Oh Hai! We are A Parede, a brazilian artistic research duo currently living in Berlin. Our research interests fall within decolonial thought, radical pedagogies, gender and sound studies.
Drop us a line for collaborations, requests, ideas and/or general friendliness: email@example.com
Tempos Verbais is an ongoing work in collaboration between artist Lucas Odahara & Pedro Oliveira (A Parede). Together, the researchers have been collecting sounds of protests from around the world – from footage found online to self-recorded sounds.
All photos by Lucas Odahara.
In Brazil, the Statute of the Unborn changes everything. Life is now legally defined as beginning at the moment of conception. Abortion has always been illegal, but now its definition is broader. The morning after pill and the IUD have been outlawed because they may prevent a fertilized egg from successfully implanting and developing. Even the birth control pill is now a highly controlled medication due to fears that it might be used – in higher doses – for the same purposes of the morning after pill.
Oniria is the first product to be released under the new legislation. Distributed through the country’s public healthcare system, Oniria consists of two parts: a small device which is clipped to the corner of the lips at night and tracks basal body temperature and hormonal levels; and an app that calculates when ovulation is supposed to happen based on the data collected by the device. The information is transmitted to the patient’s healthcare provider; in order to access this information, patients must contact their doctor. However, some premium versions of the product – not available in the public healthcare system – allow the patient direct access to their cycle data.
The “Ocupação Algerinha” or “Vila Algerinha”, formerly known as “Ocupação Dona Algerinha” was one of the biggest occupations in South America in the first decades of the twentieth-first century. During its five-year existence, the occupation was home to around 120.000 people, distributed over an area of approximately 1.33 square kilometers in Southeastern Brazil. The exact origins of the occupation are unknown, but it is believed that the families were initially part of a transmigrational group in Latin America which, in itself, was dissident from a larger group of families directly affected by the housing crisis that followed the wave of Coups d’Etat all over the continent. Due to increased incentives to real estate markets, progressive gentrification in big cities, and the suspension of most social housing programmes in South America, thousands of families – many of whom also unemployed – were forcefully expropriated from their homes, and hence started waves of peregrination and demonstrations all over the continent, particularly in the Southern Cone and Brazil.
“The bomb, singular, is hurled at us, plural, in timed steps, in rhythmic explosions.”
Performative lecture for Transmediale 2017, as part of the Singularities panel, curated and moderated by Morehshin Allahyari and Daniel Rourke. Joining us on this panel were also Dorothy R. Santos and Rasheedah Phillips.
A Yarn Session is a pedagogical endeavour we developed in the course of our PhD researches as a way to fostering a decentralised dialogue within and around designed objects and systems. To develop this format we looked primarily at Paulo Freire’s proposal for a Pedagogy of the Oppressed and its iteration in Augusto Boal’s Theatre of the Oppressed.
Speculations on Birth Control was a project developed between 2015 and 2016. The idea was to collectively untangle the complex terrain of birth control devices and artefacts, discussing the role of design in the establishment of discriminatory regimes of birth control, and speculating on how might these regimes change in a near future – and for whom.
A Yarn Session is a pedagogical endeavour we developed in the course of our PhD researches as a way to fostering a decentralised dialogue within and around designed objects and systems. “Auditory Governances” is an umbrella name for a series of Yarn Sessions developed within the context of the “Algerinha Vive” project.
These Yarn Sessions aimed at using the Algerinha story as a platform upon which conversations, stories, propositions, and debates in and around the themes tackled by the story – racism, classism, migration, violence – all having sound and listening practices as the main threads of the narratives.
How may Design Research help us prepare ourselves for a State of Exception? “Design in Times of Crisis” is an ongoing project framing an immediate presente/near-future Brazil.
Several projects, lectures, and workshops have stemmed from or are directly connected with this research project. Find them all by clicking here.
We are also collecting evidences on a Tumblr Blog. Main sources are the living dystopias our friends and families have to endure everyday back home.
This is an experimental format for academic publications in/with/through sound, developed in Copenhagen in 2015 as part of the “Fluid Sounds, Fluid States” conference, and later edited in Berlin. The format follows insights I’ve developed in my article published in Design Issues. The “Audio Paper Manifesto” written by the organizers can also be read here.
This audio paper is an experimental fusion of Speculative and Critical Design (SCD) with sound-based research methods. It is part of an ongoing investigation into the politics of designing for sound, and its accountability for the configuration of violent soundscapes.
Image credit: Graphics by Signe Lupnov, photo by Sanne Krogh Groth
This is a series of objects that confront and reclaim sonic space. It starts from a very simple observation: that silence is never a dialogue, but an imposition. Silencing is an attitude observed in a lot of instances in society, but more often than not it concerns issues of gender, class and ethnicity. Latin americans in the US, turkish and middle-eastern people in northern Europe, women in general – these are all subjects of constant angry looks, reprimand and shushing. We are constantly deemed as “loud”, “annoying”, “uneducated” and other less friendly adjectives.
These objects are meant to allow a reconquering of this stolen sonic space – and they do so by also occupying physical space.
“It’s always a problem, so it’s not a problem anymore” – Overheard from a Thai friend, fruitlessly trying to make people pronounce his name correctly.
First you try to make it work. It doesn’t. You try again. It still doesn’t. And this is where the negotiation process starts. Remotes, video games, TVs. Banging, twisting or shaking have always been part of our relationship with technology. Wherever there is an ill-designed or semi-broken object there is a human counterpart trying to discover a way to make it work. Sometimes it’s clever. Sometimes it’s fun. Sometimes it’s just plain weird. The Bang Theory is series of experiments and reflections on our negotiation rituals towards everyday objects.
This is a project we started in 2010 and left it hanging for a while. We liked the process and the preliminary results, but were not so happy with the final product. So we decided to revisit and give it a fresh start with some new stories.
Over the past decades electronic objects have become increasingly relevant in mediating our perception of reality. From mobile phones that keep us constantly reachable to digital cameras that automatically smooth out the skin, our daily interactions – with others, as well as with ourselves – are profoundly dependant on electronic artefacts. As the digital and real worlds bleed into each other in our daily routines, our online behaviours become inextricably related to our physical reality. Search engines subtly filter results according to data collected on our personal profiles; block or unsubscribe buttons offer immediate relief from invasive or unpleasant interactions within our online social circles; our personalities and images can be moulded, fragmented, displaced and distorted through the carefully curated online profiles. Filtering is a necessary part of life.
When you attend a music concert, what do you look for? What do you expect? Are these expectations consequences or caused by the way technology has affected music? “The Shape…” is a speculative design project that addresses these questions. What if the bliss and catharsis typically provided by the experience of live performances become “insufficient” for the listeners? What types of “solutions”, “workarounds” and “rituals” would emerge from there?
Most technology that surrounds the urban everyday life today is invisible. Mobile Phones, computers, ATM machines, for being largely used and present almost everywhere, become ubiquitous, and so do their “invisible skins”. Wireless communications weave connecting threads among physically distant places, bringing all of them into the territory of the in-between – where does it take place, if not everywhere along the spectrum that connects all peers?