WP_Query Object ( [query] => Array ( [post_type] => sounds [settori] => sound-art-museum [paged] => 111 [posts_per_page] => 10 ) [query_vars] => Array ( [post_type] => sounds [settori] => sound-art-museum [paged] => 111 [posts_per_page] => 10 [error] => [m] => [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [category_name] => [tag] => [cat] => [tag_id] => [author] => [author_name] => [feed] => [tb] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [title] => [fields] => [menu_order] => [embed] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [post_name__in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [post_parent__in] => Array ( ) [post_parent__not_in] => Array ( ) [author__in] => Array ( ) [author__not_in] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [lazy_load_term_meta] => 1 [update_post_meta_cache] => 1 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [taxonomy] => settori [term] => sound-art-museum [order] => DESC ) [tax_query] => WP_Tax_Query Object ( [queries] => Array ( [0] => Array ( [taxonomy] => settori [terms] => Array ( [0] => sound-art-museum ) [field] => slug [operator] => IN [include_children] => 1 ) ) [relation] => AND [table_aliases:protected] => Array ( [0] => wp_term_relationships ) [queried_terms] => Array ( [settori] => Array ( [terms] => Array ( [0] => sound-art-museum ) [field] => slug ) ) [primary_table] => wp_posts [primary_id_column] => ID ) [meta_query] => WP_Meta_Query Object ( [queries] => Array ( ) [relation] => [meta_table] => [meta_id_column] => [primary_table] => [primary_id_column] => [table_aliases:protected] => Array ( ) [clauses:protected] => Array ( ) [has_or_relation:protected] => ) [date_query] => [queried_object] => WP_Term Object ( [term_id] => 562 [name] => SoundArtMuseum [slug] => sound-art-museum [term_group] => 0 [term_taxonomy_id] => 582 [taxonomy] => settori [description] => [parent] => 10 [count] => 1123 [filter] => raw ) [queried_object_id] => 562 [request] => SELECT SQL_CALC_FOUND_ROWS wp_posts.ID FROM wp_posts LEFT JOIN wp_term_relationships ON (wp_posts.ID = wp_term_relationships.object_id) JOIN wp_icl_translations wpml_translations ON wp_posts.ID = wpml_translations.element_id AND wpml_translations.element_type = CONCAT('post_', wp_posts.post_type) WHERE 1=1 AND ( wp_term_relationships.term_taxonomy_id IN (582) ) AND wp_posts.post_type = 'sounds' AND (wp_posts.post_status = 'publish') AND ( ( ( wpml_translations.language_code = 'it' OR ( wpml_translations.language_code = 'it' AND wp_posts.post_type IN ( 'page' ) AND ( ( ( SELECT COUNT(element_id) FROM wp_icl_translations WHERE trid = wpml_translations.trid AND language_code = 'it' ) = 0 ) OR ( ( SELECT COUNT(element_id) FROM wp_icl_translations t2 JOIN wp_posts p ON p.id = t2.element_id WHERE t2.trid = wpml_translations.trid AND t2.language_code = 'it' AND ( p.post_status = 'publish' OR p.post_type='attachment' AND p.post_status = 'inherit' ) ) = 0 ) ) ) ) AND wp_posts.post_type IN ('post','page','attachment','wp_block','mc4wp-form','projects','events','sounds' ) ) OR wp_posts.post_type NOT IN ('post','page','attachment','wp_block','mc4wp-form','projects','events','sounds' ) ) GROUP BY wp_posts.ID ORDER BY wp_posts.post_date DESC LIMIT 1100, 10 [posts] => Array ( [0] => WP_Post Object ( [ID] => 3121 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => release [post_excerpt] => Yann Novak was born in Madison, WI in 1979. At an early age, he became interested in the worlds of both music and visual art. He developed his primary medium, collage, via pieces which combined found photographs with his own drawings, and prerecorded LPs with loops and live instruments. In the 1990s, Novak performed and exhibited his work throughout the vibrant Madison café art scene. In 2000, Novak moved to Seattle and refined his methods, trading in turntables and vinyl records for a Mini Disc recorder and a laptop, in order to achieve a more in-depth style of production. Novak has released set of 5 limited edition 3-inch CDs “Three Inches for Friends”. In addition, he has produced two film soundtracks, for “Leaning” (which he also produced), and “Neptune” (produced by Brian Murphy). Both movies premiered at the Seattle Lesbian and Gay Film Festival, in 2003 and 2004, respectively. He was recently included on the compilation “People Doing Strange Things With Electricity” curated by Dorkbot-sea and released by Comfort Stand Records, and was Commissioned by the Crispen Spaeth Dance Group to score there full length piece “Fade”. Novak’s work has withstood a series of changes in method while always retaining and refining the strengths of his unique aesthetic, exploring the overlap and intersection between presence and absence, art and design, sound and music. