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All tracks are digital on-site recordings and, combined with the booklet notes and images, attempt to give a representation of the works in an out-of-gallery timeframe. Most of the works feature Althoff's favourite stripped-down 16 rpm turntables, along with a couple of oscillating electric fans and some converted cassette players, as the motive forces for the chance-based percussion compositions that perform themslves in the spaces. The final track uses an untrained, unforewarned audience to sound the devices following simple instructions on cards collected on entry to the space. Each track is at least 12-14 minutes duration for excellent opportunities to evaluate the textures, frequency bands, individual sound events and engaging rhythms that constitute these compositions. These five installations all dealt with the integration of acoustic, kinetically produced sounds into visually treated spaces. A low-budget ethic prevailed, and the motive forces came from readily recognised devices, albeit their new sonic roles. The music was 99% percussive, texure based, aleatoric and location dependent. The documentations presented here should not be seen as replacements for the realtime auditory experience. [post_title] => Dummy Run [post_excerpt] => ERNIE ALTHOFF Ernie Althoff is a composer/performer/instrument builder/artist who has worked in Melbourne, Australia since the mid-1970s, when he bought his first vari-speed cassette recorder. During his years as one of the stalwarts of the Clifton Hill Community Music Centre (see NMA website below), he pioneered an array of techniques for this device in the field of low-budget live electro-acoustic performance (see NMA website). His interests in chance-based compositional procedures were also kindled at this time, and when he built his first 'music machine' in 1980, many doors opened for him. Combining these machines with his collection of found objects, toys and home-built instruments, he performed many concerts over the following years titled either "Ernie builds a machine" or "Machines and me", depending on their format. In 1986, the machines finally appeared alone as real sound installations. Since then, their design and construction, as well as their compositional strategies, have become more and more sophisticated. However, their aims of recognising the relevance of site specificity and utilising a (probably now) political use of the recycled, home-built or reappropriated as a low-budget ethic remain constant. As well as this, he is still an avid performer (either solo or in ensembles of two or more) with the likes of Robbie Avenaim and Eamon Sprod (Tarab), and has also lectured, held workshops and written extensively on the subject. He has shown works in several major Australian cities and has sent work overseas to galleries, festivals and radio networks. "Dark by 6" is his third solo CD, following years of cassette releases. Several compilation CDs, both Australian and U.S., include his work. He has received commissions for compositions and installations, held artist-in-residence positions, participated in many festivals and conferences with both his installations and performances and has had several projects funded by the Australia Council. "Our culture, until relatively recently, has forgotten how to explore other musical landscapes. In Althoff's case, his machines are like surveying instruments which aid him in mapping out a section of this little-known land for himself. His wanderings are part of our own attempts to find a more resonant cultural centre through our art..." Larry Wendt, San Jose. 1994 [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => dummy-run [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:37 [post_modified_gmt] => 2014-09-25 10:35:37 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2921 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 628 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 2953 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Grizzly Bears and Lost Languages [post_excerpt] => "Thank for flying american" is a richly diverse anthology of audio art compositions by media, performance and visual artist, write audio composer, producer, and internationally broadcast radio art innovator Jaci Apple. Travelling a thematic path, this 17 cut compilation, selected from six of her major performance, installation, video and radio works from 1980-1991, is a journey accross the American landscape spanning three decades. Filled with a pervasive sense of loss, this series of aural snapshots gazes bacward into the past from different vantage points as it speeds forward into a precarious and sometimes ominous future. 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And previous pieces: Little Music .. - 1999, Little Litany - 2002, Little Chronicles - 2005. [post_title] => Final song [post_excerpt] => ZBIGNIEW PENHERSKI, composer, born January 26, 1935 in Warsaw, Poland. Studied composition with B. Poradowski at the State Academy of Music [PWSM] in Poznan (1955-56), followed by studies with Tadeusz Szeligowski in Warsaw (1956-59). Penherski has also studied conducting under Bohdan Wodiczko (1960-63). Holder of a Dutch government scholarship, studied at the Institute of Sonology in Utrecht (1969). Prize winner of composition competition such as: Grzegorz Fitelberg Competition (1964) for Musica humana; Artur Malawski Competition (1976) for Masurian Chronicles [Kroniki Mazurskie]; Composing Competition in Gdansk (1992) for Cantus; Polish Radio Competition (1995) for Genesis. Honorary citizen of Kragujevac in Yugoslavia, Russe in Bulgaria, and Ho-Chi-Minh in Vietnam. Awarded the Silver Cross of Merit (1975) and the Award of the Prime Minister of Poland, for works for children and youth (1982). Member of Stage Artist and Composers' Association [ZAIKS] since 1961, Polish Composers' Union [ZKP] since 