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[post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => sst [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:34:31 [post_modified_gmt] => 2014-09-25 10:34:31 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2757 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 462 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 2789 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Four nights (track 3) [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => four-nights-track-3 [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:34:57 [post_modified_gmt] => 2014-09-25 10:34:57 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2789 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 494 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 2821 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Songs of one, two, three, four or more Notes [post_excerpt] => Democratic, irreverent and traditionally experimental, Curran travels in a computerized covered wagon between the Golden Gate and the Tiber River, and makes music for every occasion with any sounding phenomena -- a volatile mix of lyricism and chaos, structure and indeterminacy, fog horns, fiddles and fiddle heads. He is dedicated to the restoration of dignity to the profession of making non-commercial music as part of a personal search for future social, political and spiritual forms. Curran's music-making embraces all the contradictions (composed/improvised, tonal/atonal, maximal/minimal...) in a serene dialectical encounter. His more than 100 works feature taped/sampled natural sounds, piano, synthesizers, computers, violin, percussion, shofar, ship horns, accordion and chorus. Whether in the intimate form of his well-known solo performances, or pure chamber music, experimental radio works or large-scale site-specific sound environments and installations, all forge a very personal language from all the languages through dedicated research and recombinant invention. THE MAIN STORY With a fortuitous bang, he begins his musical journey (1965 in Rome) as co-founder of the radical music collective MUSICA ELETTRONICA VIVA, as a solo performer, and as a composer for Rome's avantgarde theater scene. In the 70's, he creates a poetic series of solo works for synthesizer, voice, taped sounds and found objects. Seeking to develop new musical spaces, and now considered one of the leading figures in making music outside of the concert halls -- he develops a series of concerts for lakes, ports, parks, buildings, quarries and caves -- his natural laboratories. In the 1980's, he extends the ideas of musical geography by creating simultaneous radio concerts for three, then six large ensembles performing together from many European Capitals. By connecting digital samplers to MIDI Grands (Diskklavier) and computers, since 1987, he produces an enriched body of work -- an ideal synthesis between the concert hall and all sounding phenomena in the world. In 1990, he begins a visually striking series of sound installations, in collaboration with Melissa Gould. Throughout these years he continues to write a significant amount of music for acoustic instruments. TEACHING From 1975-80 taught vocal improvisation at the Accademia Nazionale d'Arte Drammatica (Rome) and since 1991 has been the Milhaud Professor of Composition at Mills College in Oakland, California. FORMATIVE YEARS Born December 13, 1938, Providence, Rhode Island. From five years: piano lessons, trombone, marching bands, Synagogue chants, Jazz, and his father's dance bands. Becomes an artist at age 13 in an apple tree at the house of his lifelong friend, poet Clark Coolidge. Hears Spike Jones, the Rhode Island Philharmonic, Satchmo, The Boston Symphony Orcherstra, Art Tatum, Charlie Parker, The Band of America, Thelonius Monk, Gerry Mulligan, Miles Davis, Coltrane, Bartok and Christian Wolff. Studies composition with Ron Nelson (B.A. Brown University 1960) and with Elliott Carter and Mel Powell( M.Mus., Yale School of Music l963). During summer vacations, plays European crossings with the "Brunotes" on the Holland American Line, in a Greek Dance Band in the Catskills, and in the Dunes Hotel in Las Vegas. Continues studies and friendship with Carter in Berlin (1964 Ford Foundation Grant), meets Stravinsky, Xenakis, Berio, Yuji Takahashi, Andriessen, Remo Remotti, and above all Rzewski. Goes to Darmstadt, hangs with Babbitt and Earl Brown, hears Stockhausen and Ligeti. Goes to Rome with Joel Chadabe and plays piano in bars on via Veneto, meets Franco Evangelisti and Cornelius Cardew. In the MUSICA ELETTRONICA VIVA years (1966 -1971 in Rome), performs in over 200 concerts in Europe and the USA with Teitelbaum and Rzewski, Carol Plantamura, Ivan Vandor, Alan Bryant and Jon Phetteplace; and makes significant artistic encounters with: Giuseppe Chiari, Edith