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => release [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:15 [post_modified_gmt] => 2014-09-25 10:36:15 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3121 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 830 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 3153 [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. 184.3, 185.3 [post_title] => Hope under the weather [post_excerpt] => Steven Ball, a Master's degree graduate of the University of Michigan School of Music, holds the unique distinction of being the first organist in modern academic history to have proven his abilities as a performer on both the classical and theater organ. Mr. Ball has concertized and lectured around the world including solo performances and silent film presentations in the Netherlands, Germany, Belgium, France, Portugal, Ireland, England and Switzerland. He was also the recipient of a Fulbright Scholarship to the Netherlands in 2001 for his work in the world of Campanology and Carillon Performance. His unique perspective, energy, improvisatory abilities and performance style have kept audiences in theatres on the edge of their seats and have generated a new and unexpected excitement about the future of this instrument in America and elsewhere. Mr. Ball is currently Staff Organist at the Michigan Theater in Ann Arbor, MI and organist at Plymouth Congregational Church in Lansing, MI where he can be heard on a regular basis. He also plays the carillons at the University of Michigan. A specialist in the rare and almost vanished art of live silent film accompaniment, Mr. Ball has participated in numerous festivals over years. Working with original instruments, materials and music he has either composed, arranged, re-created, performed and/or improvised scores for countless films both in solo performance and with orchestra. These have ranged from the familiar to the obscure. Just to name a few from recent seasons: -The Phantom of the Opera -Metropolis -The Hunchback of Notre Dame -Judith of Bethelia -Sunrise -One Week -The Shiek -Steamboat Bill Jr. -Nosferatu -He Who Gets Slapped -Amarilly of Clothes-line Alley -Faust (The Damnation of) -Cops -Steamboat Bill Jr. -His Marriage Vow -Bring Up Baby -IT -The Lamb -Our Hospitality -Habeas Corpus Mr. Ball will be appearing in various theater sponsored film events throughout the 2005-2006 season at the Michigan Theater and was also recently featured on National Public Radio's nationally syndicated program Pipedreams (program # 0447 11/22/2004). You can listen to this show on their online audio archives for free by going to www.pipedreams.publicradio.org [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => hope-under-the-weather [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=3153 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 863 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 3185 [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. 184.39 [post_title] => Oh! Hum (hopefully) [post_excerpt] => Val Klassen is a video artist based in Winnipeg, Canada. She has collaborated with audio artist John Coutanche (Ireland) on a series of Humming Experiments, which have included studio recordings, live participatory performances and webcasts, videos, and a limited edition CD. Humming Experiments explores the spontaneous creation of music in groups. Since 1996, they have experimented with the act and sound of humming through participatory performances, recordings, and attempts at long distance interactive connections via telephony, telepathy, radio and internet technology. John Coutanche was born in St. James, Manitoba. He studied Radio and Television Arts at Ryerson College in Toronto. He has worked as a radio producer and manager for the CBC in Toronto, Halifax and then in Winnipeg, where he currently works as an independent producer-editor-writer. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => oh-hum-hopefully [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:20 [post_modified_gmt] => 2014-09-25 10:36:20 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3185 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 895 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 3218 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Hope [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => hope-5 [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:44 [post_modified_gmt] => 2014-09-25 10:36:44 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3218 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 929 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 3250 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Liverpool-Leipzig = Zeichen [post_excerpt] => Born in 1954 in Bootle, Lancashire. Spent childhood watching Bill and Ben on the telly, reading the Dandy and the Beano and listening to a brown vulcanite Rediffusion radio on a shelf in the kitchen. Left school at 15, bought an electric guitar - wired it up to his cheap record player. 