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Consequently, in my artistic practice I am interested in examining, locating or commemorating collective culturl experiences in historic moments of creative transition. I attemp a marriage of art history and black history within the realm of the abstract languages they constructed. This notion is manifested through multi-disciplinary pieces that incorporate sound, works on paper, and site based projects all focusing on music, specifically the aage of modern music-the more avant-garde or Be Bopera, aperiosd with intense social and cultural implications. Complimenting today's deluge of hip hop culture as defining black culture, the audio pieces transform the gallery space into concert hall via speakers or private listening zones vie headsets. Assembling fresh pieces by means of jazz concepts like "call and response", tempo chanes, "stop-time" and counter melody, I build variations on the original compositions themselves, not unlike a musician riffing on a "standars" tune. Future project ideas range from the transcription of sheet music (scores) into large-scale drawings, collaborating with musicians to then "play" those works - to site related projects in and around Harlem. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => embrace [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:36 [post_modified_gmt] => 2014-09-25 10:35:36 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2913 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 620 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 2945 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Prologue [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. 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And previous pieces: Little Music .. - 1999, Little Litany - 2002, Little Chronicles - 2005. [post_title] => Final song [post_excerpt] => ZBIGNIEW PENHERSKI, composer, born January 26, 1935 in Warsaw, Poland. Studied composition with B. Poradowski at the State Academy of Music [PWSM] in Poznan (1955-56), followed by studies with Tadeusz Szeligowski in Warsaw (1956-59). Penherski has also studied conducting under Bohdan Wodiczko (1960-63). Holder of a Dutch government scholarship, studied at the Institute of Sonology in Utrecht (1969). Prize winner of composition competition such as: Grzegorz Fitelberg Competition (1964) for Musica humana; Artur Malawski Competition (1976) for Masurian Chronicles [Kroniki Mazurskie]; Composing Competition in Gdansk (1992) for Cantus; Polish Radio Competition (1995) for Genesis. Honorary citizen of Kragujevac in Yugoslavia, Russe in Bulgaria, and Ho-Chi-Minh in Vietnam. Awarded the Silver Cross of Merit (1975) and the Award of the Prime Minister of Poland, for works for children and youth (1982). Member of Stage Artist and Composers' Association [ZAIKS] since 1961, Polish Composers' Union [ZKP] since 1963, Polish Contemporary Music Association [PTMW], Warsaw Music Society [WTM]. Honorary member of the Scottish Society of Composers (1987). Penherski's music has been performed in Poland and abroad, including Austria, Belgium, Denmark, France, Germany, Great Britain, Italy, Korea, Mexico, the Netherlands, Norway, the Soviet Union and USA. LITERATURE: - Polish Opera and Ballet of the Twentieth Century, PWM, Kraków 1986 - Who is Who in Poland, Interpress, Warszawa 1989 - Chomiński Józef The Music of Polish People’s Republic [Muzyka Polski Ludowej], PWN, Warszawa 1968 - Hanuszewska Mieczysława, Schaeffer Bogusław Almanac of Present Polish Composers [Almanach polskich kompozytorów współczesnych], PWM, Kraków 1982 [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => final-song [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:48 [post_modified_gmt] => 2014-09-25 10:35:48 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3050 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 758 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 3113 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Desire [post_excerpt] => Marzena Komsta Born in 1970 in Gdynia. She studied composition at the Music Academies in Gdańsk (with Eugeniusz Głowski) and Warsaw (with Włodzimierz Kotoński and Zbigniew Bagiński). She continued her studies at the Conservatoire National Supérieur de Musique in Lyon (the Department of Acoustic, Electroacoustic and Computer Music, sonvs, with Philippe Manoury and D. Lorrain. She subsequently undertook doctoral studies in 20th-century music and musicology at ircam. She has participated in numerous courses in instrumental and electronic music, including workshops given by George Benjamin, Magnus Lindberg, Tristan Murail, Harrison Birtwistle, Gérard Grisey, Goerges Arpeghis, Pascal Dusapin, Krzysztof Penderecki, PierreLaurent Aimard, György Ligeti, Pierre Boulez, Henri Dutilleux, and Iannis Xenakis. She recieved one of Witold Lutosławski's private scholarships as well as grants from the Music Academy in Warsaw, the Witold Lutosławski Foundation and the Nadia and Lili Boulanger Foundation in France. She was also composer-in-residence of the Cité Internationale des Arts Foundation in Paris. In 1996 she was a nominee for the 'Polityka's Passport' Award, granted by the weekly 'Polityka'. She is the recipient of many prizes awarded for composition: at the International Competition for Piano Composition 'Manuel Valc?rcel' in Santander (Spain), the 'Ensemble Orchestral Contemporain' and 'Grame' Competitions in Lyon and the Tola Korian Competition in London. She has received commissions from festivals, performers and, most recently, the French Government, as well as from the 'Warsaw Autumn Friends' Foundation financed with funds from the Ernst von Siemens Music Foundation. Her pieces have been featured at numerous prestigious festivals including the 'Warsaw Autumn', the Gdańsk Young Composers' Meetings, the International Review of Contemporary Music in Belgrade, 'ppianissimo' in