Schloss, AMM, Cardew, Steve Lacy, Michelangelo Pistoletto, Steve ben Israel, Anthony Braxton, Simone Forti, Steve Reich, Joan LaBarbara, Michael Nyman, La Monte Young, Trisha Brown, Ashley, Behrman, Gordon Mumma, Alvin Lucier, Larry Austin, Bill Smith, Ketoff, Robert Moog, Nuova Consonanza, MEV2, Meme Perlini, Mario Ricci, Maria Monti, Prima Materia, Ron Bunzl, Phil Glass, Charlemagne Palestine, Terry Riley, George Lewis, Evan Parker, Gregory Reeves, Serge Tcherepnin, Kosugi, Pulsa, Maryanne Amacher, John Cage, David Tudor, Morton Feldman. Scelsi becomes his friend and mentor. PRIZES AND AWARDS Bearns Prize, BMI award, National Endowment for the Arts (twice), DAAD (Berlin residencies 1963-4 and 1986-7), Ars Acoustica International (WDR), Prix Italia (special award l988), Premio Novecento (city of Pisa), Fromm Foundation (Harvard University), Hass Family Award (San Francisco), Meet the Composer (assistance to many concerts), Leonardo Award for Excellence (1995), Guggenheim Foundation (2004). This double CD-set is the companion to the final book reporting on the activities of Het Apollohuis. The recordings on these CDs give an idea of the music and the sound art presented in concerts at Het Apollohuis in the priod from 1980 through 1997. Out of a total of 500 performances I chose 38, from which exceprts of varying lenght have been included in this anthiology. These have been arranged in chronological order. The diversity of the selected pieces is characteristic of the programme of Het Apollohuis. Only limited number of composers and musicians who performed can be heard in brief fragments o these discs. Consequently a considerable number has been excluded. There simply was no way to include them all (this selection does not imply we value one above the other). The choice of the particular musicians has been my responsability (P: Panhuysen). liner notes: René van Peer sound selection: René Adriaans mastering: Frank Donkersgoed design: Tom Homburg, Marcel d'Anjou (Opera) [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => songs-of-one-two-three-four-or-more-notes [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:00 [post_modified_gmt] => 2014-09-25 10:35:00 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2821 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 527 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 2855 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Concert in O.G.I. - track 2 [post_excerpt] => ALEXEI BORISOV: 1960 - born in Moscow 1983 - graduated from Moscow State University (History) 1980-1981 - guitarist of the first Russian new wave band "The Centre" 1981-1984 - vocalist/guitarist of mod band "Prospect" 1985 - organized (with Ivan Sokolovsky) the first Russian techno-industrial band “Notchnoi Prospect”, which is active until now Since 1989 - works periodically as a DJ, first primarily on different radio stations, after mid-90’s mostly in clubs Since 1992 - member of F.R.U.I.T.S. duo (with Pavel Jagun) Since 1994 - collaborates with Finnish experimental musician Anton Nikkila Since 1995 - music for the performances of Moscow art group “Sever” Since 1997 - collaborates with sax improviser Serguei Letov (as New Russian Alternative, Gosplan trio, playing live soundtracks to classic 1920's movies etc.) Since 1997 - producer of ethno-experimental project “Volga” 1998-2000 - one of the organizers of “Electric Future” (festival of electronic music in Moscow) Since 1999 - collaborates with Moscow multimedia artist A. Chernishov and V. Efimov. 1999-2000 - performances of the live soundtrack for FW Murnau’s “Faust” (1926) (with Serguei Letov, Richardas Norvila, Oleg Lipatov) 2000 - organised with Anton Nikkila the experimental label “N&B Research Digest” (www.nbresearchdigest.com) 2000-2003 – active touring in various lineups (solo, with Anton Nikkila, F.R.U.I.T.S., Notchnoi Prospekt, Sergui Letov and Volga) in Finland (Avanto Helsinki Media Art Festival and other events), Austria (Phonotaktik festival, Prototype festival, [d]vision festival, 4020.mehr als musik festival), Germany (Burg Herzberg Open Air 2000), France (Batofar), Belgium (Nova Cinema), Ukraine (Kiev Media Art Festival 2001), Spain (Sonar 2003 in Barcelona) etc. 2003 - Participation at “Finnexport 2003” tour in Russia (feat. Pan sonic, Pink Twins, Anton Nikkila) HUH Festival 2003 (Tallinn, Estonia) 2005 - Alexei Borisov - live in Chicago (2005), live at Le Placard headphone festival (MUTEK, Montreal 2005) F.R.U.I.T.S. - live at "Details of Sound" festival (Kiev, Ukrain 2005), "RADIUS" festival (Vienna, Austria 2005), "Noise and Fury" festival at DOM (Moscow 2005), "Garage" festival (Stralsund, Germany 2005) Alexei Borisov and Adam Ebringer (Australia) live at SKIF 9 (St. Petersburg 2005) SERGEY LETOV: Sergey Letov was born in Semipalatinsk, Eastern Kazakhstan, in 1956 and then lived in Omsk, Siberia, where still lives now his brother Egor Letov. Sergey Letov resides in Moscow since 1975. First public performance as a soloist with Percussion Ensemble of Mark Pekarsky took place in The Central House of Artist in 1982 in Moscow . 