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_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => liverpool-leipzig-zeichen [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:47 [post_modified_gmt] => 2014-09-25 10:36:47 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3250 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 961 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 3282 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Timetraces [post_excerpt] => Andrea Sodomka was born in 1961 in Vienna, Austria. She obtained diplomas from the Academy of Music (Institute of Electroacoustics), Vienn (1987) and the Academy of Applied arts, Vienna (1989). From 1991-1995 she was President of Society of Electroacoustic Music, Austria and since 1996 a member of the Artist'Assocation Wiener Secession. Andrea sodomka works in the realms of intermedia, installation, sound art, net, art, radio art, video and photography. 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_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => timetraces [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:50 [post_modified_gmt] => 2014-09-25 10:36:50 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3282 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 993 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 3314 [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. 183.31, 184.35 ZERO is a limited edition collection of one-minute soundworks by international sound artists, experimental composers, noise makers and other audio creators. Contributors were invited to create an original recording of one-minute duration for the CD on the theme of ZERO - whether through their stripped-down, low-tech aesthetic or a focus on themes of absence, abstraction, distortion or a sense of thereshold between one state and another. The CD contains a broad variety of one-minute soundworks and presents the results of artists working thematically in chance juxtaposition. By bringing together this calibre and range of contributions, ZETRO aims to stimulate further interest in the artist work and practice, debate and dialogue surrounding sound art. The artists on ZERO range from well known world figures, to individuals and groups making their first wirks in this field. ZERO was commisioned by the Foundation for Art & Creative Technology (FACT) and was published with the support from Liverpool Art School. [post_title] => The 0th Harmonic [post_excerpt] => The Groceries is the instrumental alter ego of Alan Holmes, member of freeform pop outfit Ectogram and Anglo-Welsh "supergroup" The Serpents. He has been described in the Independents as "Godfather of the Welsh underground". [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => the-0th-harmonic [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:53 [post_modified_gmt] => 2014-09-25 10:36:53 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3314 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1026 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 3346 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => NADIR [post_excerpt] => BURKHARD BEINS (percussion) *1964, lives in Berlin. Since the late 1980's international festivals, concerts and tours with experimental music throughout Europe and overseas. He is a member of several ensembles like Perlonex, Activity Center, Polwechsel, The Sealed Knot, Misiiki, Phosphor, Trio Sowari and also works with Keith Rowe, Sven-Åke Johansson, Orm Finnendahl, Charlemagne Palestine and many others. More than 30 CDs and LPs released on labels like 2:13 Music, Zarek, Absinth, Erstwhile, Potlatch, Hat Hut, Confront, and Rossbin. After some early experiments with tape collages (involving field recordings, tape loops, percussion, found objects, and a piano stringboard) and some occasional rock sessions I started playing my first live concerts of experimental music in the late 1980´s together with guitarist Michael Renkel. Initially also trying to involve tapes and tape loops in the live context, I was more and more exclusively concentrating on an entirely acoustic set-up. Bowing a cymbal and turning a knob are activities which require two kinds of attention, too different from each other not to get in each others way, - while a couple of drums in combination with assorted bells and cymbals turned out to be a rich enough assembly of sound sources perfectly matching my sonic intentions. Not being a trained drummer of any sorts the 1990´s saw me struggling for an individual approach to percussion, but I slowly began developing my own language. Participating in one of Günter Christmann´s VARIO projects, working on Cornelius Cardew´s TREATISE with Keith Rowe and on graphic scores/conducted improvisation with Fred Frith definitely had an impact on me. Moving to London for a short while in 1995 brought me closer to the British improvised music scene. But while my early group FRAKTALES or the quartet NUNC (2:13 Music CD, 1996) could