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At the same time, he studied art sociology at the University of Utrecht. Following that, he was, successively, the director of the Fine Arts Academy in Leeuwarden; and a curator and head of education and public relations for the Den Haag City Museum and for the Van Abbe Museum in Eindhoven. In addition, he continued to paint and make collages. In 1965 he founded the artist group "De Bende van de Blauwe Hand." This group, which was closely related to Fluxus, presented exhibitions, environments and happenings in museums and galleries. Starting in 1965, he presented "situations" meant to involve the audience, and in 1968, he started the Maciunas Quartet, who are still making experimental music. In the early seventies, Panhuysen worked as an advisory artist with urban development teams and develo .dped systematic ordering systems and mathematical series that he has continued to use in his work as an artist. In addition, Panhuysen's work shows a predilection for found objects and the element of chance. To an increasing degree, Panhuysen has been concentrating on sound art, which has come to occupy an important place in his visual art work. He has presented his Long String Installations, which are played in concerts personally and in exhibitions as automats,worldwide since 1982: a.o. in Boston, Washington D.C., Dresden, Berlin, Hannover, Linz, Ferrara, Barcelona, Lodz, Warsaw, Moskow, Paris, New Yor .èk, San Francisco, Tokyo, Kobe, Kyoto, Lyon, Rome, Prague and Mexico-city. These installations are set-up in indoor or outdoor spaces for anywhere from 1 to 40 days. They utilize the site specific properties and architectural prospects of the location. " Singing the World of Existence " Musee d'art Contemporain, Lyon, France, 1998 Since 1989 Panhuysen developes artworks in which he confronts the audience with the creativity, intelligence and communicational skills of animals, especially of birds. In 1980, Panhuysen founded Het Apollohuis, and since then till 1997, he has been the director of this internationally oriented podium where artists from divergent disciplines can present their work. In 1996 he received the Cultural Award of Noord-Brabant and in1998 he became Companion of the Order of the Dutch Lion. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => raw-components [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:34:58 [post_modified_gmt] => 2014-09-25 10:34:58 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2799 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 504 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 2831 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Untitled [post_excerpt] => O'Rourke's performing career began as a member of The Elvis Messiahs in 1987 in Chicago. According to Please Join Us magazine, the band performed a noisy, theatrical style of free improvisation, playing live regularly and appeared with such noteables as Nicolas Collins and Jack Wright. In 1988, O'Rourke disbanded The Elvis Messiahs and began working with Dan Burke's post-industrial beat combo, Illusion of Safety. O'Rourke has been involved in several of the band's recordings, and on their recent CDs such as Probe and Historical, his influence is particularly noticeable. O'Rourke gained a degree in composition at DePaul University, a background that inevitably separates his work from the post-industrial groups with whom he's sometimes compared. He was over in London for a month in March, and I took the chance to ask him if this education had been important to him in introducing him to a wider variety of new music. O'Rourke's education would seem to have had little influence on his musical work, as for the most part it was based firmly in the post-serialist tradition; here, music is written according to a strict set of rules and a student's work can be judged according to its adherence to those rules. As O'Rourke tells me, "they don't have to deal with taste at all ... they were just trying to mould you into becoming professors. Which is one of the reasons I went for the labels like Extreme in the first place, because I thought 'you're crazy, you're not even in touch any more'". Of course, in the arts and humanities world, it's part and parcel of academia not to be in touch. O'Rourke isn't reactionary enough to suggest that this education was a waste of time, acknowledging that all the time spent learning techniques like counterpoint was relevant to his musical work. He even points out that a new piece he's been working on deals on one level with certain madrigal forms. But most importantly, he says that it gave him an opportunity to have to argue, to have to think about what it was he really wanted to do. He didn't just spend his time learning either, he taught some of the school's electronic music classes while he was there, and gave private guitar lessons. Most of O'Rourke's guitar recordings are documents of improvisations, and as a result he seems marginally more forgiving of them.Other forthcoming releases include one with the Swiss group Voice Crack, and a collaboration with Keith Rowe recorded while both were visiting H.N.A.S.'s Christoph Heemann in Germany. While in London, O'Rourke recorded an improvised music session for BBC Radio Three's Mixing It programme, with Derek Bailey, Vanessa Mackness and Eddie Prévost. Even though O'Rourke's value judgement of the results didn't go much beyond saying "it was OK", he seemd pleased with how it had turned out. O'Rourke also took the opportunity to give a couple of live performances. A scheduled team-up with Conspiracy didn't take place, but he did guest with Put Put (who also feature the Jacques brothers from These Records), who on the night that I saw them delivered an intoxicated, mesmerising drone rock melange. Later in the month, he appeared on stage with Eddie Prévost and Michael Prime, the fill-in act separating a two-part set by Main. I imagine most of the audience had come to see the ex-indie rockers, but there's no doubt that it's the improv trio who got the most applause, mainly thanks to some inspired drumming by Prévost, aided by the sympathetic noise and drones from O'Rourke and Prime. One of the main purposes of O'Rourke's time in London was to make a recording with Main's Robert Hampson. 