1983-1993 - collaboration with Sergey Kuryokhin (duo, combo and big band POP MECHANICS). Concerts with POP-MECHANICS and Sergey Kuryokhin - all over Soviet Union, Finland, Italy, France, Denmark. Since 1986 - collaboration with the Gypsy singer Valentina Ponomareva. Duo Ponomareva-Letov performed in USSR, Switzerland. In 1985 Sergey Letov has founded winds ensemble TRI-O (Arcady Shilkloper - French horn, Arcady Kiritchenko - tuba, euphonium, vocal, later - Alexander Alexandrov - bassoon, Youri Parfenov - trumpet). TRI-O performed at almost every jazz festival in USSR, since 1988 TRI-O played in Poland, Bulgaria, Switzerland, Lithuania (Vilnius Jazz Festival), Germany, Austria, Italy, Finland, Norway, the Netherlands, USA, including such clubs as Knitting Factory, Anyway (New York), Bimhuis (Amsterdam), Moods (Zurich), Sud des Alpes (Geneva), Blue Tomato (Vienna). Sergey Letov is interested in various projects, contacts, new partnerships. Among them - German World music band EMBRYO, Danish band NEW JUNGLE ORCHESTRA (concerts in Denmark, Germany and Russia), Italian composer and bass player Enrico Fazio (concert-performance in Noci Jazz Festival, 2 CDs), singer Sainkho Namchylak, American viola and violin player LaDonna Smith (concerts in USA and Russia), American guitar player and singer Misha Feigin, Lithuanian trombonist Vitautas Pilibavicius, German trombonist and dijeridoo player Heinz-Erich Goedecke. Sergey Letov participated in happenings and performances of Moscow conceptualists - Collective Actions, later with Andrei Monastyrsky, and TOTART since 1984, with Rea Nikonova since 1995, played at many art exhibitions in the galleries in Moscow, Bremen, Berlin, Smolensk. Sergey Letov performed also with modern poets and writers: Nina Iskrenko, Dmitry Alexandrovich Prigov, Lev Rubinstein, Gennady Katsov, Nina Sadur, Andrei Bitov, Vyacheslav Kupriyanov, Sergey Birjukow, Anna Alchuk, Vladimir Druk, Tatiana Scherbina, Nikolay Baitov and Svetlana Litvak, Yulia Skorodumova, Konstantin Kedrov, Elena Katsiuba, Liudmila Hodynskaia, Erkki Lappalainen (Finland -Sweden), Marina Kniazeva, Lesya Tyshkovska. In a duo with Alexander Alexandrov he participated in the international festival MILANOPOESIA-91 (Italy). Since 2002 Sergey Letov plays in Saxophone Quartet (or sometimes trio) Russian Sax Mafia. Since 1984 Sergey Letov plays with rock and alternative bands, such as Aquarium, Centre, DK, Alissa, DDT, Vesyolye Kartinki, Doctor, Nochnoi Prospect, Atonal Syndrom, Soft Animals and Ivan Sokolovsky,Grazhdanskaya Oborona. Since 1986 Sergey Letov collaborates with actress Nika Kossenkova. In the 1988-1989 he worked in Theatre of Improvisation in Moscow, in 1990-1991 in Moscow Creative Workshops (Mikhail Mokeev), in 1989-1992 and then since 1996 in the School of Dramatic Art of Anatoly Vassiliev, in 1991-1992 in Centro Sperimentale di Teatro a Roma (Sharoo and Reza Kheradmand), in 1991-1992 with clown company "Licedei-4" in France, Taganka Theatre since 1996 - "Moscow- Petushki" and "Marat/Sade", Kinetic Theatre of Sasha Pepelaev since 1997, Saumarkt Theater in Feldkirch, Austria in 1998, Moscow Art Academic Theatre (MKhAT by A.P.Chekhov) - 1999-2000, Theatre "Chelovek" in Moscow - since 2001 - "Entre Nous". Another form of Sergey Letov' activities is composing and playing music for cinema (Aleinikov brothers, Savva Kulish, Tatiana Chivikova, Yury Zmorovich a. o.), video, Radio and TV (more than 10 movies). Since 1996 Sergey Letov and Alexei Borisov play background music for the live performances of the German movie by Friedrich Wielhelm Murnau "Faust. Eine Folksage". Sergey Letov plays soprano, tenor, baritone saxophones, bass clarinet, flute, piccolo and alto flute, kuray. DIMITRII ALEKSANDROVICH PRIGOV: Dmitry Prigov (1940, Moscow, Russia) – poet, essay writer, artist, performer. Started his creative literary and artistic activities in the late 1950s. He is the author of numerous publications in magazines, literary miscellanies, catalogues and anthologies of contemporary poetry, as well as poetry books, essays and prose, issued by Russian and foreign publishing houses, including such as: Text Publishers, New Literary Review (Moscow), Limbach Publishing House (St.Petersburg), Michigan University Press (Chicago), Indiana University Press (Bloomington), Penguin (London), Iron Press (Culler Coats), Reclam Verlag, Oberbaum Verlag, Literarische Colloquium (Berlin), Space Umano (Milan), Triptyque Poesie, LRS-AMGA (Paris) and others. Among the recent poetry books are the following ones: 50 Drops of Blood (Moscow: Argo-Risk, 1994), Emergence of verse after its death (Moscow: Text, 1995), Militiaman and Others (Moscow: Obscuri