Sofia, 'Musica' in Strasbourg, 'Rendez-vous Musique Nouvelle' in Forbach (France), 'Aujourd'hui Musique' in Perpignan, the Youth Music Forum in Kiev, and have been broadcast on Polish Radio 2, as well as foreign radio stations (Sender Freies Berlin Westdeutsche Rundfunk, sr2 Kultur Radio, France Musique, France Culture, nhk - 'Best of Classic'. Selected works: Oberek for piano (1988), Nobody Knows the Day for mixed choir (1989), Five Miniatures for piano (1990), Gryzaczek (Baby's dummy) for twelve brass instruments (1990), Kirp for string quartet (1990), HO-YI-A for violin and harpsichord, both amplified (1991), To Unwanted Prometheuses for large symphony orchestra (1991), Hard Day for three percussionists (1992), Agmen for chamber orchestra (1993), Oqivian for tape (1993), Brun for violin (1994),... tu sais? for flute, percussion and harpsichord, all three amplified, small orchestra, tape and electronic system in real time (1995), lFdlC (le F de la C) for one piano and three pianists (1996), A toi, mon amour - une pi?ce cruelle for piano (1997/98), ď! - dans l'ombre for clarinet, soprano, percussion, violin and cello (2000), Primaire... humain for harpsichord (2000), Nuit/Portrait for small sinfonietta (2001), Explosif/Passion- interactive piece for cello and electroacoustic real-time system (commissioned by the French Government for Ensemble Orchestral Contemporain and 'Grame'; in preparation), a piece for chamber ensemble (commissioned by Festival 'Musica' in Strasbourg for 'Accroche Note'; in preparation). [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => desire [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:14 [post_modified_gmt] => 2014-09-25 10:36:14 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3113 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 822 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 3145 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Cfr. nn. Arch. 183.28, 184.33, 185.23 [post_title] => Cubosphere [post_excerpt] => MARTIN e GREIL (Dornbirn, Austria) Martin e Greil is a composer, sound artist/musician. He has performed throughout Europe and worked with artists including Colin Fallows and Keith Rowe. In 1999, he was artistic director of the Austrian millennium project The Millennium, and in 2000, his solo CD Spheres was released. He also appears on Audio Research Editions collections. He is equally active in multi-media arts, designing various Internet web sites, videos and digital animations. He was a sound Research Assistant and Lecturer at Liverpool School of Art and Design, Liverpool John Moores University (1999-2001) and a Design Lecturer at LIPA. He co-founded the ASPARA Company in 2001, and his own record label M’para. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => cubosphere [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:17 [post_modified_gmt] => 2014-09-25 10:36:17 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3145 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 854 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 3177 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Species Machine [post_excerpt] => Reed Ghazala is a self-taught, self-exiled, self-executed multi-media artist. All of Reed's work --visual, audio, musical instrument design and writing-- reflects a unique thinking-space. Reed doesn't bend the rules; he simply never learned them. Original, improbable; Reed's work constantly surprises on its own terms and has established Reed as a materials and concepts visionary. Reed's work can be found in the NYC Museum of Modern Art, the Guggenheim and the Whitney permanent collections. His sculptural experimental instruments have been built for Tom Waits, Peter Gabriel, King Crimson's Pat Mastalotto, Faust, Chris Cutler, Towa Tei, Yann Tomita, Peter Kember, Blur and many others. Reed's work has been requested and covered throughout the major media including ABC Television, The Discovery Channel, MTV, Disney, The New York Times, The Washington Post, Wired Magazine, Option, Billboard and Computers & Music. Reed's article series, "Circuit-Bending and Living Instruments" is now published and translated 'round the world. Reed Ghazala is now known internationally as "The Father of Circuit-Bending", an original and amazingly simple electronic process of creating experimental musical instruments from pre-existing audio gadgets. Without any prior knowledge of electronics, people everywhere are following this new standard of audio exploration and are designing their own fantastic instruments. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => species-machine [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:19 [post_modified_gmt] => 2014-09-25 10:36:19 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3177 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 887 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 3210 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Cfr. n. Arch. 142.a [post_title] => End of Hope and Glory [post_excerpt] => Janek was born in England to Polish and Canadian parents in 1970. While studying architecture at the Royal College of Art [RCA annual prize], he recorded the fragmented noises of a sound activated dictaphone travelling overnight through the Post Office. That work, titled 'Recorded Delivery' [1995] was made for the 'Self Storage' exhibition [Time Out critics choice] with one time postman Brian Eno and Artangel. Since then the multiple aspects of sound became his focus, resulting in many releases, installations, soundtracks for exhibitions, and concerts using his self built/invented record players with electroacoutisc collage. The 'Tri-phonic Turntable' [1997] is listed in the Guinness Book of Records as the 'World's Most Versatile Record Player'. He has performed, lectured and exhibited widely throughout Europe [Sonar, Tate Modern, ICA], USA/Canada, [The Walker, XI, Mutek, Princeton], Japan, and