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] => untitled-21 [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:01 [post_modified_gmt] => 2014-09-25 10:35:01 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2831 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 537 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 2865 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Autumn Light consists of six pieces by Stephen Vitiello, Peer Bode and Andrew Deutsch. The odd numbered tracks are collaborative pieces constructed over a three year period. These tracks have a vine like quality comprised from interminglings of noise, texture, field recordings, and tone. All together these tracks communicate the dense pungent scent of wet soil, roots and the complicated nature of a wild garden. The even tracks are solo pieces by Stephen Vitiello. Lush in atmospherics and composed of brilliant blocks of sound, these tracks reflect the light warmth, and humidity needed for growth. Funded by the New York State Council on the Arts and the Institute for Electronic Arts, Alfred, New York. [post_title] => Mini Garden [post_excerpt] => Peer Bode studied cinema and new media with Larry Gottheim, Ken Jacobs, Peter Kubelka, Nicholas Ray, Ralph Hocking, Paul Sharrits, Hollis Frampton, Tony Conrad and Woody and Steina Vasuka. At the Experimental Television Center in Binghamton and Owego, New York, in the late 70's till the present Peer Bode has worked on electronic video instrument projects with Ralph Hocking, Sherry Miller, Walter Wright, David Jones, Richard Brewster and Hank Rudolph. In the 70's Bode choreoghraphed video and dance performances together with Meryl Blackman, Bill T. Jones, Arnie Zane, Lois Welk, Cara Brownell and Charlie Seltzer. As Programs Coordinator at the Experimental Television Center 1977-85 and 1986-87 Bode worked and taught in the ETC residency program with more than 400 national and international artists. Peer Bode in the early 80's was also a member of the Tuesday Afternoon Club led by electronic instrument designer David Jones together with Barbara Buckner, Neil Zusman, Mimi Martin and Mathew Schlanger meeting together weekly to hand wire prototype video processing tools. Peer's father, Harald Bode was a pioneer in the development of electronic music instruments in Germany and the United States from the late 1930's to the late 1980's. His instruments include the Warbo Organ, the Melochord, the Polychord, the first modular audio synthesizer, the Bode Ring Modulator and Frequency Shifter ( which became part of the Moog Synthesizer), the Bode Vocoder, the Moog Vocoder and the Barberpole Phaser. Peer's brother, Ralf Bode, was a cinematographer in New York and Hollywood . His many films included "Saturday Night Fever", the Philadelphia scenes of "Rocky 1", "Dressed to Kill", "Coal Miner's Daughter", "Gorky Park", "Don Juan De Marco" and others. Peer's mother, Irmgard Bode, was the fabulous passionate and humerous human glue that made it all make sense, also an inspired cook, dedicated gardner and colorful radio host. Peer Bode is an internationally exhibiting American new media artist of German and Norwegian descent. He is also an active educator and studio advocate and facilitator of independent electronic media . He is associated with the renowned American Owego and Alfred schools of new media imaging. Bode is Professor of Video Arts at the School of Art and Design and Co-Director of the Institute for Electronic Arts, Alfred University, Alfred, NY. His work is produced at the Experimental Television Center, Owego, NY, the Institute for Electronic Arts, Alfred, NY and Pep Studios, Hornell and Rochester, NY. The IEA and the ETC are supported in part by the New York State Council on the Arts (NYSCA). Peer Bode's work is included in "a Survey of American Video Art - The First Decade", a project of Chicago's Video Data Bank (http://www.vdb.org ), curated by Chris Hill. Peer Bode has collaborated on numerous electronic tool building projects with video systems designer David Jones and artist Ralph Hocking. He is also a member of the "Carrier Band" together with Andrew Deutsch and Pauline Oliveros. Their CDs "Carrier" and"Automatic Inscription of Speech Melody" are on the Deep Listening label ( http://www.deeplistening.org/dlc/label.html ). The new 2003 CD "Autumn Light" with Stephen Vitiello, Peer Bode and Andrew Deutsch is available on forcedexposure.com. Peer Bode has recently exhibited new media work and lectured in Hongzhou and Beijing, PR China. His electronic history piece "Transport 1, 2 3" will be shown at the European Media Art Festival 2003 in Osnabruck, Germany. Peer Bode Selected Video 1975 - 2001 Blue 1975 4 min. 50 sec. 1 - 87 1976 4 min. 35 sec. 100 Sec. Lumination (S.A.I.D. Spatial and Intensity Digitizer) 1976 1 min. 40 sec. Cup Mix ( 2 channels ) [excerpt] 1977 10 min. 47 sec. Picture +/- Changes 1977 10 min. Video Locomotion (man performing forward hand leap) 1978 5 min. Keying Distinctions 1978 3 min. 30 sec. Apple(s) 1978 4 min. 19 sec. Music on Triggering Surfaces 1978 3 min. Vibratory Sweep 1978 2 min. 50 sec. Ring Modulation 1978 7 min. 47 sec. Counting and Remapping 00-FF (partial disclosure) [excerpted] 1979 7 min. 16 sec. Flute with Shift 1979 3 min. 55 sec. Lava Shifts 1979 3 min. 