Viri, 1996), Der Milizionär und die Anderen (Leipzig: Reclam Verlag, 1992), Les flauves de la vie (Paris: Triptyque, LRS-AMGA, 1994), Soviet texts – 1979-84 (St.Petersburg: Limbach Publishing House, 1997), Written since 1990 till 1994 (Moscow: NLO, 1998). He conducted a number of solo exhibitions at the Struve Gallery (Chicago), Contemporary Art Center (Saint Louis, 1989), Krings-Ernst Gallerie (Cologne, 1991), DAAD Gallery (Berlin, 1991), Guelman Gallery (Moscow, 1994), Russian Museum (St.Petersburg, 1994), Luedwig Museum (Budapest, 1995), Krings-Ernst Gallerie (Cologne, 1995), Muelcheim Museum (Muelcheim-on-Ruhr, 1995) and others, he also conducted a number of poetry readings and lectures on contemporary Russian art and literature at Harvard, Stanford, Columbia Universities, also at Berkeley, Los Angeles, and Ohio University College and so on (USA), London and Cambridge University colleges (Great Britain), as well as at the Universities of Munich, Frankfurt, Bochum, Bremen, Heidelberg (Germany) and others. Since the midst 1980s Prigov has participated in various festivals of contemporary poetry both in Russia and abroad, including such as: Novostroyka Avant-garde Festival (London, 1988), Festival of Avant-garde Classical Music (Moscow, 1990), Milanopoesia (Milan, 1991), Brighton Art Festival (Bridgetown, 1992), Rotterdam Poetry Festival (Rotterdam, 1993) and so on. In 1984-87 he performed as a vocalist and saxophone player with the group “Middle Russian Hills,” recorded several musical albums and solo poetry readings (MC, CD-format). Since 1989 till 1993 he hosted a program on the radio “Deutsche Welle.” In 1989 a documentary film was made about the poet’s creative activities, it was called “Dmitry Prigov: Poet and Rebel” (Moscow). He acted in the feature films “Taxi Blues”(1990), “Khrustalyov, Get into the Car!”(1995). Prigov participated in more than a hundred group exhibitions both in Russia and abroad. He is a laureate of various prizes, rewards and awards, including the Pushkin Prize for literature (Topfer-Foundation and Russian PEN Club, 1994), German Academy of Art Award (1991), also First Prize winner at the Paper Biennial (Duren, 1994). Dmitry Prigov lives and works in Moscow (Russia) and Cologne (Germany). [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => concert-in-o-g-i-track-2 [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:03 [post_modified_gmt] => 2014-09-25 10:35:03 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2855 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 561 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 2887 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => la patologia e il benessere [post_excerpt] => Gianluca Codeghini Nato a Milano il 02.09.1968 Diplomato all’Accademia di Brera Milano al corso di Pittura. Frequenta i corsi di Musica Elettronica e di Semiotica a Bologna e Milano. Le sue prime esperienze artistiche indagano nell’ambito della ricerca sonora e di una modalità per archivia-re e rigenerare il rumore a queste affianca performance e installazioni in ambiti urbani e in spazi espositivi, nel 1992 fonda laciecamateria edizioni. Alcune linee teoriche del suo lavoro vertono temi come il rumore, la luce e la cecità, la polvere, il gioco, l’intervallo, i sottofondi, svariate sono le collaborazioni. Espone in Italia e all’estero dal 1990 in spazi pubblici, musei, gallerie e spazi vir-tuali, in questo ultimo anno: “Lo sguardo ostinato” a cura di E. Grazioli, MAN Museo d’Arte Provincia di Nuoro; prosegue la ricerca sul suono e presenta “Noi se” a Milano presso A+M Bookstore e a Roma all’interno del progetto “InsideOUT”, a cura di M. Allicata e F. Ventrella presso la Red Bull Music Accademy; realizza la colonna sonora del video “Ada Negri” di Dario Bellini; è pubblicato in “La polvere nell’Arte” a cura di E. Grazioli, Bruno Mondadori; “Il gioco epistemico” conversazione con P. Braione in “La cultura politecnica” a cura di M. Bartoldini, Bruno Mondadori; prende forma il progetto “Warburghiana”. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => la-patologia-e-il-benessere [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:07 [post_modified_gmt] => 2014-09-25 10:35:07 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2887 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 594 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 2919 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => "Dark by 6" features five recordings of installations built in Melbourne, Australia by Ernie Althoff from 2000-2003. All tracks are digital on-site recordings and, combined with the booklet notes and images, attempt to give a representation of the works in an out-of-gallery timeframe. Most of the works feature Althoff's favourite stripped-down 16 rpm turntables, along with a couple of oscillating electric fans and some converted cassette players, as