WP_Query Object ( [query] => Array ( [post_type] => sounds [settori] => sound-art-museum [paged] => 2 [posts_per_page] => 10 ) [query_vars] => Array ( [post_type] => sounds [settori] => sound-art-museum [paged] => 2 [posts_per_page] => 10 [error] => [m] => [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [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] => 1233 [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 0 ) AND wp_posts.post_type IN ('post','page','attachment','projects','events','sounds' ) ) OR wp_posts.post_type NOT IN ('post','page','attachment','projects','events','sounds' ) ) GROUP BY wp_posts.ID ORDER BY wp_posts.post_date DESC LIMIT 10, 10 [posts] => Array ( [0] => WP_Post Object ( [ID] => 9850 [post_author] => 2 [post_date] => 2015-01-08 16:29:41 [post_date_gmt] => 2015-01-08 15:29:41 [post_content] => [post_title] => Konan (de Fukushima) [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => konan-de-fukushima [to_ping] => [pinged] => [post_modified] => 2015-01-08 16:31:30 [post_modified_gmt] => 2015-01-08 15:31:30 [post_content_filtered] => [post_parent] => 0 [guid] => http://www.radioartemobile.it/?post_type=sounds&p=9850 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 0 [post_it] => 0 ) [1] => WP_Post Object ( [ID] => 9846 [post_author] => 2 [post_date] => 2015-01-08 16:20:53 [post_date_gmt] => 2015-01-08 15:20:53 [post_content] => [post_title] => U chu Jin (les etres en dehors de la Terre) [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => u-chu-jin-les-etres-en-dehors-de-la-terre [to_ping] => [pinged] => [post_modified] => 2015-01-08 16:20:53 [post_modified_gmt] => 2015-01-08 15:20:53 [post_content_filtered] => [post_parent] => 0 [guid] => http://www.radioartemobile.it/?post_type=sounds&p=9846 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 0 [post_it] => 0 ) [2] => WP_Post Object ( [ID] => 2676 [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. 73.a, 190.2 [post_title] => Intervento inabituale [post_excerpt] => Steve Piccolo -Born 1954 New Hampshire USA. School and college in New York (Bard College, New York University). Now lives in Milan, Italy. After studies in New York (Roswell Rudd, Charlie Haden) he began his professional career in the early 1970s playing standup bass in jazz groups. Toward the end of the Seventies he founded, together with John and Evan Lurie, Arto Lindsay and Tony Fier, the group The Lounge Lizards. For five years or so the group performed all over the world, including international festivals and important venues. Their first LP (now CD, Virgin), published in 1981, continues to sell quite a few copies each year. In parallel with his activity as a jazz instrumentalist, Steve worked in the world of pop music, writing songs and lyrics. After having published two LPs under his name (Domestic Exile, Adaptation) in the early eighties (US, France, Italy, still available in Italy from Materiali Sonori) he began working with songwriters and producers on an international level. He began to spend more time in Italy, working with producers like Giancarlo Bigazzi, Caterina Caselli, the La Bionda brothers, Claudio Fabi, Toto Savio. He wrote songs for artists like Raf, I Righiera, Umberto Tozzi, Alberto Fortis and many others. The song “Self Control” written by Bigazzi-Riefoli-Piccolo (1984) with lyrics by Steve sold many millions of copies, reaching number one on charts all over the world. During the second half of the eighties he lived almost exclusively in New York, writing songs and music for theater. His favorite production from the time was “Ambition” by the company “Love Theater” (Peter Halasc, ex Squat Theater, the company with which Steve worked in the early 1980s), seen at the La Mama theater in New York. In the 1990s he moved to Milan and published two CDs with the collaboration of Italian and American musicians: “Hilarity Workshop” (Underground Records, Bologna, 1997) and “Bitter Pill”(Cox 18 Music, Milan, 1999-2000). His songs were included in compilations published by Sony and EMI, and a number of compilations in the United States). Starting in 1995 he returned to frequent live concert activity, playing festivals and theaters in Italy and around Europe with different line-ups, including Italian musicians (jazzmen Giancarlo Locatelli and Filippo Monico), members of new ‘rock’ groups (Massimo Volume, Afterhours, Rosso Maltese) and renowned artists from New York (Elliott Sharp, Zeena Parkins). For the record company Mescal (dist. Polygram) he produced the CD “Da Qui” by the group “Massimo Volume”. Work with the group continued in 2001 with a concert tour in which Steve also performed on voice, bass and rhodes. Since 1999-2000 his research has focused on the major project The Expedition, a narrative-musical work with many different parts, specifically developed for each city or venue in which it is performed, using the sounds of that city. In the early versions there were as many as 12 musicians on stage, theater sets were utilized, but without video images. After the debut at CS Leoncavallo in Milan and the version