55 sec. Site(s) 1980 7 min. 42 sec. Video Movements 1980 5 min. Switch / Drift 1980 7 min. 30 sec. Light Bulb (with circular update, camera zoom + 1981 3 min. 30 sec. pan + variable clock) Rectangular Update 1981 2 min. 45 sec. Comp Book Updates 1981 4 min. 30 sec. Ladder (with vertical update, camera zoom and pan) 1981 2 min Invented Eye #1 1983 2 min. 48 sec. Camel with Window Memory 1983 4 min. 22 sec. Green Window 1983 1 min. 30 sec. Landscape 3 x 3 x 16 x 3 1984 1 min. 43 sec. Synthetic Series #2 1984 2 min. 35 sec. Art of Memory 1985 3 min. 30 sec. Blind Fields 1985 4 min. 50 sec. Animal Migrations ( and why they don't get lost ) 1985 11 min. 30 sec. Artist's Studio / After Braque / Conversation 1988 19 min A Few More Magic Words 1993 20 min. Animal Migrations ( and the mediums they face ) 1985 / 95 22 min. Electro Memory Notes 1998 10 min. Bonzai Mem-ory for Two Windows 1998 15 min. Lightning Memory 1998 3 min. Moments for Kathy Acker, the best God, signed God 1998 12 min Silicon Alley Allegany/Manhattan 1999 10 min. Give It Away 2000 28 min. History Electronic 2000 15 min. Transport 2001 10 min Peer Bode Selected Video Blue 1975 4min. 50sec. An electronic synthetic color video, based on a memory of Larry Gottheim's film "Blues". 'Natural' and 'electronic' real time events. New American Electronic Cinema. B&W video camera, Paik-Abe colorizer, 1/2" vtr, blue berries, bowl and milk. Viva Video. 1 - 87 1976 4min. 35sec. Inspired by Ralph Hocking's Fish Biting Tape. 87 stones thrown, shifting water sounds, a real time performance event. Holding the camera and throwing 87 stones into the frame. 1/2" b&w reel to reel Sony portapack. 100 Sec. Lumination (S.A.I.D., Spatial and Intensity Digitizer) 1976 1min. 40sec. My first recording with Don McArthur's "Spatial and Intensity Digitizer". Image/signal in digitized state/space; noise field. 100 seconds of very beautiful digital noise light. Cup Mix ( 2 channels ) 1977 10 min. 47sec. A cup and saucer, pouring and drinking coffee, a duration ritual of contemplation and invigoration, doubled (tape copied), mixed, keyed + synthetic color, played back fast forward, fast backward, sync events, the opening of a space to put the self. 1/2 inch b+w portapack, 2 reel to reel video tape decks, David Jones keyer and colorizer Picture +/- Changes 1977 10 min. Electric chair. Chair and oscillator difference that is based on the varying image light intensities from broadcast television programing. 2 oscillators, b&w camera , David Jones keyer and colorizer, Peer Bode (personally built) light intensity to control voltage converter. You don't see the broadcast television program. You only see the electric chair controlled by it. Power/control. Video Locomotion (man performing forward hand leap) 1978 5min. Homage to Eadweard Muybridge. Muybridge photo grid put into a video system space. Movement is created by detuning the horizontal and vertical video sychronization (time base) signal. Drift and horizontal doubling takes place. When the horizontal frequency doubles the man doubles on top of himself. A para-cinema shutter discovered by combining video luminance keying of the sync signal together with time base drifting. A basic video structure; sync and a basic video process;keying together create a video based film like shutter, simulating a crude persistance of vision system. Primitive physical structures of the video signal, combined, bring Muybridge's photo grid into an electronic animation of false movements. The overall time composition is a simple structure of increased time display of the photogrid and decreased time duration of the photogrid drifting. Two b&w cameras, time base detuning and keying. Keying Distinctions 1978 3min. 30sec. Time base sync drift, keying, bricks and white noise. b&w camera, time base detuning and keying. Apple(s) 1978 4min. 19sec. One apple, two b&w cameras, color burst, independently altered time base, in a permutation sequence of keying normal and reverse, camera one then camera two as key clip. Music on Triggering Surfaces 1978 3min. Image and sound interface. The image and its movements as a sound score. Vertical and horizontal time base shifting, a book, legs of a chair, a dot marking the place of light intensity measuring, light intensity/ voltage control of electronic audio oscillators. The image is a moving field of information, a score to control sound. B&W camera, v and h time base drifting, keyer, light to c.v. interface. Vibratory Sweep 1978 2min 46sec. Time bases and vertigo. A TV repair test pattern is run through an oscillator controlled Paik-Abe Wobulator. The image and sound are simultaneously altered. The deflected test pattern is picked up by two rescanning cameras that are then keyed together. The score and time shape of the performance recording is that of sweeping the oscillator frequencies up to near hearing limits and then down again while permutations of the two keyed cameras are played out.. V.S. is a real time recording of simultaneously performed activities that took 2min 46 sec. to take place. The activities are complex, the space is delirious. Ring Modulation 1978 7min. 47sec. Image states/ sound states. A bell hand held ringing, two oscillators each independently controlling a sync event- a red and blue color together with sound and no sound state and a sweeping video clip together with audio filtering. Both oscillators sweep up incrementally one after the other and then down. The visual and sound bell is emersed in the electronic space/state. One b&w camera, two oscillators, David Jones keyer and colorizer, audio filter. Vibratory spaces to live in. Calm and ecstatic Counting and Remapping 00-FF (partial disclosure) 1979 7min. 16sec. A table, a cup, a typewriter, a hexadecimal number and letter count. I am remembering a Hollis