WP_Query Object ( [query] => Array ( [post_type] => sounds [settori] => sound-art-museum [paged] => 4 [posts_per_page] => 10 ) [query_vars] => Array ( [post_type] => sounds [settori] => sound-art-museum [paged] => 4 [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 t ON wp_posts.ID = t.element_id AND t.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 ( ( ( t.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 30, 10 [posts] => Array ( [0] => WP_Post Object ( [ID] => 2919 [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] => Declivities [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] => declivities [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=2919 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 626 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 2951 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Charlie's Soliloquy [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. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => charlies-soliloquy [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:39 [post_modified_gmt] => 2014-09-25 10:35:39 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2951 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 658 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 2983 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Senza titolo [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => senza-titolo-10 [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:42 [post_modified_gmt] => 2014-09-25 10:35:42 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2983 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 690 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 3015 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => housefire [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => housefire [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:45 [post_modified_gmt] => 2014-09-25 10:35:45 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3015 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 722 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 3048 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => dates: Twilight of Peryn - 1972, Street Music - 1966, Signals - 1992, String Play - 1980. And previous pieces: Little Music .. - 1999, Little Litany - 2002, Little Chronicles - 2005. [post_title] => Diva's escape [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] => divas-escape [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=3048 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 756 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 3080 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => sTörungen [post_excerpt] => Metka Golec 1972 _ born in Maribor, Slovenia 1991-1995 _ studies of architecture on Technical University Graz(6.semesters) 1996-1997 _ School for art photography Friedl Kubelka Wienna 1998 _ studies of painting on Academy for fine arts Wienna 2003 _ diploma on Academy for fine arts Wienna Horvat Miha 1976 _ born in Maribor, Slovenia 1995-2001 _ studies of anthropology on Faculty of arts Ljubljana 1999-2001 _ studies of film directing on Academy for film Ljubljana 2001_ diplom on Faculty of arts Ljubljana 2000-2001 _ studies of film on University of art and design Helsinki 2001 _ studies of new media on University for applied arts Wienna 2002 _ studies of painting on Academy for fine arts Wienna The world of digital technologies, of electronic sounds and images, seems to be the natural surrounding for son:DA. In their work, though, they are not fascinated with the endless possibilities of new technologies. rather, they are critical and ironical towards such fascinations. The constant multiplication of new technologies and their effects turns into noise, just as the actual physical space gets crowded with electric wires, cables, and piles of hardware that used to be brand new, cutting edge technologie. The works of son:DA are often deliberately simple and restrained, sometimes using very basic technical possibilities that stress an "underground" feeling. (Igor Zabel for "Aperto Slovenia" _ Flash art magazine / january-february 2004) Artistic duo son:DA’s narrative or portraying, seducingly aesthetic computer mouse drawings talk about the coldness and the estrangement within the globally connected world. The process of using a computer mouse as an interface is a meticulous creative act, that refers to the history of adapting new media in a kind of transition phase from traditional to media art, and creates a parody to the digitally created shiny and perfect imagery. son:DA also works and experiments in the field of audio-visual performance, site-specific installation and sound. The information society, communicating on the level of a collective wireless imagination that once used to be a utopian dream, has since a long time known and experienced the ambivalence that the seeming autonomy of mobility within the cyber space is bringing. “Take for example the idea of a mobile work office, you have all this autonomy because you are moving around with your personal computer, you set your own hours, you have your mobile phone. You’re beating the system, but actually this is the system now,” says Claire Pentecost when referring to the new working