prepared for the festival Brescia MusicArte (both in 1999), the show was broken down into modules for separate development. Live work continued in duo with Luca Gemma with “The Secret Diaries of Bruce Chatwin”, at the festival Frontiere in Milan in 1999. This show was later seen in festivals in Pisa and Livorno in summer 2000. DJ-composer Gak Sato (from Tokyo) joined the project in 2000, in the show “Songs about Danger”. For the first time video images were introduced in the concerts, by Armin Linke. This piece was presented at the festival Frontiere in Milan in 2000, and developed at CS Cox 18 Milan a few months later. The project then evolved into a new Expedition. The first results were heard in “Getting Ready for the Expedition” in Venice, for the concert series Off Risonanze, and in Catania at Mercati Generali. Two of the pieces developed for this show became part of the CD by Gak Sato, “Tangram”, published in 2001 by Temposphere Records. From 21 March (premiere at Radio Popolare in Milan) to 15 July 2001 the new version “Expedition/Dérive” was performed in museums, cultural centers and festivals (Milan, Sesto San Giovanni, Catania, Mestre, other cities). In summer 2001 the urban sounds archive assembled by Sato and Piccolo began to produce many new compositions. New videos were also added, working in collaboration with the visual artist Luca Pancrazzi. The work was presented in the context of the MilanoFilmFestival at Piccolo Teatro Studio in Milan, 22 Sept 2001, under the title “Effetto cinema: musica alla deriva”. The collaboration with Elliott Sharp has continued for many years now, including a performance at Teatro Fondamenta Nuova in Venice 26 November 2001, in a duo entitled “Songs from the Frozen Zone”. After a positive experience at the Milan Polytechnic in the summer of 2001, in which the students recorded the sounds of the city to construct a performance and an urban sound map, Piccolo-Sato-Gemma with special guest Elliott Sharp did a concert and workshop at the IUAV architecture institute in Venice on 30 November 2001. The concert “Expedition/Dérive” was included in the series “Suoni e Visioni” in Milan, 11 March 2002 at Teatro di Portaromana, in a complete version with set design, special guest Elliott Sharp and new videos by Janene Higgins, Armin Linke-Paola Di Bello and Luca Pancrazzi. Steve performed on guitar, bass and vocals in the tour for the CD Tangram by Gak Sato in 2001-2. Steve Piccolo and Gak Sato also work in the field of “sound art”, creating installations for galleries and museums. They collaborate with visual artists to realize the sound portions of more complex works. In 2002 the song Green City by Steve, arranged by Gak Sato, was published in over 250,000 copies of compilations in the US, England and Italy. Expedition/Dérive was also performed in the Central Station in Milan, 28 May 2002 (see press release in Italian). Steve and Gak prepared a sound installation and concert for the MilanoFilmFestival 2002, recording and processing the sounds of the square in front of the Piccolo Teatro (22 Sept 2002). Steve participated in the project of Auditorium Records and MMT “A Year for Cage”, a one-year series of initiatives on John Cage, with the first concert at Teatro OutOff in Milan 27 Sept 2002, later at Radio Popolare. This project has evolved into the group Full Metal Cage Collective. Steve co-wrote and sang the title track “Spontaneous” for the recent CD by DJ-composer Painé, for Temposphere Records Spring 2003. In May 2003 Spontaneous was in the German Top 30 club charts. Steve collaborates with the radio program Remix on Rai 3, by Istituto Barlumen. With the group DE-ABC (Steve Piccolo, Gak Sato, Luca Pancrazzi), design of an urban installation, seen in the Urban Furnishings Fair of Esterni and the Isola Art Project show, both in Milan (April 2003). Steve and Gak have composed, performed and recorded many soundtracks for films and videos, including recent projects (2003) with Gabriele Di Matteo and a video on the history of the Compasso d’Oro design award for ADI. The latest video sound works have been for Adrian Paci, Ivo Bonacorsi and A Constructed World. Participation in the Isola Art Project, an initiative of a group of artists and critics to save an abandoned factory surrounded by two parks in a cool neighborhood in Milan and make it into a contemporary art center, instead of the shopping center fashion promo speculation planned by the city. Steve and Gak have recorded a one-hour program for WPS1 Art Radio (NY), entitled "Expedition". Steve and Gak are back again on the faculty for 2004-5 (their third year) at Accademia Carrara of Bergamo, teaching a course on "sound design". Steve will also teach the Sound section of the university course on "new techniques of art". [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => intervento-inabituale [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:34:24 [post_modified_gmt] => 2014-09-25 10:34:24 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2676 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 381 