Frampton film. The video image is slowly undulating from magnetic deflection. This is a digital video recording using a hand built analog to digital and digital to analog converter with arithmatic logic unit. Design and building assistance from David Jones. This recording is a counting through logic permutations ; adding, subtracting, oring and noring, to change the order of the sixteen shades of grey. The color subcarrier that is mixed into the video signal is also cut up and altered. The image is a digital and analog video text. Flute with Shift 1979 3min. 39sec. Sound image interface / electronic flute. The b&w camera image with subcarrier has its sixteen shades of grey swapped, ( a to d and d to a with alu controlled digital process). A linked audio filter alters the flute's sound. The flute has become a larger instrument. Rube Goldberg would have been proud. Lava Shifts 1979 3min. 55sec. Lava sound maps / Lava color maps. Moving over Hawaiian lava flows, Ralf Bode, my brother and cinematographer, Saturday Night Fever, Coal Miner's Daughter etc., shot the original footage with his 1/2 inch reel to reel Panasonic video portapack. The tape was then electronically reprocessed and recoded. A light intensity to control voltage interface box built by Peer Bode was used to link the image changes to audio filtering and frequency changes. The tape was digitally image processed in real time ( A to D and D to A , color subcarrier mixed and Elf2 computer ALU logic sequenced ) with a digital video buffer box built by David Jones and Peer Bode at the Experimental Television Center in Owego, NY. The colors are artifacts of the analog signal encoding and the ALU logic sequences we learned about from Woody and Steina Vasulka. The modular audio synthesizer used was built by Richard Brewster. The colors and sounds are raw and they glow. Site(s) 1980 7min. 42sec. Real time mix of digital and analog electronic processes; digital grey level flipping, oscillator signals converted to video, two b&w cameras, keying and video feedback. The recording involved an intuitive action process within a multileveled system. The changes moved through a permutation of parameters, waiting and then changing, waiting and then changing. Water flows, system flows, observation sites. Video Movements 1980 4min. 55sec. Self image; camera looks at its own power sync box mixed with a second camera looking at the large contained space. Hand controlled shifts in the sync time base, mixes, and color. This takes place in the presence of the image and the recording. Switch / Drift 1980 7min. 30sec. Two cameras / video sequenceing back and forth, opposite ends of the large studio space of the Experimental Television Center, Owego, NY.. The sound is the oscillator running at the speed of the switching. Electronic montage, continuous performance. I am watching and changing the switching sequencing of the two cameras showing one end of the space and then the other. I am in the room. David Jones comes to visit. Light Bulb (with circular update, camera zoom + pan + variable clock) 1981 3 min. 30 sec. Real time digital buffer recording. Rectangular Update 1981 2 min. 45 sec. Real time digital buffer recording. Comp Book Updates 1981 4 min. 30 sec. Real time digital buffer recording. Ladder (with vertical update, camera zoom and pan) 1981 2 min Real time digital buffer recording. Invented Eye #1 1983 2min. 48sec. Pedagogy and real time electronic processing. Composition notebook designs are encoded as analog and digital video signals and reworked through a high speed audio oscillator controlled sequencer. Pedagogy becomes biology? Vibrations. Camel with Window Memory 1983 4 min. 22 sec. Postcard camel, oscillator window, real time buffer, light to cv interface, Brewster audio modules, stop watch. This recording is one of my favorites. The camel, the ship storage unit of the desert rhyming with the digital storage processing system I had put together. A window is a framed zone or screen with in a larger area. Window memory is what I named selected areas of memory past, interacting with the streaming present. The changing digital image is also the dynamic score or information surface controlling the variables of the analog sound process: vc oscillators and sample and hold functions. Digital and analog hybrids, intuitive boundary playing. Green Window 1983 1 min. 30 sec. Tree leaves, real time buffer, Jones colorizer. Landscape 3 x 3 x 16 x 3 1984 1 min. 43 sec. Moving landscape, 9 Amiga windows, 16 frame real time buffer. Synthetic Series #2 1984 2min. 45sec. Recomposite recordings of "Video Locomotion (man performing forward hand leap)" 1978, "Ring Modulation" 1978, "Counting and Remapping 00-FF (partial disclosure)" 1979, "Site(s)" 1980, and parts of "Art of Memory " 1985. Linked singular sites and performances become visual and sonic proto intelligences, timely births of electronic narrative, struggled and negotiated codes, automatic artificial intelligences. Art of Memory 1985 3 min. 30 sec. Studio shot, Muybridge images reactivated with oscillator time based window update. Blind Fields 1985 4 min. 50 sec. Performance recordings, analog and digital, assembled into a seemless series with European techno music. Commissioned by curator / artist Sara Hornbacher for "Techno Bop" at the Limbo Lounge in NYC in 1985. Post/Structuralism, electronic processing, appropriation, numbers, places, Marylin Monroe's first screen test, MTV executive's shoe tapping. Techno music by Telex, recorded off the radio. Moments of the Other music videos. Perculations of the independent medias / art interrogations. Animal Migrations (and why they don't get lost) 1985 11 min. A carefully unfolding meta-story of nature, time, mathematics and vampires ... of (music controlled robot arms painting ... a