modality, brought by the wireless networks and general freedom of mobility in the evolved part of the world. Either representing wired or wireless iconography, son:DA play with the notion of the necessity of being connected to the immaterial, but yet so tangible system all the time. Portraying cables or incorporating them as the “leit motif” in their drawings and in installation work actually reveals the rather truth of the contemporary society new icon, the connective element of the access, that empowers the First and parts of the Third World from the disconnected and unprivileged areas on the Earth map. Rendering these scenes of the weird, but yet very familiar world, drawn with uneven computer mouse lines, son:DA makes the viewers experience the estrangement of their own everyday environment and of the society, driven by capital embedded in technology and progress. (Natasa Petresin / 2004) son:DA fetishized peripheral ordinarily subjects of technological age, such as socket, plugs, cell phones, cables. son:DA creates icons, drawn with computer mouse, that in opposite with paradoxial ilusionismus of Rene Magritt speaks: »This is socket!« Exactly this, which hid for armoire, will now as picture be installed on wall before armchair and admired minimalized aesthetics and functionality perfection of technical building. Without them – the sockets, there is no communication in this alias with this world. On the other hand, it is building in image-story that is showing conditions of residence. Fetish forms are the essence of suspension in metaphorical scenography: people wrapped in cables and hanged on cables with plugs alia exuperien cabled person, that carries red flower instead of life one is turning his own planet in space, for force of circumstances in engaged postindustrial environment, full with wires, that came from everywhere and they are waking up paranoia. And what are drawings doing together with a space and sound installatons? Effect of disturbances, of noises. That's why the image of socket is perfect. In spite of still life atmosphere there is neverending anticipation of connection. We hear electric noise. (Aleksandra Kostic / 2004) Over the years Metka Golec and Miha Horvat created their own artistic language centered around the signal-to-noise ratio and the illusion of connectivity through modern day technology. Their installations, which they combine with graphical interventions, consist of broken wires, incompatible plugs and sockets, wrongly connected cables and stripped hardware. The line between parody and reality of today’s networks has never been as thin. (Peter Tomaz Dobrila / 2005) son:DA provides the collective at the PC with ideas of rationalisation; everyone is sitting on the toilet like the guests at the erstwhile dinner party in Luis Bunuel´s "Le Fantome de la Liberte"(1974); then, one by one, they occupy the toilet in order to eat. (Harald Szeemann for "Blut und Honig" _ Sammlung Essl / Vienna / 2003) The artistic tandem son:DA combines audio-visual experimenting and the study of sound, space, moving images and still pictures. In their work, the artists focus on different techniques and media, they work with different materials and use different methods – from digital to analogue processes. So, these computer images are created in the Photoshop software, where each line is made by hand using the mouse as the interface. The drawings depict detached, impersonal high-tech environments where they themselves belong, just like the artists themselves belong to the same paradigm of information technologies. Due to the plastic material serving as the surface onto which these images are plotted, they can be used as some sort of contemporary tablecloths, rugs, or simply paintings. The impreciseness of the perspective is masked, or perhaps even emphasized either by the surface-like two-dimensional net of cables, or by an almost ornamental pattern of repetitive machines. In the image showing the rear side of computers, the innards of machines, and the connections between them, we do not see a face in either the machine or the human being. But this is not to be mistaken with bashful concealment – for the second image shows us the users of this computer hardware as literal de-personified machines, sitting naked in the middle of an intimate internet experience, or simply immersed in their own consumerist pragmatism. This seemingly naïve visualisation with the trembling line and the choice of dull pastel colours is a clear and precise criticism not only of the rapid rise of consumerism but also of the consequential understanding of work as a market commodity. Obsessively drawn networks of people, machines, cables and (in)compatible adapters present, at once, both the image of detached communication and the utopia of community. General criticism of evolutionistic myths of technologic development in the context of a small and young country which has affirmed its visual identity through the advertising campaign for mobile telephony, or the metaphor of disconnecting from the old stationary/static network as a pre-condition for new, wireless global interaction, provides additional identifying weight to the works of the tandem son:DA. (Igor Spanjol for "Blut und Honig" _ Sammlung Essl / Vienna / 2003) Themes