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 2709 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => The concept of multiples and doubles (the theme of this CD's) and the re-cycling of the works sometimes from many years ago is a process that began in the early nineties and co-incided with three artist colony sojourns. First at Mac dowell Colony, then at Yaddo Colony and last at the Headlands center. The reflective look over an entire oeuvre became a mechanism that accelerated. At first it consisted of the Cageian gloss of playing entire works with other works, either simoultaneously on top of each other or sequentially in parts or sections. Then with digital network musics and the home computer came the text-radio works, creating new sound designs, playing them with old often ambient analog tape works. Finally the process became quite complex using simulation and photo-real aural sound soundscape in creating sonic atmospheres and doubles of all kinds. This De Chirico-like aping of former material has became quite developed and culminates in the Wave Fugue. [post_title] => Chorale Injured Bird/Multiple [post_excerpt] => Rocco Di Pietro was born in Buffalo, New York in 1949. He studied composition and piano with Hans Hagen and Lukas Foss in Buffalo and at the Berkshire Music Center, Tanglewood. He studied in New York and Darmstadt with Bruno Maderna and was a freelance composer for twenty years before earning degrees from SUNY Buffalo and Vermont College. He became an interdisciplinary adjunct professor teaching in prisons and on many college campuses throughout New York, Ohio, and California. He toured California prisons as artist-in-residence and conducted four years of interviews in Chicago with Pierre Boulez. The resulting book, DIALOGUES WITH BOULEZ, was recently published by Scarecrow Press. He composed Prison Dirges I for the Kronos String Quartet. Di Pietro's music has been performed by many musicians in venues throughout the world. These include: Christiane Edinger, Christobal Halffter, Lukas Foss, Julius Eastman, Bruno Maderna, Frances Marie Uitti, Yvar Mikhasoff, Jan Williams, Anthony Miranda, Gunther Schuller, Dennis Russell Davies, the Buffalo Philharmonic Chamber Orchestra, The Brooklyn Philharmonic, the Bavarian Radio Orchestra, Pro Musica Chamber Orchestra, CETA Orchestra, Ojai Ensemble Sonor, St. Paul Chamber Orchestra, Columbus Wind Orchestra, Earlham String Orchestra, the Avant Collective, and the Madd Lab Orchestra. Venues include: The Kitchen, La Mama, Bang On A Can Festival, in New York, Contemporary Music Society of Seoul, South Korea and American Academy in Rome among others. Recent performances of LOST have been featured at Dartmouth College and Stanford University. Recently, his work has developed on several fronts. Sound text radio works have developed simultaneously with his teaching at Columbus State College of electronic music and other courses in the Humanities. These works have been broadcast on radio stations in Seattle, Chicago, Baltimore, Detroit, New York and in Europe, in Naples, Rome, Vienna, Prague, Budapest etc. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => chorale-injured-birdmultiple [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:34:27 [post_modified_gmt] => 2014-09-25 10:34:27 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2709 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 414 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 2741 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => As Ocean af Nerves [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => as-ocean-af-nerves [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:34:30 [post_modified_gmt] => 2014-09-25 10:34:30 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2741 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 446 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 2773 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => tokyospace 4 [post_excerpt] => Cd T. T. 46' 48": selected sound tracks from Stefano Cagol's videos (1997-2004). The sound tracks can be heard without the video images. Sound, editing, post-production by Stefano Cagol. Copyright 2005 [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => tokyospace-4 [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:34:56 [post_modified_gmt] => 2014-09-25 10:34:56 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2773 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 478 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 2805 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Johns Brook [post_excerpt] => David Gibson studied composition from Dorrance Stalvey in the early 1970's in Los Angeles. Dorrance, who was a student of and copyist for Igor Stravinski at U.C.L.A., was the program director of the Monday Evening Concert Series at the Bing Theater of the Los Angeles County Art Museum - LA's contemporary music series. Gibson's first works were played on the student portion of that series. David has scored children's theater and films, and has explored a variety of