cybernetic allegory ... new digital rhetorics and the unknown Whitney Biennial 1987 , John Hanhardt, " Peer Bode's Blind Fields (1985) and Animal Migrations (1985) use found footage, abstract images, music, and text to extend image processing into new metaphors for the transformed and changing image. Bode's style charts a refreshing change for the relationship of the image to sound and text. In his work, sound and text support and play with the meaning of the image rather than illustrate it." A Few More Magic Words 1993 20 min. An accumulation of occurances ... the spoken voice reinterpreting stone petroglyphs. meandering across a find of electronic ruins ( bodies?) text questionings across unknown cultures and bodies. " are you Micmac i am not Micmac" i am German and Norwegian you are Micmac then you can read this i don't know what songs you sing ... ( text over Micmac symbols for "i, you, them" ) symbols, texts, layers electronic reinscriptions stone petroglyphs reapearing in silence and then reinterpreted this time by a narration spoken by a computer voice. Who is speaking these questions of origins and identity ? Native American Micmac language is thought to share many elements with ancient Egyptian hieroglyphics. Old questions of origins, migrations and identity come back to us new configurations. Stones, bodies, electronic signals, video, digital, hand written text, sound, voice, and computer diction ... A production and feedback of materially different inscriptions voicing back and forth between writing and bodies. A struggle to reach across distances and to integrate critical issues and desire. Attempts at new perspectives on the corporeal body including visual adventure, experimentation and pleasure. Video as body inscription revival. Video as PostMedia practice and imagination. Animal Migrations (and the mediums they face) 1985/95 22 min. A Post Media Video by Peer Bode 1940 Hollywood film ("You'll Find Out"), 1985 selective recycling and real time digital video processing, 1995 structural and deconstructive editing and image recirculation into 'Animal Migrations (and the mediums they face)'. Broad hints of American fears of 1940 Europeans, intellectuals,homosexuals, debutantes and a newly invented electrical musical instrument with voice/body confusions, music and a platform for new myths of life and automata here and in the here after.Digital video imaging activated with a hand wired real-time digital video frame buffer, Amiga computer and additional tools at the Experimental Television Center in Owego, New York., digital tool design: David Jones, a work of the Personal Electronic Cinema / Post Media. Electro Memory Notes 1983/1998 10 min The spaces of an archeology of double and triple and ... inscriptions... concrete memory...1983 recordings with heroically hand built digital video frame buffer built with avant-garde poly electronic tool designer David Jones, up to 1998 recordings and re recordings with oscillators, book computer printouts, toy piano, modulated bell, together with a audio frequency shifted and voice activated German army signal light. Bonzai Mem-ory For Two Windows 1998 15 min In the overlayed spaces of white noise, oscillator inter modulations, hand adjustments, digital video frame buffer memory, barber pole audio phaser, mx-1 windows, compound text; (bonsai small potted tree banzai cheer may you live ten thousand years), brownian movement, brownian memory, living in the found, the composed, the improvised and the received... Lightning Memory 1998 3 min. Lightning bolts sampled into digital memory and in real time performance re animated and re recorded. Moments for Kathy Acker, the best God , signed God 1998 12 min. Remembering Kathy Acker with electronically reconstructed internet bodies. Silicon Alley Allegany/Manhattan 1999 10 min. Memory locations, geography updated. Spatial and temporal textures, altered locations, geography as memory. Give It Away 2000 28 min. Give it away, gaming and recoding Las Vegas 1999 Emersions into languages, cinemas, signs, new technologies and heat. Recoded and timeshifted in 2000 with a 48 frame real time digital video frame. buffer bulit with David Jones in Owego, New York 1979- present. Also color manipulated and recoded at the Experimental Television Center, in Owego, New York. The audio was altered with a 1960's Frequency Shifter designed and built by Harald Bode. The tape was edited on an IMac with IMovie. Personal studios for living the spaces of experimental and independent strategies. Rescue missions from the. mass media sacrifices and gamings. History Electronic 2000 15 min. Technical notebooks (1949) of pioneering electronic music instrument developer Harald Bode coded and recoded with a digital video frame buffer hand built by David Jones and Peer Bode (1979/99). Additional images are of locations in Venice, Germany and Colorado. Sound in the video was performed live at the concert, "Automatic Inscription of Speech Melody" 2000, at the High Museum of Art, Atlanta, Georgia on the Bode vocoder and various custom electronics with Pauline Oliveros, Andrew Deutsch, Peer Bode and Dick Robinson . Transport 2001 10 min. Technical notebooks (1949) of pioneering electronic music instrument developer Harald Bode coded and recoded with a digital video frame buffer hand built by David Jones and Peer Bode (1979/99). Additional images are of canals in Venice, train traveling in Germany and the Rocky mountains in Colorado. Various additional sound/image performances at the Experimental Television Center, Owego, NY 1979-98 are interspersed . Music in the video was performed live at the concert, "Automatic Inscription of Speech Melody" 2000, at the High Museum of Art, Atlanta, Georgia on the Bode vocoder and various custom electronics with Pauline Oliveros, Andrew