ocupados por algunos grupos armados se han convertido en escenarios de posconflicto, los cuales contienen áreas de rica e inexplorada biodiversidad.

Con el objetivo de explorar dichos territorios, en el año 2018 hice parte de un equipo que realizó un proyecto donde biólogos, excombatientes y líderes comunitarios compartieron para explorar la región de Anorí.

Mi función fue diseñar una combinación de métodos participativos y modos de representación visual para traducir preguntas sobre el mundo natural en acción social. Al hacerlo, agregué un elemento estético al proyecto que proporcionó los medios para representar las densas interacciones humanas y no-humanas que caracterizaban las diferentes formas de bio-conocimiento.

Las estrategias de investigación de mi trabajo se materializaron en una serie de talleres en Medellín y Anorí, desarrollados durante un período de seis meses, los cuales se crearon con la colaboración de todos los participantes.

Para resaltar la idea de la experimentación y el aprendizaje colectivos, procuré fomentar la confianza mutua y enriquecer la discusión entre este grupo tan heterogéneo de personas. Como resultado, los participantes y yo decidimos rediseñar dos juegos de mesa, así como crear una serie de copas ‘aguardienteras’. Lo particular de las copas era que, debido a un lente especial que se diseñó, ellas solo revelaban las imágenes que tenían impresas si se ponía líquido en ellas—de manera que se cambiase el índice de refracción de la luz. 
Con este trabajo, lo que buscaba era desarrollar objetos que la gente quisiese conservar, manteniendo en el dominio público los hallazgos biológicos del proyecto.

La Expedición BIO en Anorí fue desarrollada por la Universidad EAFIT en alianza con el Programa de las Naciones Unidas para el Desarrollo (PNUD), EPM y el Departamento de Ciencia, Tecnología e Innovación de Colombia (Colciencias)—hoy MinCiencias.El contenido de este sitio web se produjo como parte de la residencia de artistas Saari, con el apoyo de la institución finlandesa Kone Foundation. 
Durante esta residencia también escribí un artículo académico (publicado por Leonardo en MIT Press) explorando el concepto etnográfico y estético detrás del proyecto.


Bio expedition in Anorí
While the peace process in Colombia is being consolidated, the territories formerly occupied by some armed groups have become post-conflict landscapes with areas of rich and uncharted biodiversity. 

With the aim of exploring such territories, I was part of a team that in 2018 carried out a natural science project with ex-combatants, community leaders and biology researchers in Anorí region. 

My role was to design a combination of participatory methods and visual modes of representation to translate questions about the natural world into social action. 
In doing so, I added an aesthetic element to the project that provided the means to enact the dense human-nonhuman interactions that characterised different forms of bio-knowledge.

My project’s research strategies were materialised in a series of workshops in Medellín and Anorí during a six-month period, and they were developed and created with the collaboration of all participants. 

To highlight the idea of collective experimentation and learning, my goal was to increase mutual trust and to enrich discussion among this heterogeneous group of people. 
As a result, the participants and I decided to redesign two common tabletop games and create a series of shot glasses (images were printed on the base of the glass; however, due to the optical effect of a special lens, these only became visible when the light refraction changed after a liquid was introduced). 
I wanted to develop objects that would be preserved over, keeping in the public domain the biological findings of the project.

The BIO Expedition in Anorí was developed by Universidad EAFIT in partnership with the United Nations Development Programme (UNDP), EPM Business Group (a public utility service company based in Medellín), and the Colombian Department of Science, Technology and Innovation (Colciencias), today MinCiencias.The content of this website was produced as part of the artist residency at the  Saari Residence maintained by Finnish institution Kone Foundation. 
During this residency I also wrote an academic&#38;nbsp;paper exploring the ethnographic and aesthetic concept behind the project (this paper was published by Leonardo at MIT Press).


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~ Tämä teos on toteutettu Koneen Säätiön ylläpitämän Saaren kartanon taiteilija- ja tutkijaresidenssissä. ~


	Las fotografías de anfibios y reptiles fueron tomadas por el herpetólogo Juan Camilo Arredondo. Yo tomé todas las otras forografías.
Enlaces adicionales:
· Artículo&#38;nbsp;‘Art, Science, And Anthropology: Co-Creating Knowledge And Building Peace In Colombia’ publicado por Leonardo en MIT Press.· Artículo en National Geographic. &#38;nbsp;
·&#38;nbsp;Cátedra de Turismo en la Universidad EAFIT.· Documentales La casa de la vida, The Birders y National Geograph.