styles and compositional approaches. His first film scores were all electronic, culminating in two films which won Oscar recognition, first place at the American and Atlanta Film Festivals, and first prize at the Trieste, Italy, Film Festival awards, in 1976 and 1977. He has explored abstract symbolic scoring, jazz, serial, atonal, modal, and mathematical approaches to composition, and has recently returned to tonal and modal harmonies. Since moving to Vermont in 1979, David has spent most of his time in educational leadership positions, playing jazz, and accompanying his wife Mary (a violinist with the Vermont Symphony) in her teaching and casual performances. He recently returned to composition with Easter Cantata, a four movement work for chorus and orchestra which received its world premiere at the Stowe Community Church in the Spring of 1996, conducted by Cy Bryant. Another recent work is A Mighty Fortress, an arrangement of Martin Luther's hymn set for chorus, organ, French horn and trumpet which received its world premiere in the Fall of 1996. He is currently working on a doctorate from the University of Vermont, researching the area of complex systems; especially focusing on the potential usefulness of the mathematical foundations of complexity, fuzzy logic, and related areas for social research. Dr. David Gibson is the Director of Research at the Vermont Institutes, concentrating on partnership development and new programs, systems analysis, policy development, evaluation, higher education reform and statewide professional development planning. With the Evaluation Center, David manages the evaluation of Community Connections. David is also a leader in other state, national and international education innovation initiatives, including the National Institute for Community Innovations. His research and publications include work on complex systems analysis and modeling of education and the use of technology to personalize education for the success of all students. 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] => johns-brook [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:34:59 [post_modified_gmt] => 2014-09-25 10:34:59 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2805 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 510 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 2837 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Zen Guilt/ Zen Blame [post_excerpt] => It seems fair to say that David First has had a fairly eclectic musical career. He has played guitar with renowned jazz innovator/pianist Cecil Taylor (culminating in a legendary Carnegie Hall concert) and the rock band Television’s Richard Lloyd. He has created electronic music at Princeton University and led a Mummer’s String Band in bicentennial parades. He has played in raucous, drunken bar bands and in concert halls with classical ensembles. As a composer he has created everything from finely crafted pop songs to long, severely minimalist soundscapes. And his influence on modern music may be incalculable: a 45 single release, The Zipper, by his punk-era rock band, The Notekillers, was cited by Sonic Youth’s Thurston Moore as one of the songs he played for the rest of the band when they were starting out. Moore recently called it a "mind-blowing instrumental single" in the British rock magazine Mojo. Known for his dense, mesmerizing drone structures - which he has been experimenting with since his teens - as well as his intense and highly unusual, minimalist approach to the guitar, First has been a pivotal figure in the world of experimental music, releasing recordings on O.O. Discs and Analysand as well as works on the CRI, Aerial, Homestead, and EMF labels. A recent CD entitled "Dave's Waves - A Sonic Restaurant" - the music from his sound installation of the same name in Lier, Belgium - was the first international release on the highly regarded Italian label ants. His music has been performed in the USA at The Kitchen, Bang On A Can, Central Park Summerstage, the CMJ Music Marathon, Joe’s Pub, The Knitting Factory, Tonic, Merkin Hall, CBGB’s, and The Spoleto Festival. He has also been presented extensively in Europe - appearing at Podewil, the USArts Festival, Institut Unzeit (Berlin) as well as at De Ijsbreker (Amsterdam), the Heidelberger Festival for Experimental Music and Literature (Heidelberg), ZwischenTone Festival (Köln), The Impakt Festival (Utrecht), Het Apollohuis (Eindhoven), and the Brugge Concertgebeouw (Brugge). First has also presented sound installations at Kunstforeningen (Copenhagen), the Uppsala Konstmuseum (Uppsala), Exit Art (New York), Voorkamer (Lier) and Studio Five Beekman (NYC). First has garnered an impressive amount of glowing press over the years. He has been called "a fascinating artist with a singular technique" in The New York Times, and "a bizarre cross between Hendrix and La Monte Young" in The Village Voice. Regarding the New York production of his opera created in response to the AIDS crisis, The Manhattan Book of the Dead, Kyle Gann of The Village Voice wrote: "The music grew and grew in scintillating, illusionary beauty long past the point at which you thought it could still surpass itself". First was also proclaimed "the next big thing in guitar gods" by K. Leander Williams in Time Out New York. He has also been featured in numerous publications. There have been articles about him in both Guitar Player and Keyboard Magazine as well as in MusikTexte (Germany), Arude, Atlantica (Spain) and a recent issue of Tape Op . There are chapters about his music in the books American Music in the Twentieth Century (Gann/Schirmer) and La Musica Minimalista (Antognozzi/Edizioni Textus). When the world was stunned on September 11th, 2001, First – who lived two blocks from Ground Zero with his wife, visual artist Patricia Smith - was forced to leave his home. Escaping over the Brooklyn Bridge after the second tower collapse, they were out of their home for two weeks. Shortly after his return he wrote and recorded a song entitled "Jump Back - an ode to the people of New York City". From October 2001 to January 2002 First gave out over 4,000 of these CD’s free of charge at the Ground Zero site, at firehouses, related benefits, on the subway, etc. As Time Out New York's Jay Ruttenberg wrote: "Spirited, uplifting, and honest, it (Jump Back) makes a nice candidate for a time-capsule piece about this autumn". First was also cited for his efforts in an article by Jon Pareles in The New York Times and by The New York Resident which named him one of the "Top 100 New Yorkers of 2002". In November of 2001 he performed the song at the United Nations. This song remains available on this website. In December 2004 First received Honorable Mention for his article "The Music of the Sphere: An Investigation into Asymptotic Harmonics, Brainwave Entrainment, and the Earth as a Giant Bell" (Leonardo Music Journal, Vol. 13). This annual award recognizes excellence in articles published in Leonardo, Leonardo Music Journal (LMJ) and Leonardo Electronic Almanac (LEA). download the article here In 2001, First was awarded the prestigious "Grant to Artists" from the Foundation of Contemporary Performance Arts - an organization founded by John Cage and Robert Rauschenberg. He has also received grants from the National Endowment for the Arts, the Copland Foundation and the Mary Flagler Cary Charitable Trust, among others. Recent projects include a Notekillers CD on Thurston Moore’s Ecstatic Peace label, an audio/video performance and cyber-based project called Operation:Kracpot that will explore First’s recent investigations into brainwave manipulation and the Earth’s electromagnetic field, and a techno dance single featuring the sounds of elephants called "Eletranz" that is being released in Thailand to help support the Thai Elephant Conservation Center. There is also a new CD - Tokyo Could Not be Opened Because Tokyo Could Not be Found – by The Lazy Eyes, a duo project with singer-songwriter Stephanie St. John, with all tracks produced and arranged by First. In July of 2001 Mr. First was awarded the Neupauer Conservatory’s (Phila.) highest honor - the Order of the Shield - for his achievements in the world of music. 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] => zen-guilt-zen-blame [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:02 [post_modified_gmt] => 2014-09-25 10:35:02 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2837 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 543 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 2869 [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] => Vocoder 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] => vocoder-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=2869 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 575 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 2901 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => piccole cose [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] => piccole-cose [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=2901 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 608 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 9850 [post_author] => 2 [post_date] => 2015-01-08 16:29:41 [post_date_gmt] => 2015-01-08 15:29:41 [post_content] => [post_title] => Konan (de Fukushima) [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => konan-de-fukushima [to_ping] => [pinged] => [post_modified] => 2015-01-08 16:31:30 [post_modified_gmt] => 2015-01-08 15:31:30 [post_content_filtered] => [post_parent] => 0 [guid] => http://www.radioartemobile.it/?post_type=sounds&p=9850 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 0 [post_it] => 0 ) [comment_count] => 0 [current_comment] => -1 [found_posts] => 1233 [max_num_pages] => 124 [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_404] => [is_embed] => [is_paged] => 1 [is_admin] => [is_attachment] => [is_singular] => [is_robots] => [is_posts_page] => [is_post_type_archive] => 1 [query_vars_hash:WP_Query:private] => 415a392d725085ac59ac7bb9e4ab2dcd [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 ) )