1963, Polish Contemporary Music Association [PTMW], Warsaw Music Society [WTM]. Honorary member of the Scottish Society of Composers (1987). Penherski's music has been performed in Poland and abroad, including Austria, Belgium, Denmark, France, Germany, Great Britain, Italy, Korea, Mexico, the Netherlands, Norway, the Soviet Union and USA. LITERATURE: - Polish Opera and Ballet of the Twentieth Century, PWM, Kraków 1986 - Who is Who in Poland, Interpress, Warszawa 1989 - Chomiński Józef The Music of Polish People’s Republic [Muzyka Polski Ludowej], PWN, Warszawa 1968 - Hanuszewska Mieczysława, Schaeffer Bogusław Almanac of Present Polish Composers [Almanach polskich kompozytorów współczesnych], PWM, Kraków 1982 [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => final-song [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:48 [post_modified_gmt] => 2014-09-25 10:35:48 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3050 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 758 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 3082 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => brrr [post_excerpt] => Liv Strand (b´71 Södertälje/Sweden) Lives and works in Stockholm/Sweden. Selected exhibitions/projects: Kapsel, Galleri Mia Sundberg, Stockholm/2003 Banderolltillverkning, BB/Galleri Lars Bohman, Stockholm/2003; Blinka lilla lampa där i din affär, i lampaffären Norrmalms Elektriska AB, Stockholm/2002 Liv Strand is an artist living and working in Stockholm, Sweden. She is mainly working with fragile and mobile sculptures, often with mechanical elements that make some kind of rattling sound. The sculptures are not made with an ekvilibristic attitude, rather cheap or found material joint together in a simple way, but nevertheless evoking humorstic and poetic notions. Liv Strand´s work often tends to put a twist to a real event aiming to make this event or similar fellow-events to appear refreshed as a fundamental situation. Her work considers life situations and stresses the power of fantasy in inexperienced thoughts. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => brrr [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:12 [post_modified_gmt] => 2014-09-25 10:36:12 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3082 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 791 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 3115 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => a hard drive [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] => a-hard-drive [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:14 [post_modified_gmt] => 2014-09-25 10:36:14 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3115 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 824 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 3147 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Cfr. nn. Arch. 183.28, 184.33, 185.23 [post_title] => Eternity Bliss [post_excerpt] => MARTIN e GREIL (Dornbirn, Austria) Martin e Greil is a composer, sound artist/musician. He has performed throughout Europe and worked with artists including Colin Fallows and Keith Rowe. In 1999, he was artistic director of the Austrian millennium project The Millennium, and in 2000, his solo CD Spheres was released. He also appears on Audio Research Editions collections. He is equally active in multi-media arts, designing various Internet web sites, videos and digital animations. He was a sound Research Assistant and Lecturer at Liverpool School of Art and Design, Liverpool John Moores University (1999-2001) and a Design Lecturer at LIPA. He co-founded the ASPARA Company in 2001, and his own record label M’para. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => eternity-bliss [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=3147 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 856 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 3179 [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. 184.34, 185.24 [post_title] => Tunnel [post_excerpt] => Greyworld are a collective of London based artists who are interested in public-activated art, sculpture and interactive installations. Although often varied in their approach, their work is typically subtle, environmentally reflective and requests special attention. Although they have built up a rich history of acclaimed works since their formation in 1993, their most celebrated piece, so far, is probably The Source a permanent installation for the new London Stock Exchange: A cube of 9x9x9 (729 in total) spherical balls are suspended on cables that run the full 32 metres height of the main atrium of the newly designed building. These spheres, controlled by a computer running Python scripts, can move themselves independently of each other, forming dynamic shapes, characters and fluid-like motions that reflects the nature of the stock market itself. The sculpture opens the market each morning at 8am, with the spheres breaking free from their default cube arrangement to form elegant patterns and shapes. Throughout the day the sculpture responds to reputable news feed and displays snapshots of the current headlines, written in full height of the atrium. At the end of each day’s trading the spheres return to their cubed arrangement, resting on the sculpture’s base, and blue lights inside each sphere are illuminated to show the stock market’s closing price with an arrow to indicate how the market performed on that particular day. Her Majesty Queen Elizabeth II unveiled the sculpture on the 27 July 2004 and the opening was broadcast to a global audience. The installation is broadcast every morning on television to an estimated global audience of 80 million people. Their first interactive public work of art was a series of temporary installations, Railings (1996), first created in Paris and widely copied. In each case the artists took a set of ordinary street railings and tuned them