more or less be regarded as traditional improv, and the trio YARBLES (Hat Hut CD, 1997) was even flirting with Free Jazz, a new aesthetic focus was slowly emerging during the second half of the decade, - after I had moved to Berlin in 1996. Together with my long-term collaborator Michael Renkel I began organising a series of concerts and several festivals under the label 2:13 Club, a Berlin version of John Bisset´s 2:13 Club in London. And from 1997 to 1999 our venue Vollrad´s Tonsaal in Berlin-Mitte became an important meeting point for musicians like Axel Dörner, Andrea Neumann, Annette Krebs, or Robin Hayward (who had just moved from London to Berlin) with Londoners like Phil Durrant, Rhodri Davies, John Butcher, or Mark Wastell. Together with Krebs and Hayward I was investigating the musical potential of extremely long silences and very reduced sound material in DAS KREISEN for a short but intense period in 1998, while my duo ACTIVITY CENTER with Renkel also reached a certain point of refined sparseness around that time, although maybe in a less conceptually rigorous way (2:13 Music DoCD: Möwen & Moos, 1999). In the SOWARI QUARTET with Durrant, Davies, Renkel and Beins, some new musical tendencies from London and Berlin found an ideal place to coalesce for a while. But it was also in 1998 when Ignaz Schick was forming PERLONEX, with electric guitarist Jörg Maria Zeger and me, a post-industrial noise trio exploring rather different musical territories. Amongst other things one subject became an issue of constantly growing importance over the last years. Next to acoustic groups like THE SEALED KNOT, ACTIVITY CENTER or MISIIKI and besides my work with PERLONEX I´m finding myself in an increasing number of ensembles and projects incorporating acoustic as well as electronic instruments like PHOSPHOR or TRIO SOWARI, in electro-acoustic duo collaborations with Keith Rowe and Andrea Neumann , or a trio with live-electronics players Boris Baltschun and Serge Baghdassarians, and I´m participating in interactive computer program pieces with Orm Finnendahl and POLWECHSEL. Refusing to attach piezo contact-microphones on my instruments, not to loose the richness of the acoustic sound source, or to get electronic instruments involved myself, working in electro-acoustic or electronic music contexts nevertheless forces me to keep on searching for acoustic material of almost electronic sound qualities and to further my development of new playing techniques far beyond traditional drumming. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => nadir [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:55 [post_modified_gmt] => 2014-09-25 10:36:55 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3346 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1058 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 3378 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => TV-Nyhederne, Vol. 2 [post_excerpt] => Rosa Marie Frang is Danish and born in 1975. She is currently studying at the art academy in Umeå, Sweden, and has been studying in Odense and Copenhagen as well. Frang has exhibited in Denmark and Europe. She often uses political slogans and bonmots in her works that deal with rhetoric and the art of forming an opinion. Technical Breakdown is an international sound art exhibition, which took place uin the public space of Cophenagen, denmark in November 2005 - January 2006. The exhibition consists of 5 different listening posts presenting 30 sound works by artists from 10 different countries.The sound art exhibition Technical Breakdown takes as its starting point the chaotic and unpredictable field of communication in which misunderstanding and the unspeakable take on a life of their own. The exhibition encourages "a grant of self conduct" practice, setting loose sounds and feedback from all spheres making it possible for them to diffuse and mingle into the sound-scapes we inhabit.The exhibition consists of 5 different listening posts, eahc presenting its own perpective pn the error. The listening posts introduce the audience to a numebr of unique sound worlds, using the technical breakdown itself as a strategy to give voice and body to that which would not otherwise surfece. Through circuit bending, cut-ups and samples, the sound art reaches into the environment and breaches the continuity of our rational experience of the world. The art works show us unconcious moods and phenomena, and connects circuits not designed to be connected. The surroundings are animated by sound which again enhance our sense of space. The sound works mark the installation sites by interfering and underlining, amplifying or unermining the surroundings. In this way the sites themselves take part in creating cross-references between the many different layers of sound that one is likely to be tuned in on simoultaneously, though at different levels of intensity. The listening post