the motive forces for the chance-based percussion compositions that perform themslves in the spaces. The final track uses an untrained, unforewarned audience to sound the devices following simple instructions on cards collected on entry to the space. Each track is at least 12-14 minutes duration for excellent opportunities to evaluate the textures, frequency bands, individual sound events and engaging rhythms that constitute these compositions. These five installations all dealt with the integration of acoustic, kinetically produced sounds into visually treated spaces. A low-budget ethic prevailed, and the motive forces came from readily recognised devices, albeit their new sonic roles. The music was 99% percussive, texure based, aleatoric and location dependent. The documentations presented here should not be seen as replacements for the realtime auditory experience. [post_title] => Declivities [post_excerpt] => ERNIE ALTHOFF Ernie Althoff is a composer/performer/instrument builder/artist who has worked in Melbourne, Australia since the mid-1970s, when he bought his first vari-speed cassette recorder. During his years as one of the stalwarts of the Clifton Hill Community Music Centre (see NMA website below), he pioneered an array of techniques for this device in the field of low-budget live electro-acoustic performance (see NMA website). His interests in chance-based compositional procedures were also kindled at this time, and when he built his first 'music machine' in 1980, many doors opened for him. Combining these machines with his collection of found objects, toys and home-built instruments, he performed many concerts over the following years titled either "Ernie builds a machine" or "Machines and me", depending on their format. In 1986, the machines finally appeared alone as real sound installations. Since then, their design and construction, as well as their compositional strategies, have become more and more sophisticated. However, their aims of recognising the relevance of site specificity and utilising a (probably now) political use of the recycled, home-built or reappropriated as a low-budget ethic remain constant. As well as this, he is still an avid performer (either solo or in ensembles of two or more) with the likes of Robbie Avenaim and Eamon Sprod (Tarab), and has also lectured, held workshops and written extensively on the subject. He has shown works in several major Australian cities and has sent work overseas to galleries, festivals and radio networks. "Dark by 6" is his third solo CD, following years of cassette releases. Several compilation CDs, both Australian and U.S., include his work. He has received commissions for compositions and installations, held artist-in-residence positions, participated in many festivals and conferences with both his installations and performances and has had several projects funded by the Australia Council. "Our culture, until relatively recently, has forgotten how to explore other musical landscapes. In Althoff's case, his machines are like surveying instruments which aid him in mapping out a section of this little-known land for himself. His wanderings are part of our own attempts to find a more resonant cultural centre through our art..." Larry Wendt, San Jose. 1994 [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => declivities [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:37 [post_modified_gmt] => 2014-09-25 10:35:37 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2919 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 626 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 2951 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Charlie's Soliloquy [post_excerpt] => "Thank for flying american" is a richly diverse anthology of audio art compositions by media, performance and visual artist, write audio composer, producer, and internationally broadcast radio art innovator Jaci Apple. Travelling a thematic path, this 17 cut compilation, selected from six of her major performance, installation, video and radio works from 1980-1991, is a journey accross the American landscape spanning three decades. Filled with a pervasive sense of loss, this series of aural snapshots gazes bacward into the past from different vantage points as it speeds forward into a precarious and sometimes ominous future. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => charlies-soliloquy [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:39 [post_modified_gmt] => 2014-09-25 10:35:39 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2951 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 658 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 2983 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Senza titolo [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => senza-titolo-10 [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:42 [post_modified_gmt] => 2014-09-25 10:35:42 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2983 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 690 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 3025 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => venom clad omen [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => venom-clad-omen [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:46 [post_modified_gmt] => 2014-09-25 10:35:46 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3025 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 732 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 3080 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => sTörungen [post_excerpt] => Metka Golec 1972 _ born in Maribor, Slovenia 1991-1995 _ studies of architecture on Technical University Graz(6.semesters) 1996-1997 _ School for art photography Friedl Kubelka Wienna 1998 _ studies of painting on Academy for fine arts Wienna 2003 _ diploma on Academy for fine arts Wienna Horvat Miha 1976 _ born in Maribor, Slovenia 1995-2001 _ studies of anthropology on Faculty of arts Ljubljana 1999-2001 _ studies of film directing on Academy for film Ljubljana 2001_ diplom on Faculty of arts Ljubljana 2000-2001 _ studies of film on University of art and design Helsinki 2001 _ studies of new media on University for applied arts Wienna 2002 _ studies of painting on Academy for fine arts Wienna The world of digital technologies, of electronic sounds and images, seems to be the natural surrounding for son:DA. In their work, though, they are not fascinated with the endless possibilities of new technologies. rather, they are critical and ironical towards such fascinations. The constant multiplication of new technologies and their effects turns into noise, just as the actual physical space gets crowded with electric wires, cables, and piles of hardware that used to be brand new, cutting edge technologie. The works of son:DA are often deliberately simple and restrained, sometimes using very basic technical possibilities that stress an "underground" feeling. (Igor Zabel for "Aperto Slovenia" _ Flash art magazine / january-february 2004) Artistic duo son:DA’s narrative or portraying, seducingly aesthetic computer mouse drawings talk about the coldness and the estrangement within the globally connected world. The process of using a computer mouse as an interface is a meticulous creative act, that refers to the history of adapting new media in a kind of transition phase from traditional to media art, and creates a parody to the digitally created shiny and perfect imagery. son:DA also works and experiments in the field of audio-visual performance, site-specific installation and sound. The information society, communicating on the level of a collective wireless imagination that once used to be a utopian dream, has since a long time known and experienced the ambivalence that the seeming autonomy of mobility within the cyber space is bringing. “Take for example the idea of a mobile work office, you have all this autonomy because you are moving around with your personal computer, you set your own hours, you have your mobile phone. You’re beating the system, but actually this is the system now,” says Claire Pentecost when referring to the new working modality, brought by the wireless networks and general freedom of mobility in the evolved part of the world. Either representing wired or wireless iconography, son:DA play with the notion of the necessity of being connected to the immaterial, but yet so tangible system all the time. Portraying cables or incorporating them as the “leit motif” in their drawings and in installation work actually reveals the rather truth of the contemporary society new icon, the connective element of the access, that empowers the First and parts of the Third World from the disconnected and unprivileged areas on the Earth map. Rendering these scenes of the weird, but yet very familiar world, drawn with uneven computer mouse lines, son:DA makes the viewers experience the estrangement of their own everyday environment and of the society, driven by capital embedded in technology and progress. (Natasa Petresin / 2004) son:DA fetishized peripheral ordinarily subjects of technological age, such as socket, plugs, cell phones, cables. son:DA creates icons, drawn with computer mouse, that in opposite with paradoxial ilusionismus of Rene Magritt speaks: »This is socket!