Deutsch and Dick Robinson . Andrew Deutsch (b.1968) is a sound, video and graphic artist who lives in Hornell, NY and teaches Sound & Video Art in the Division of Expanded Media at Alfred University. He received his BFA in Video Art and Printmaking from Alfred University in 1990 and his MFA in Integrated Electronic Art from Rensselaer Polytechnic Institute in 1994. He is a member of the Institute for Electronic Art at Alfred University and the Pauline Oliveros Foundation Board of Advisors and is a former member of the Pauline Oliveros Foundation Board of Directors (1999 - 2001). Since 1998 Deutsch has released over 14 CDRs of solo electronic music on his Magic If Recordings a label founded in part to keep in touch with the larger landscape of experimental music and to maintain consistent networking within that community by developing relationships with other composers through an exchange of works. Magic If is the primary vehicle for Deutsch¹s musical ideas with releases being developed and distributed in a very swift yet clearly considered manner. The pace at which the releases occur allows his work to inhabit contemporary culture in a way that is more productive and of lower cost than the traditional structures currently in place for the publication of sound works. Each Magic If edition showcases his experimental music and graphic art and is distributed exclusively in the United States by Anomalous Records. There have been 14 Magic If releases in since 1998 each being released in an edition of between 20 and 450 copies. In 1998 Deutsch formed Carrier Band with Peer Bode and Pauline Oliveros producing the recordings Carrier and Automatic Inscription of Speech Melody and has since collaborated with Pauline Oliveros on many other projects over the past 8 years. Deutsch is also a regular collaborator with Peer Bode and Jessie Shefrin on both sound and video projects and most recently Deutsch has collaborated with Stephen Vitiello and Tetsu Inoue on the CD Humming Bird Feed ver.02 and with Tetsu Inoue on the Cds Field Tracker and Object and Organic Code. In addition to these collaborations, his recording The First Line (Sounds for Drawing) a collaboration with Ann Hamilton, was recently exhibited at the Whitney Museum of American Art as part of the exhibition Bitsreams. This work and has also been exhibited in installation form at the Burchfield - Penny Art Center in Buffalo, New York, and at the Cornish School in Seattle,Washington. Further, an additional sixty minutes of The First Line are to be released soon by the Institute for Electronic Arts. Deutsch has released other CDs through Deep Listening Publications, Lucky Kitchen, Anomalous Records, Commune Disc (forthcoming), Elevator Bath (forthcoming) and JdK publications. Additionally, since 1994 Deutsch has produced over 26 recordings of experimental video many of which have been exhibited both nationally and internationally and he has participated regularly in the Artists Residency program at the Experimental Television Center in Owego New York. Approaching video from a position of experimentation, he has developed his own real time raster scan processing system based on a similar design by Nam June Paik. Deutsch used in this system in his 1996 recording Magnetic North, produced in part while he was a workshop instructor and facilities consultant at the Tariagsuk Video Center, Igloolik, Canada and in his collaborative piece Empty Words 4 with John Cage and Yvar Mikshoff which has been accepted into the limited archives of the John Cage Trust. His most recent video project Eye Piece, which incorporates hand rendered 16 mm film components, was exhibited at the 9th Biennial of the Moving Image, Center pour L'image, Contemporaine Saint - Gervais, Geneva. Deutsch is the recipient of an Artists Fellowship - in Video Art (1997) from the New York Foundation for the Arts and a Special Opportunity Stipend from the New York Foundation for the Arts (1999), and you can hear remixes of Deutsch¹s CD Garden Music on Oval¹s OvalProcess, and Microstoria¹s Improvisers. Stephen Vitiello is a sound and media artist. In his work, he is particularly interested in the physical aspect of sound and its potential to define the form and atmosphere of a spatial environment. Recent solo exhibitions include The Project NY, Galerie Almine Rech, Paris, The Project, Los Angeles. Group exhibitions include the 2002 Whitney Biennial, Ce qui arrive at the Cartier Foundation, Paris, curated by Paul Virilio, Yanomami: Spirit of the Forest, also at The Cartier Foundation. Previous exhibitions include Greater New York at P.S. 1 Contemporary Art Center presented in collaboration with the Museum of Modern Art, and a solo exhibition at the Texas Gallery, Houston, TX. In 1999, Stephen Vitiello was awarded a 6-month WorldViews residency on the 91st floor of the World Trade Center. The residency resulted in a site-specific sound installation which has been broadcast and exhibited internationally. Vitiello's CD releases include Scanner/Vitiello (Audiosphere/Sub Rosa), Bright and Dusty Things (New Albion Records), Scratchy Marimba (Sulphur UK/Sulfur USA), Light of Falling Cars (JDK Productions) and Uitti/Vitiello (JDK Productions). In 1999, Stephen Vitiello created music for White Oak Dance Project's See Through Knot, choreographed by John Jasperse and featuring Mikhail Baryshnikov presented at Brooklyn Academy of Music, NY. New media productions include work for the Internet, Sound Archive 7.01-7.31.01 for the San Francisco Museum of Modern Art in collaboration with The Walker Art Center and ZKM and Tetrasomia, for the Dia Center for the Arts. In July 2000, Dia Center for the Arts published the CD-ROM Fantastic Prayers, a collaborative work with artist Tony Oursler, writer Constance DeJong, and composer Stephen Vitiello. Past