	Juan Camilo Arredondo took amphibians and reptiles photographs. I made all other images and designs.
Additional links:
· Paper ‘Art, Science, And Anthropology: Co-Creating Knowledge And&#38;nbsp;Building Peace In Colombia’ publised by Leonardo at MIT Press.· National Geographic report. &#38;nbsp;
·&#38;nbsp;Public lecture at Universidad EAFIT.· Films: La casa de la vida, The Birders y National Geograph.


</description>
		
	</item>
		
		
	<item>
		<title>Mecana</title>
				
		<link>https://erratico.info/Mecana</link>

		<pubDate>Tue, 26 May 2020 06:27:43 +0000</pubDate>

		<dc:creator>erratico</dc:creator>

		<guid isPermaLink="true">https://erratico.info/Mecana</guid>

		<description>
	

Mecana
[2019-2020]


Trabajando junto con un grupo de ornitólogos, hice parte de un proyecto que tuvo como objetivo transformar los métodos taxonómicos empleados para identificar especies de aves en una estrategia de producción de artesanías,&#38;nbsp;las cuales fueron hechas por comunidades indígenas en la localidad de Mecana (Bahia Solano, Chocó).

La singularidad de tales artesanías es que ellas fueron construidas&#38;nbsp;siguiendo los patrones de color y de forma que se usan en contextos biológicos para identificar diversas especies de aves. 
En este proyecto buscábamos utilizar el bio-conocimiento como un mecanismo para fomentar oportunidades económicas y sociales entre comunidades locales.

Yo coordiné los componentes sociales y artísticos. También fui el curador y productor de una exposición de arte, en la cual se presentaron los resultados finales del proyecto (puede consultar el catálogo aquí). La investigadora principal fue Sara Velásquez Restrepo (con ayuda de Diego Calderón Franco y Juan F. Díaz). 
Este proyecto fue financiado por la Universidad EAFIT, Mecana Eco-Hotel y el Jardín Botánico del Pacífico, en Bahía Solano.


Working together with a specialist in ornithology, I took part in a project to translate biological science methods of classifying birds into a strategy that invited indigenous communities in Chocó to produce handicrafts. The uniqueness of such handicrafts was that they were made following colour patterns used by taxonomists to classify birds.

In this project we used bio-knowledge to foster economic and social opportunities among local communities in Mecana locality (Bahia Solano, Chocó). I coordinated the social and artistic components. I also worked as curator and producer of an art exhibition, which was the final outcome of the project (see the catalogue here). Principal investigator was Sara Velásquez Restrepo (with support from Diego Calderón Franco and Juan F. Díaz).

The project was funded by Universidad EAFIT, Mecana Eco-Hotel and Pacific Botanical Garden, in Bahía Solano. 
I received additional support for processing and editing field recordings (audio-visual content) from the Colombian Ministry of Science, Technology and Innovation, MinCiencias, thanks to a postdoctoral fellowship.


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&#60;img width="1093" height="1500" width_o="1093" height_o="1500" data-src="https://freight.cargo.site/t/original/i/f52cbc81097d13ffd588b71c9a60dadf9a51a441f601816ce061e2025bcff376/mecana_2.jpg" data-mid="72450475" border="0"  src="https://freight.cargo.site/w/1000/i/f52cbc81097d13ffd588b71c9a60dadf9a51a441f601816ce061e2025bcff376/mecana_2.jpg" /&#62;

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&#60;img width="1965" height="2792" width_o="1965" height_o="2792" data-src="https://freight.cargo.site/t/original/i/9d5e414b0c6906b38347249395f614c8fae9bdad271461001ecdeddb1e1d83b8/mecana-01.jpg" data-mid="72446607" border="0"  src="https://freight.cargo.site/w/1000/i/9d5e414b0c6906b38347249395f614c8fae9bdad271461001ecdeddb1e1d83b8/mecana-01.jpg" /&#62;
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&#60;img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/ea0e21a055f2059e17864b1a481634abc1bd1d8686684411b395b8baf115c156/Muyuki_5.JPG" data-mid="170296206" border="0"  src="https://freight.cargo.site/w/1000/i/ea0e21a055f2059e17864b1a481634abc1bd1d8686684411b395b8baf115c156/Muyuki_5.JPG" /&#62;
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&#60;img width="2500" height="1405" width_o="2500" height_o="1405" data-src="https://freight.cargo.site/t/original/i/da42063671e5bc1c2cf35d489e0dc952714d1cb428e54a9c4e20fde860db6fd6/Muyuki_2.jpg" data-mid="170296179" border="0"  src="https://freight.cargo.site/w/1000/i/da42063671e5bc1c2cf35d489e0dc952714d1cb428e54a9c4e20fde860db6fd6/Muyuki_2.jpg" /&#62;


	El catálogo de la exposición está disponible aquí

En este enlace puede leer un texto sobre la project.