Panic Room turns up the paranoia and surveillance atmosphere in the shopping centre Field's. The intimidating refuge criticises as well as imitates consumer culture buffoon and chaos with sample of sound from media and the collapse of discourses. At The Culture House KIB, The Cones couples the harbour front with the another dimension. The sounds function as a portal linking the site to be underground and the mystical. At The Royal Library The Black Diamond, The Glass breaks the borders between inside and outside - between private and public - with its fragile, crisp sounds and forces itself on the visitor's itnimate sphere. At the cinema and film institute, Cinemateket, Sonographic Stele translates picture itno sound and sound intopicture. One language talks on behalf of the oher an dinitiates acomplicated dialogue on the verge of nonsense. In the web-basedc listening post, City on the Net everything is inter-twined cacophony - no sound is limited to its original context, while virtual cities are recreated as soundscapes. The artists participating in Technical Breakdown all contemplate events and notions that are out of our reach - and out of control. In the exhibition sound layers ranging from the fictive ti the real, from the cognitive to the evocative come together and form a sonic web around us. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => tv-nyhederne-vol-2 [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:37:16 [post_modified_gmt] => 2014-09-25 10:37:16 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3378 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1090 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 3619 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => selected by the artist for the live broadcasting of RAM at Utopia Station, 50° Biennale di Venezia [post_title] => Plasm, track n. 3 [post_excerpt] => sound project [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => plasm-track-n-3 [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:38:13 [post_modified_gmt] => 2014-09-25 10:38:13 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3619 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1324 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 3121 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => release [post_excerpt] => Yann Novak was born in Madison, WI in 1979. At an early age, he became interested in the worlds of both music and visual art. He developed his primary medium, collage, via pieces which combined found photographs with his own drawings, and prerecorded LPs with loops and live instruments. In the 1990s, Novak performed and exhibited his work throughout the vibrant Madison café art scene. In 2000, Novak moved to Seattle and refined his methods, trading in turntables and vinyl records for a Mini Disc recorder and a laptop, in order to achieve a more in-depth style of production. Novak has released set of 5 limited edition 3-inch CDs “Three Inches for Friends”. In addition, he has produced two film soundtracks, for “Leaning” (which he also produced), and “Neptune” (produced by Brian Murphy). Both movies premiered at the Seattle Lesbian and Gay Film Festival, in 2003 and 2004, respectively. He was recently included on the compilation “People Doing Strange Things With Electricity” curated by Dorkbot-sea and released by Comfort Stand Records, and was Commissioned by the Crispen Spaeth Dance Group to score there full length piece “Fade”. Novak’s work has withstood a series of changes in method while always retaining and refining the strengths of his unique aesthetic, exploring the overlap and intersection between presence and absence, art and design, sound and music. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => release [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:15 [post_modified_gmt] => 2014-09-25 10:36:15 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3121 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 830 [post_it] => 10 ) [comment_count] => 0 [current_comment] => -1 [found_posts] => 1122 [max_num_pages] => 113 [max_num_comment_pages] => 0 [is_single] => [is_preview] => [is_page] => [is_archive] => 1 [is_date] => [is_year] => [is_month] => [is_day] => [is_time] => [is_author] => [is_category] => [is_tag] => [is_tax] => 1 [is_search] => [is_feed] => [is_comment_feed] => [is_trackback] => [is_home] => [is_privacy_policy] => [is_404] => [is_embed] => [is_paged] => 1 [is_admin] => [is_attachment] => [is_singular] => [is_robots] => [is_favicon] => [is_posts_page] => [is_post_type_archive] => 1 [query_vars_hash:WP_Query:private] => 4c63090b2072983167095d6e1cab81a9 [query_vars_changed:WP_Query:private] => [thumbnails_cached] => [stopwords:WP_Query:private] => [compat_fields:WP_Query:private] => Array ( [0] => query_vars_hash [1] => query_vars_changed ) [compat_methods:WP_Query:private] => Array ( [0] => init_query_flags [1] => parse_tax_query ) )