performances include The Tate Modern, London, the San Francisco Electronic Music Festival, The Kitchen,NYC, the Whitney Museum of American Art at Philip Morris, and participation in per/Son, Cologne, Germany -- a concert series of solo and collaborative pieces also featuring Pauline Oliveros, Scanner, Frances Marie-Uitti and Andres Bosshard. Per/SON was broadcast by WDR radio's Studio Akustische Kunst program. In addition to music based work, Vitiello directed the videos Light Reading(s) (Visual Display), Nam June Paik: SeOUL NyMAx Performance, 1997 - Dress Rehearsal and The Last Ten Minutes and Nam June Paik: Two Piano Concerts 1994/1995. He also produced the audio CD, Nam June Paik: Works 1958-1979 (Sub Rosa). As a Media Curator, he curated the Sound Art component to the Whitney Museum's exhibition The American Century: Art and Culture 1950-2000 and Young and Restless a video program for the Museum of Modern Art and New York, New Sounds, New Spaces at the Museum of Contemporary Art, Lyon. Stephen Vitiello is currently Assistant Professor of Kinetic Imaging at Virginia Commonwealth University (VCU) and Archivist for The Kitchen, NYC. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => mini-garden [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:05 [post_modified_gmt] => 2014-09-25 10:35:05 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2865 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 571 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 2897 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => prestanza [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] => prestanza [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:08 [post_modified_gmt] => 2014-09-25 10:35:08 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2897 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 604 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 2929 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Sparkling clean just lying here thinking of you [post_excerpt] => Chris Bors was born in Ithaca, New York in 1971. He lives and works in Harlem in New York City. He received his BA from University at Albany in 1993 and his MFA from School of Visual Arts in 1998. He also studied at Rhode Island School of Design in 1995. His solo exhibitions in New York include Quest for Herb at Here Art and Beat Down at PS 122 Galley. His art has also been shown at PS1 MoMA, White Columns, and Ten in One Gallery in New York, and in Berlin, Cyprus, the Netherlands, and Zurich. His work has been reviewed in The New York Times, Time Out New York, Newsday and PAJ, A Journal of Performance and Art, as well as being featured in Razor and zingmagazine. He has curated exhibitions at Here Art in New York and Vox Populi in Philadelphia and written criticism for artnet.com. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => sparkling-clean-just-lying-here-thinking-of-you [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=2929 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 636 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 2961 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => On the Road with The Traveler (9-12) [post_excerpt] => "ghost.dances/ on the event horizon": following up her retrospective anthology "Thank You For Flying American", visual, performance, and media artist, and audio-composer/producer Jacki Apple's second CD release is a sonic evocation of the clash between nature and culture in the modern world. It contains works from six major pieces that explore environmental issues - The Amazon (from "The Amazon, The Mekong, The Missouri and The Nile"), an excerpt from "Aviary of the Lost" plus "Flame to Moth & Fish Gotta Swim" and "Ghost Dancers for Birdland" from "The Culture of Disappearance", the full-length "One World at a Time" set in outer space, inner space, and cyber sapce, and "Fluctuations of the Fields" based on the writings of physicist avid Bohm. It includes music from Bruce Fowler, Ruben Garcia, and Kira Vollman & Joseph Berardi, as well as Apple's sound compositions and vocals. A Cactus Foundation/ Chronic Interactive production [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => on-the-road-with-the-traveler-9-12 [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:40 [post_modified_gmt] => 2014-09-25 10:35:40 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2961 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 668 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 2993 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => eye-witness [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => eye-witness [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:43 [post_modified_gmt] => 2014-09-25 10:35:43 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2993 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 700 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 3034 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => dates: Twilight of Peryn - 1972, Street Music - 1966, Signals - 1992, String Play - 1980. And previous pieces: Little Music .. - 1999, Little Litany - 2002, Little Chronicles - 2005. [post_title] => Little string chronicles [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] => little-string-chronicles [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=3034 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 741 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 3097 [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. 