	Exhibition catalog is available hereThis is a short report about the project.

</description>
		
	</item>
		
		
	<item>
		<title>Fiesta de Murciélagos</title>
				
		<link>https://erratico.info/Fiesta-de-Murcielagos</link>

		<pubDate>Thu, 28 May 2020 19:42:23 +0000</pubDate>

		<dc:creator>erratico</dc:creator>

		<guid isPermaLink="true">https://erratico.info/Fiesta-de-Murcielagos</guid>

		<description>
	Fiesta de Murciélagos / Bat Party [2020]


Fiesta de Murciélagos es un proyecto que busca identificar&#38;nbsp;el sonido como una forma de conocimiento sensorial, con el que invitamos a interactuar con estos animales despreciados. 

Este trabajo es el producto de una colaboración que tuve con el compositor Federico Goes y el biólogo Oscar Alzate Zapata. 
Juntos creamos música electrónica a partir de las grabaciones de las señales acústicas producidas por murciélagos. El resultado es un disco de vinilo cortado a torno y una serie de eventos en vivo. 
Lejos de presentar a los murciélagos como animales ‘oscuros’, queremos crear una fiesta llena de colores, sonidos y sabores. La música se inspiró en imaginar a los murciélagos volando entre los árboles, bebiendo néctar y comiendo mangos.Yo financié con recursos propios la mayor parte de este proyecto; la Universidad EAFIT proporcionó recursos adicionale para el desarrollo de los eventos en vivo.


Bat Party is a project that aims to identify sound as a sensory way of knowing and to encourage people to engage with despised animals, like bats.

I collaborated with composer Federico Goes and biologist Oscar Alzate-Zapata in recording and using bats’ ultrasound signals to create electronic music.&#38;nbsp;The result is a lathe-cut vinyl record and a series of live-set events.

Far from presenting bats as ‘dark’ animals, we want to create a party atmosphere, full of colour, sounds, and flavours. Our music composition was inspired by imagining bats flying through the trees, drinking nectar, and eating mangos.I provided most of the funding for this project; additional funding for the live-set was provided by Universidad EAFIT.


&#60;img width="1500" height="1125" width_o="1500" height_o="1125" data-src="https://freight.cargo.site/t/original/i/9d9c6623843d9aa0916dce027e2bc797d6c8215825eaa9737073c08a718f95a5/Artibeus_lituratus_2.jpg" data-mid="72879039" border="0"  src="https://freight.cargo.site/w/1000/i/9d9c6623843d9aa0916dce027e2bc797d6c8215825eaa9737073c08a718f95a5/Artibeus_lituratus_2.jpg" /&#62;
&#60;img width="1500" height="1125" width_o="1500" height_o="1125" data-src="https://freight.cargo.site/t/original/i/16f48641ad2983c23f4ee674c4c85a847cf3777f202aabfc6c801bc133d8f0f1/Artibeus_lituratus_1.jpg" data-mid="72879036" border="0"  src="https://freight.cargo.site/w/1000/i/16f48641ad2983c23f4ee674c4c85a847cf3777f202aabfc6c801bc133d8f0f1/Artibeus_lituratus_1.jpg" /&#62;

	Federigo Goes, grabado, mezclando:&#38;nbsp;
	Recording and mixing process:

&#60;img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/7c64ca58cf26c36ffd11516f631dfa0e42b12fba99768e3c31c05e9d2d5685ad/Fiesta_4.JPG" data-mid="73014879" border="0"  src="https://freight.cargo.site/w/1000/i/7c64ca58cf26c36ffd11516f631dfa0e42b12fba99768e3c31c05e9d2d5685ad/Fiesta_4.JPG" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/eb71849ea1fd3b2a3e24618b9bdc8961ff2226f09b68a8e4b5e0b9e2bae07413/Fiesta_6.JPG" data-mid="73014881" border="0"  src="https://freight.cargo.site/w/1000/i/eb71849ea1fd3b2a3e24618b9bdc8961ff2226f09b68a8e4b5e0b9e2bae07413/Fiesta_6.JPG" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/0053876af7a705d29f01969064851e06fe57c56fe6a16583231457c4be9bea70/Fiesta_2.JPG" data-mid="73014877" border="0"  src="https://freight.cargo.site/w/1000/i/0053876af7a705d29f01969064851e06fe57c56fe6a16583231457c4be9bea70/Fiesta_2.JPG" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/d4c7cd4ed576cac8f968865e3e87c681568414e9eb2c9c783c454dcee3903b8f/Fiesta_5.JPG" data-mid="73014880" border="0"  src="https://freight.cargo.site/w/1000/i/d4c7cd4ed576cac8f968865e3e87c681568414e9eb2c9c783c454dcee3903b8f/Fiesta_5.JPG" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/288f463b3fcf7a1322d007404e036fc6c6a03d0d147fb92e7033191b9eb07419/Fiesta_1.JPG" data-mid="73014876" border="0"  src="https://freight.cargo.site/w/1000/i/288f463b3fcf7a1322d007404e036fc6c6a03d0d147fb92e7033191b9eb07419/Fiesta_1.JPG" /&#62;

&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/93da5f6c00b9da11e0541d1ac88722c29e70aec0c4b9311abc985bef67359f70/Fiesta_3.JPG" data-mid="73014878" border="0"  src="https://freight.cargo.site/w/1000/i/93da5f6c00b9da11e0541d1ac88722c29e70aec0c4b9311abc985bef67359f70/Fiesta_3.JPG" /&#62;


	Espectrograma de la señales acústicas del murciélago insectívoro Molossus molossus:
	Acoustic signals and ultrasound calls produced by Molossus molossus (insect-eating bat):


&#38;nbsp;


&#60;img width="1282" height="612" width_o="1282" height_o="612" data-src="https://freight.cargo.site/t/original/i/2b48a64946d023072d1e7bc22615b75e2f515187dbaf1e45810f2702c42dfa08/Molossus_2_Negro_usar_como_ejemplo.PNG" data-mid="72879042" border="0"  src="https://freight.cargo.site/w/1000/i/2b48a64946d023072d1e7bc22615b75e2f515187dbaf1e45810f2702c42dfa08/Molossus_2_Negro_usar_como_ejemplo.PNG" /&#62;


	 Espectrograma de la canción Fiesta de Murciélagos (lado a).&#38;nbsp; 
	Spectrogram of the single Bat Party (a-side).


&#60;img width="2000" height="1191" width_o="2000" height_o="1191" data-src="https://freight.cargo.site/t/original/i/e57ada32990f1fb90aac80a804dc878393a37ba6593d50a65a3998a4c6ba4520/Espectrograma_lado_.jpg" data-mid="72887100" border="0"  src="https://freight.cargo.site/w/1000/i/e57ada32990f1fb90aac80a804dc878393a37ba6593d50a65a3998a4c6ba4520/Espectrograma_lado_.jpg" /&#62;


	Espectrograma de la canción Fiesta de Murciélagos (lado b). &#38;nbsp;

	Spectrogram of the single Bat Party (b-side).


&#60;img width="2000" height="1201" width_o="2000" height_o="1201" data-src="https://freight.cargo.site/t/original/i/0ca23a13f6951bcc41483e3b4ef0714ba9d7d74a86f05c5f8825e51c22baf632/Espectrograma_lado_b.jpg" data-mid="72887570" border="0"  src="https://freight.cargo.site/w/1000/i/0ca23a13f6951bcc41483e3b4ef0714ba9d7d74a86f05c5f8825e51c22baf632/Espectrograma_lado_b.jpg" /&#62;