so that when you run a stick or an umbrella along them, rather than making the 'clack-clack-clack' sound as expected, they played The Girl from Ipanema. Bridge 2 by Greyworld, on the Millennium Bridge, DublinMost of their early installations were sound based. In 2000, they took the Millennium Bridge which spans the Liffey River in Dublin, Ireland, and installed a bright blue carpet across its length. Embedded into the carpet were hundreds of tiny sensors that translated the motion of people crossing the bridge into a vibrant soundscape. One moment it sounded as if people were walking through crunchy snow, the next that they were sploshing through water, or walking across fallen leaves. This installation, entitled Bridge 2, drew on ideas that Greyworld had explored in a previous work of art Playground, installed in the Yorkshire Sculpture Park in the U.K. Visitors to the sculpture park stumbled across what looked like a deserted playground with faded markings for mysterious games and benches for spectators. All the elements of the installation, the floor of the playground and the accompanying benches, were sensitised with tiny sensors so that as people crossed the floor they triggered the sound of people playing a game whilst as others sitting on the bench found themselves immersed in the sound of spectators cheering and clapping. The installation is a permanent feature of the sculpture park. Trace by Greyworld, at Hampton Court Palace, EnglandTrace (2005) is a work created for the Maze at Hampton Court Palace, UK. Drawing on its history and on the idea of the maze as a place of furtive conversation and flirtation, Greyworld have created a gentle soundwork that affects the visitors’ experience of their journey from entrance to the centre and back again. As visitors pass through the many green corridors of the maze, they are tempted to follow tantalising sounds - a fragment of music, a snatch of laughter, the seductive rustle of fine silks or the whispers of an illicit conversation as it disappears around a corner and into a dead-end. Slowly the sounds weave together in the visitors mind to create a rich tapestry of the other people who have passed through the maze over the centuries and lost themselves in the seductive privacy of its secluded corners. Later that year they also created Bins and Benches a permanent installation for a public square in Cambridge, U.K. – a group of animated street-furniture that roams free, like buffalo in the urban savannah of their square. When it rains the benches seek shelter under the nearby trees, inviting people to sit on them. As the temperature drops the bins start to shiver and when the sun shines the bins and benches break into song, singing in tight barbershop harmonies. Above all the bins and benches are still functional pieces of street furniture waiting for people to come and sit on them or deposit rubbish in their lids. Worldbench by Greyworld, in various sites around the worldWorldbench (2005) is their most recent installation that uses a park bench to link up locations across the world. It takes an ordinary wooden bench and places up against a screen, placed on a wall, in the school’s playground. Reflected on the screen is the mirror image of the bench, disappearing into the distance; but whilst one side of the bench is in South London the other is in the far north of the country in Sunderland. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => tunnel [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:19 [post_modified_gmt] => 2014-09-25 10:36:19 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3179 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 889 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 3211 [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. 63, 185.42 [post_title] => On Entering the Portal of Hope [post_excerpt] => Dallas has performed at the London College of Music a couple of years ago with composer Chris Thorpe, in York with Chris Thorpe and Linda Merrick (2000); in Glasgow in 1999 as part of the Drift environmental sound art / acoustic ecology project, with Max Eastley and Helmut Lemke at Creswell Craggs several of years ago. His work has been selected, against an open world field, for inclusion in every themed sound art compilation for the past three years curated by Colin Fellows of the John Moores Liverpool University (Hope, Trace and Zero). Dallas' tracks have been released through Time Recording's EMIT series (abha - EMIT 2296, waterpump - EMIT 1197). He was included as a composer in the regrettably one-off "Music for Spaces" series on BBC Radio 3 some four years ago. In December 2000, Anya Bernstein, a Russian social anthropologist made a short video of his work at Lambley Dumble and in various locations around Nottingham City Centre at night (available on request). Dallas has written a more in-depth article: The Art of Location Binaural Performance, which was first published in the UK Journal of Free Improvisation: Rubberneck. It was subsequently reproduced on the US website for free improvisation The Improvisor. Dallas Simpson has over 50 hours of unreleased and unbroadcast live location binaural performance recordings. Dallas Simpson has spent over 10 years involved with recording and performing binaural soundworks. The subject of each recording varies from natural surroundings, to artificial environments. In addition to recording these soundscapes, Dallas Simpson has also performed live. A number of samples of his work are available for download from this site. Dallas is a professional CD Mastering Engineer trading under the name dallas MASTERS. About Binaural Sound Art Binaural sound art is both a particular style of recording and a particular approach. By inserting very high quality sub-miniature microphones into his ears, Dallas is able to sample his own human hearing and record what is known as "binaural sound" to conventional 2-channel