« Exactly this, which hid for armoire, will now as picture be installed on wall before armchair and admired minimalized aesthetics and functionality perfection of technical building. Without them – the sockets, there is no communication in this alias with this world. On the other hand, it is building in image-story that is showing conditions of residence. Fetish forms are the essence of suspension in metaphorical scenography: people wrapped in cables and hanged on cables with plugs alia exuperien cabled person, that carries red flower instead of life one is turning his own planet in space, for force of circumstances in engaged postindustrial environment, full with wires, that came from everywhere and they are waking up paranoia. And what are drawings doing together with a space and sound installatons? Effect of disturbances, of noises. That's why the image of socket is perfect. In spite of still life atmosphere there is neverending anticipation of connection. We hear electric noise. (Aleksandra Kostic / 2004) Over the years Metka Golec and Miha Horvat created their own artistic language centered around the signal-to-noise ratio and the illusion of connectivity through modern day technology. Their installations, which they combine with graphical interventions, consist of broken wires, incompatible plugs and sockets, wrongly connected cables and stripped hardware. The line between parody and reality of today’s networks has never been as thin. (Peter Tomaz Dobrila / 2005) son:DA provides the collective at the PC with ideas of rationalisation; everyone is sitting on the toilet like the guests at the erstwhile dinner party in Luis Bunuel´s "Le Fantome de la Liberte"(1974); then, one by one, they occupy the toilet in order to eat. (Harald Szeemann for "Blut und Honig" _ Sammlung Essl / Vienna / 2003) The artistic tandem son:DA combines audio-visual experimenting and the study of sound, space, moving images and still pictures. In their work, the artists focus on different techniques and media, they work with different materials and use different methods – from digital to analogue processes. So, these computer images are created in the Photoshop software, where each line is made by hand using the mouse as the interface. The drawings depict detached, impersonal high-tech environments where they themselves belong, just like the artists themselves belong to the same paradigm of information technologies. Due to the plastic material serving as the surface onto which these images are plotted, they can be used as some sort of contemporary tablecloths, rugs, or simply paintings. The impreciseness of the perspective is masked, or perhaps even emphasized either by the surface-like two-dimensional net of cables, or by an almost ornamental pattern of repetitive machines. In the image showing the rear side of computers, the innards of machines, and the connections between them, we do not see a face in either the machine or the human being. But this is not to be mistaken with bashful concealment – for the second image shows us the users of this computer hardware as literal de-personified machines, sitting naked in the middle of an intimate internet experience, or simply immersed in their own consumerist pragmatism. This seemingly naïve visualisation with the trembling line and the choice of dull pastel colours is a clear and precise criticism not only of the rapid rise of consumerism but also of the consequential understanding of work as a market commodity. Obsessively drawn networks of people, machines, cables and (in)compatible adapters present, at once, both the image of detached communication and the utopia of community. General criticism of evolutionistic myths of technologic development in the context of a small and young country which has affirmed its visual identity through the advertising campaign for mobile telephony, or the metaphor of disconnecting from the old stationary/static network as a pre-condition for new, wireless global interaction, provides additional identifying weight to the works of the tandem son:DA. (Igor Spanjol for "Blut und Honig" _ Sammlung Essl / Vienna / 2003) Themes of the drawing made by a computer mouse are fetishized detalies of modren interior, such as sockects, distributors, cables, plug-ins, mobile phone chargers... These are installed on the walls in the exhibition and public spaces in almost sacral manner, although satirical connotations to technological world are obvious. More monumental formats include genre images of the 17th century Holland interiors (common people in common environments), but they are transferd into future. Allusions are made to paranoid visions of the captured urban person, who is connected with cabels to a tarumatic social enviroments of survival. (Kibela.Kibla for "multimedia mxhibiton" _ cafe Moscow / Berlin / 2004) [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => storungen [to_ping] => [pinged] => [post_modified] => 2014-11-19 12:58:17 [post_modified_gmt] => 2014-11-19 11:58:17 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3080 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 789 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 2757 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => SST! 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SST!

Marzia Migliora

SST!

2001