&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/4b7ec99a481fd56d5dc35bf56916932b0e2b096c1640b40b992cb705f3739147/Fiesta_1.jpg" data-mid="95209854" border="0"  src="https://freight.cargo.site/w/1000/i/4b7ec99a481fd56d5dc35bf56916932b0e2b096c1640b40b992cb705f3739147/Fiesta_1.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/6d04221bc6aa6991db221f93d1b986b2fa8a86400d69e11601a106425f39b8f8/2_Fiesta_1_b.jpg" data-mid="95210208" border="0"  src="https://freight.cargo.site/w/1000/i/6d04221bc6aa6991db221f93d1b986b2fa8a86400d69e11601a106425f39b8f8/2_Fiesta_1_b.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/178ab78ff0d127e947bc342d02a57a76bdb72f706a27f30e622b723366cc6d55/Fiesta_2.jpg" data-mid="95209769" border="0"  src="https://freight.cargo.site/w/1000/i/178ab78ff0d127e947bc342d02a57a76bdb72f706a27f30e622b723366cc6d55/Fiesta_2.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/62379afa69f11503961908797cecbe7fa2273d0e601fccc0e1093fad4a25fd90/1_Fiesta_1_b.jpg" data-mid="95210181" border="0"  src="https://freight.cargo.site/w/1000/i/62379afa69f11503961908797cecbe7fa2273d0e601fccc0e1093fad4a25fd90/1_Fiesta_1_b.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/0a04a10fd151c7711c46e1b29c9515c39f53560cd1f10ced860cb5cf2b702512/Fiesta_3.jpg" data-mid="95209770" border="0"  src="https://freight.cargo.site/w/1000/i/0a04a10fd151c7711c46e1b29c9515c39f53560cd1f10ced860cb5cf2b702512/Fiesta_3.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/738c3b0f76b43795c781ed40b4c989c1011c220215ec8ba978a4ed8b0d910e36/3_Fiesta_1_b.jpg" data-mid="95210262" border="0"  src="https://freight.cargo.site/w/1000/i/738c3b0f76b43795c781ed40b4c989c1011c220215ec8ba978a4ed8b0d910e36/3_Fiesta_1_b.jpg" /&#62;

&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/d9068c78cfe473d616eb5081144c41cf7e56bdc2ce13a054179b732928d02cbd/vinilos_con_texto_transparente.jpg" data-mid="99508623" border="0"  src="https://freight.cargo.site/w/1000/i/d9068c78cfe473d616eb5081144c41cf7e56bdc2ce13a054179b732928d02cbd/vinilos_con_texto_transparente.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/c9c48dc1f12b76682e653ae821b1abc6091f6027a6ebb6816a4ec3812c406318/vinilos_con_texto_rojo.jpg" data-mid="99508624" border="0"  src="https://freight.cargo.site/w/1000/i/c9c48dc1f12b76682e653ae821b1abc6091f6027a6ebb6816a4ec3812c406318/vinilos_con_texto_rojo.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/b2ff910fafb4b8900c00d42e6ce01c76b76e7ec9916be745c0c5cc82a37c2d3c/Vinilos_Rojo_transparente.jpg" data-mid="99504104" border="0"  src="https://freight.cargo.site/w/1000/i/b2ff910fafb4b8900c00d42e6ce01c76b76e7ec9916be745c0c5cc82a37c2d3c/Vinilos_Rojo_transparente.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/d077fae47d050adabbb4a60e4ae56e9706fbbd6a172dc24e2013261ab450f82c/Vinilos_negro_transp_rojo.jpg" data-mid="99504103" border="0"  src="https://freight.cargo.site/w/1000/i/d077fae47d050adabbb4a60e4ae56e9706fbbd6a172dc24e2013261ab450f82c/Vinilos_negro_transp_rojo.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/8a34f3ee9c63ddda936c6a00b8a4be38e65c0fb858276cfec1f8546afc773d07/Vinilos_transparente_rojo.jpg" data-mid="99504105" border="0"  src="https://freight.cargo.site/w/1000/i/8a34f3ee9c63ddda936c6a00b8a4be38e65c0fb858276cfec1f8546afc773d07/Vinilos_transparente_rojo.jpg" /&#62;


	Ilustracion por Jorge Marín. Vinilos producidos por Pablo Mejía, de&#38;nbsp;Ruido de Fondo Records.Creditos:Director de proyecto y productor ejecutivo: Alejandro Valencia-TobónAnálisis bioacústico: Oscar Alzate-ZapataMúsica: Federico Goes


	Cover art by&#38;nbsp;Jorge Marín. This lathe-cut vinyl record was produced by Pablo Mejía in&#38;nbsp;Ruido de Fondo Records.Credits:
Project director and executive producer: Alejandro Valencia-Tobón
Bioacoustic analysis: Oscar Alzate-Zapata
Composer: Federico Goes


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