190.13 [post_title] => Product [post_excerpt] => PlasticViolence Formati da Paolillo Fabrizio e Materazzi Francesca nel 1996, con l’idea di realizzare un progetto musicale con sonorità sperimentali e di chiara impostazione ed argomentazione politica di denuncia. Iniziato come progetto aperto all’ngresso eventuale di altri componenti, il duo si stabilizza definitivamente tale, data la forte affinità e la carenza di musicisti che aderissero ad un simile contesto. Con il primo CD “ufficiale” IMMATERIAL il sound è radicalmente cambiato passando a suoni minimalisti senza cantati, gelidi glitch e dai titoli dei brani che letti di seguito(inizia con “Ideal” e finisce con “Idol”) formano un percorso che mischia la contestazione della materia come forma di prodotto e quella nei confronti dell’arte istituzionalizzata. Per quanto riguarda le rare esibizioni live, i PV fanno da sottofondo con il loro contributo musicale a happening o sets multimediali claustrofobici, aiutati anche da altri collaboratori occasionali. Formed by Paolillo Fabrizio and Materazzi Francesca in 1996, with the idea to realize an experimental resonance musical project with a clear political argument of denunciation. Begun like open project for an eventual entrance of other components, the duet it is stabilized definitive such, given the strong affinity and the deficiency of musicians that adhered things like that context.With the first “official” CD IMMATERIAL the sound is radically changed to minimalist without sung, ice-cold glitches and the titles of the track that read to continue (begins with “Ideal” and ends with “Idol”) form a route that mixes the dispute of the matter like form of product and by comparisons with the istitutionalized art.As far as the rare exhibitions live-sets concerned, the PV does form a background with their musical contribution to happening or claustrophic multimedia sets, helped also by other occasional collaborators. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => product [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:13 [post_modified_gmt] => 2014-09-25 10:36:13 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3097 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 806 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 3129 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Top Flight [post_excerpt] => Kamran Sadeghi (Son of Rose) is a Multi instrumentalist musician, composer, and audio engineer based in Seattle Washington. Since 2000 he has been actively exploring the use of electronics and recording techniques in contemporary music, with an emphasis on computer synthesis as a live instrument. This approach gives the movements in Sadeghi's compositions a powerful, emotional, and graceful quality with a patient and gradual pacing. Over the past two years Sadeghi has performed his work at dozens of events including the Decibel Festival(Seattle) and Staalplaat Records (Berlin), and released three albums as Son of Rose including his self titled debut in 2005 and "Top Flight"(2006) on Dragon's Eye Recordings, both receiving critical acclaim. Sadeghi has been reviewed by The Wire, E/I Magazine, The Stranger, and Igloo Magazine. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => top-flight [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:16 [post_modified_gmt] => 2014-09-25 10:36:16 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3129 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 838 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 2799 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Raw Components [post_excerpt] => Paul Panhuysen (1934, Borgharen) studied painting and monumental design at the Jan van Eyck Academy in Maastricht from 1954 till 1959. At the same time, he studied art sociology at the University of Utrecht. Following that, he was, successively, the director of the Fine Arts Academy in Leeuwarden; and a curator and head of education and public relations for the Den Haag City Museum and for the Van Abbe Museum in Eindhoven. In addition, he continued to paint and make collages. In 1965 he founded the artist group "De Bende van de Blauwe Hand." This group, which was closely related to Fluxus, presented exhibitions, environments and happenings in museums and galleries. Starting in 1965, he presented "situations" meant to involve the audience, and in 1968, he started the Maciunas Quartet, who are still making experimental music. In the early seventies, Panhuysen worked as an advisory artist with urban development teams and develo .dped systematic ordering systems and mathematical series that he has continued to use in his work as an artist. In addition, Panhuysen's work shows a predilection for found objects and the element of chance. To an increasing degree, Panhuysen has been concentrating on sound art, which has come to occupy an important place in his visual art work. He has presented his Long String Installations, which are played in concerts personally and in exhibitions as automats,worldwide since 1982: a.o. in Boston, Washington D.C., Dresden, Berlin, Hannover, Linz, Ferrara, Barcelona, Lodz, Warsaw, Moskow, Paris, New Yor .èk, San Francisco, Tokyo, Kobe, Kyoto, Lyon, Rome, Prague and Mexico-city. These installations are set-up in indoor or outdoor spaces for anywhere from 1 to 40 days. They utilize the site specific properties and architectural prospects of the location. " Singing the World of Existence " Musee d'art Contemporain, Lyon, France, 1998 Since 1989 Panhuysen developes artworks in which he confronts the audience with the creativity, intelligence and communicational skills of animals, especially of birds. In 1980, Panhuysen founded Het Apollohuis, and since then till 1997, he has been the director of this internationally oriented podium where artists from divergent disciplines can present their work. In 1996 he received the Cultural Award of Noord-Brabant and in1998 he became Companion of the Order of the Dutch Lion. 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Mini Garden

Peer Bode, Andrew Deutsch, Stephen Vitiello

Mini Garden

2003