Australia [Sydney Opera House]. The context of each idea is central to its development and resolution. His concerts and installations explore the spatial and architectural aspect that sound can evoke and the twisting of technology. Hybrid analogue and digital techniques are used to manipulate field recordings with live modified vinyl and found sound to create evocative and involving environments. His CD 'Above Buildings' [2000] was released on Fat Cat to considerable praise, [The Guardian CD of the week]. He plays in a duo with Philip Jeck ['Songs for Europe' CD] and formed 'Comae' the improvisational electroacoustic duo with Robert Hampson [Main] in 1999. Janek runs his own label [audiOh!Recordings] and web site [audiOh.com] as well as releasing work with Asphodel, Sub Rosa, Staalplaat, Hot Air, Sirr, Rhiz, Alluvial, DSP and Diskono. He currently works as a full time sound artist/sound designer/musician/visiting lecturer and composer from the audiOh! Room in London. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => end-of-hope-and-glory [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:22 [post_modified_gmt] => 2014-09-25 10:36:22 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3210 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 921 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 3242 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => CFR. n. Arch. 183.21, 185.17 TRACE is a limited edition collection of two-minute pieces by international sound artists, experimental composers, noise makers and other audio creators. Each artist has produced an original recording of two-minute duration for the CD on the theme of TRACE. TRACE greated an opportunity for a selection of international sound artists to work thematically, as well as providing listeners with further insight into the artists work. By bringing together this calibre and range of contributions, TRACE aims to stimulate further interest in the practice, debate and dialogue surrounding sound art. The artista on TRACE range from well known world figures, to individuals and groups making their first wirks in this field. TRACE was published thanks to a research award from the Centre for Art International Research (CAIR). [post_title] => Ten [post_excerpt] => Max Eastley is an artist whose work combines kinetic sound sculpture and music to produce a unique art form. Since the late 1960s, Eastley has been fascinated by the relationship of chance to music and art, and in environmental forces such as wind and water. He began to investigate this relationship in his work, using kinetic sound machines and the natural forces of the wind, streams and the sea. As a consequence, his career opened out into new areas of creative and philosophical exploration. Eastley is an important and innovative figure in the field of sound art. He often works in collaboration with other artists from a range of disciplines. He has exhibited his sound installations internationally, and worked closely with a wide range of artists, musicians and filmmakers, including Brian Eno, Peter Greenaway, Evan Parker, Thomas Köner, Eddie Prévost and The Spaceheads. Exhibitions of his installations in 2000 included Sonic Boom at the Hayward Gallery and Sound as Media in Toyko. In 2002 he composed the music for Plants and Ghosts by Siobhan Davies Dance. He has worked with musician and writer David Toop to produce the critically acclaimed albums New and Rediscovered Musical Instruments 1975, Buried Dreams 1994 and Doll Creature 2004. For The Ship Eastley has produced a sound sculpture installation which incorporates found sound recorded during Cape Farewell expeditions. 'I'm a musician and a sound artist, and I'm here on the boat to collect as many different sounds as I can: sounds the ship makes, water sounds, birdcalls, seal songs, that kind of thing. I do an awful lot of recording all over the place and I've never heard anything like the sounds I've heard on this voyage. We went to a kittiwake colony - a huge city of seabirds all nesting on the side of a cliff - and that was absolutely fantastic.' (Max Eastley, Cape Farewell 2003 Voyage) [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => ten [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:46 [post_modified_gmt] => 2014-09-25 10:36:46 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3242 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 953 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 2913 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Embrace [post_excerpt] => I am a modernist but mostly I am an audiophile - albeit with peculiar and often eccentric taste. Consequently, in my artistic practice I am interested in examining, locating or commemorating collective culturl experiences in historic moments of creative transition. I attemp a marriage of art history and black history within the realm of the abstract languages they constructed. This notion is manifested through multi-disciplinary pieces that incorporate sound, works on paper, and site based projects all focusing on music, specifically the aage of modern music-the more avant-garde or Be Bopera, aperiosd with intense social and cultural implications. Complimenting today's deluge of hip hop culture as defining black culture, the audio pieces transform the gallery space into concert hall via speakers or private listening zones vie headsets. Assembling fresh pieces by means of jazz concepts like "call and response", tempo chanes, "stop-time" and counter melody, I build variations on the original compositions themselves, not unlike a musician riffing on a "standars" tune. Future project ideas range from the transcription of sheet music (scores) into large-scale drawings, collaborating with musicians to then "play" those works - to site related projects in and around Harlem. 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Ten

Max Eastley

Ten

1999