stereo, with all the potency of a three dimensional surround sound experience when replayed on headphones. The approach is to engage the listener, through his own ears, in a guided experience of soundscape awareness and intuitive interaction with found and introduced objects. Movement through a location allows creative spatial choreography - the compositional arrangement of moving sounds in three dimensional space - with additional opportunities to create an unfolding narrative in time. For further reading, Dallas has also written a more in-depth article. These binaural soundworks are not always "quiet", some works contain periods of natural silence but there are also a few surprises and in some cases the sound is quite intense, but all the sounds are "real", not the product of electronic synthesis, sampling or manipulation. I often refer to them as "meditations" and my meaning is that we should think and listen, for in thinking we may pause to reflect on both what we may be missing in terms of an enriched aural experiencing our continual daily lives, and how, in the attainment of this richness, we may have to modify our own behaviour to access it. Consequently, these works are not an end in themselves that glorify the artist, but are an open invitation for each of us to establish a new and sensitive relationship with our environment, for it is only when we fully appreciate its worth that we will strive at all costs to preserve it. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => on-entering-the-portal-of-hope [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=3211 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 922 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 2921 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => "Dark by 6" features five recordings of installations built in Melbourne, Australia by Ernie Althoff from 2000-2003. All tracks are digital on-site recordings and, combined with the booklet notes and images, attempt to give a representation of the works in an out-of-gallery timeframe. Most of the works feature Althoff's favourite stripped-down 16 rpm turntables, along with a couple of oscillating electric fans and some converted cassette players, as the motive forces for the chance-based percussion compositions that perform themslves in the spaces. The final track uses an untrained, unforewarned audience to sound the devices following simple instructions on cards collected on entry to the space. Each track is at least 12-14 minutes duration for excellent opportunities to evaluate the textures, frequency bands, individual sound events and engaging rhythms that constitute these compositions. These five installations all dealt with the integration of acoustic, kinetically produced sounds into visually treated spaces. A low-budget ethic prevailed, and the motive forces came from readily recognised devices, albeit their new sonic roles. The music was 99% percussive, texure based, aleatoric and location dependent. The documentations presented here should not be seen as replacements for the realtime auditory experience. [post_title] => Dummy Run [post_excerpt] => ERNIE ALTHOFF Ernie Althoff is a composer/performer/instrument builder/artist who has worked in Melbourne, Australia since the mid-1970s, when he bought his first vari-speed cassette recorder. During his years as one of the stalwarts of the Clifton Hill Community Music Centre (see NMA website below), he pioneered an array of techniques for this device in the field of low-budget live electro-acoustic performance (see NMA website). His interests in chance-based compositional procedures were also kindled at this time, and when he built his first 'music machine' in 1980, many doors opened for him. Combining these machines with his collection of found objects, toys and home-built instruments, he performed many concerts over the following years titled either "Ernie builds a machine" or "Machines and me", depending on their format. In 1986, the machines finally appeared alone as real sound installations. Since then, their design and construction, as well as their compositional strategies, have become more and more sophisticated. However, their aims of recognising the relevance of site specificity and utilising a (probably now) political use of the recycled, home-built or reappropriated as a low-budget ethic remain constant. As well as this, he is still an avid performer (either solo or in ensembles of two or more) with the likes of Robbie Avenaim and Eamon Sprod (Tarab), and has also lectured, held workshops and written extensively on the subject. He has shown works in several major Australian cities and has sent work overseas to galleries, festivals and radio networks. "Dark by 6" is his third solo CD, following years of cassette releases. Several compilation CDs, both Australian and U.S., include his work. He has received commissions for compositions and installations, held artist-in-residence positions, participated in many festivals and conferences with both his installations and performances and has had several projects funded by the Australia Council. "Our culture, until relatively recently, has forgotten how to explore other musical landscapes. In Althoff's case, his machines are like surveying instruments which aid him in mapping out a section of this little-known land for himself. His wanderings are part of our own attempts to find a more resonant cultural centre through our art..." Larry Wendt, San Jose. 1994 [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => dummy-run [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:37 [post_modified_gmt] => 2014-09-25 10:35:37 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2921 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 628 [post_it] => 10 ) [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] => 5f7a31cdf378e7360260018b86c58bb6 [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 ) )