“There are germs of organized beings spread everywhere, waiting for the right moment to grow up. This project is part of this belief, that sound can surge in any place of the world, and this space, we created, pretends to provide ideal conditions for its development. It is intended that the works composed with these strategies will enable us to expand and explore new compositional and performative horizons. The compositor can participate in Audio mixing by sending our selfsound (as sound seed) and we will come together with everyone to make a “cadaver exquisité” sound that you can use anywhere and anytime.”

Audio concert at APEM (“Archiving and Preservation of Electroacoustic Music”) of the ICEM-UNESCO (“International Confederation of Electroacoustic Music”) in Lisbon. Performance by Julio Sanz Vázquez. Works to reclaim the need to save the GME (“Gabinete de Música Electroacústica”) of Cuenca, by AMEE members, ACUOSO, OSOMEZ, “Huerto del Sonido” and “Equipo Elevador”: Víctor Aguado, Víctor Vallés, Ricardo Armas, Diana Pérez Custodio, Adolfo Núñez, Pedro Guajardo, Enrique Mateu, Carlos D. Perales, Mercè Capdevila, Roberto Pineda Tenor, José Andrés Prieto Franco, Pablo Vega, Julio Sanz, Pedro Linde Navas, Miguel A. García, Pablo Martinez Garrido, Ricardo Climent, Apolo Valdés, Joaquín Díaz, Sergio Bascuñana, Juán Antonio Lleó, Miguel Molina Alarcón, Padre Castillejo and Sylvia Molina. Supported by “Plataforma Poliedro Sinestésico de Fabián Luna” and AcciónGME v2.4. Colaborators: Daniel del Saz and Javier Osona.

The GME (Cabinet of Electroacoustic Music) of Cuenca was the first public Spanish center dedicated to the creation, research, teaching and dissemination of electroacoustic music. It was opened in 1983, linked to the Conservatory of Music of Cuenca. Because of bureaucratic problems it closed in 1996, leaving all its equipment and all the works produced in it stored in boxes. Today all that material is still in boxes and is awaiting for cataloging and evaluating of their status. Fortunately, there is already a project to catalog, restore and publicize all these works, thanks to different institutions, and counting with the participation of the composers. Along with the recovery of the works we want to retrieve the laboratory as a unique historic instrument. We must value the repertory and the research done from 83 to 96 and reopen the Cabinet of Electroacoustic Music of Cuenca for the present and future times.