of the drawing made by a computer mouse are fetishized detalies of modren interior, such as sockects, distributors, cables, plug-ins, mobile phone chargers... These are installed on the walls in the exhibition and public spaces in almost sacral manner, although satirical connotations to technological world are obvious. More monumental formats include genre images of the 17th century Holland interiors (common people in common environments), but they are transferd into future. Allusions are made to paranoid visions of the captured urban person, who is connected with cabels to a tarumatic social enviroments of survival. (Kibela.Kibla for "multimedia mxhibiton" _ cafe Moscow / Berlin / 2004) [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => storungen [to_ping] => [pinged] => [post_modified] => 2014-11-19 12:58:17 [post_modified_gmt] => 2014-11-19 11:58:17 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3080 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 789 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 3113 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Desire [post_excerpt] => Marzena Komsta Born in 1970 in Gdynia. She studied composition at the Music Academies in Gdańsk (with Eugeniusz Głowski) and Warsaw (with Włodzimierz Kotoński and Zbigniew Bagiński). She continued her studies at the Conservatoire National Supérieur de Musique in Lyon (the Department of Acoustic, Electroacoustic and Computer Music, sonvs, with Philippe Manoury and D. Lorrain. She subsequently undertook doctoral studies in 20th-century music and musicology at ircam. She has participated in numerous courses in instrumental and electronic music, including workshops given by George Benjamin, Magnus Lindberg, Tristan Murail, Harrison Birtwistle, Gérard Grisey, Goerges Arpeghis, Pascal Dusapin, Krzysztof Penderecki, PierreLaurent Aimard, György Ligeti, Pierre Boulez, Henri Dutilleux, and Iannis Xenakis. She recieved one of Witold Lutosławski's private scholarships as well as grants from the Music Academy in Warsaw, the Witold Lutosławski Foundation and the Nadia and Lili Boulanger Foundation in France. She was also composer-in-residence of the Cité Internationale des Arts Foundation in Paris. In 1996 she was a nominee for the 'Polityka's Passport' Award, granted by the weekly 'Polityka'. She is the recipient of many prizes awarded for composition: at the International Competition for Piano Composition 'Manuel Valc?rcel' in Santander (Spain), the 'Ensemble Orchestral Contemporain' and 'Grame' Competitions in Lyon and the Tola Korian Competition in London. She has received commissions from festivals, performers and, most recently, the French Government, as well as from the 'Warsaw Autumn Friends' Foundation financed with funds from the Ernst von Siemens Music Foundation. Her pieces have been featured at numerous prestigious festivals including the 'Warsaw Autumn', the Gdańsk Young Composers' Meetings, the International Review of Contemporary Music in Belgrade, 'ppianissimo' in Sofia, 'Musica' in Strasbourg, 'Rendez-vous Musique Nouvelle' in Forbach (France), 'Aujourd'hui Musique' in Perpignan, the Youth Music Forum in Kiev, and have been broadcast on Polish Radio 2, as well as foreign radio stations (Sender Freies Berlin Westdeutsche Rundfunk, sr2 Kultur Radio, France Musique, France Culture, nhk - 'Best of Classic'. Selected works: Oberek for piano (1988), Nobody Knows the Day for mixed choir (1989), Five Miniatures for piano (1990), Gryzaczek (Baby's dummy) for twelve brass instruments (1990), Kirp for string quartet (1990), HO-YI-A for violin and harpsichord, both amplified (1991), To Unwanted Prometheuses for large symphony orchestra (1991), Hard Day for three percussionists (1992), Agmen for chamber orchestra (1993), Oqivian for tape (1993), Brun for violin (1994),... tu sais? for flute, percussion and harpsichord, all three amplified, small orchestra, tape and electronic system in real time (1995), lFdlC (le F de la C) for one piano and three pianists (1996), A toi, mon amour - une pi?ce cruelle for piano (1997/98), ď! - dans l'ombre for clarinet, soprano, percussion, violin and cello (2000), Primaire... humain for harpsichord (2000), Nuit/Portrait for small sinfonietta (2001), Explosif/Passion- interactive piece for cello and electroacoustic real-time system (commissioned by the French Government for Ensemble Orchestral Contemporain and 'Grame'; in preparation), a piece for chamber ensemble (commissioned by Festival 'Musica' in Strasbourg for 'Accroche Note'; in preparation). [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => desire [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:14 [post_modified_gmt] => 2014-09-25 10:36:14 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3113 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 822 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 3145 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Cfr. nn. Arch. 183.28, 184.33, 185.23 [post_title] => Cubosphere [post_excerpt] => MARTIN e GREIL (Dornbirn, Austria) Martin e Greil is a composer, sound artist/musician. He has performed throughout Europe and worked with artists including Colin Fallows and Keith Rowe. In 1999, he was artistic director of the Austrian millennium project The Millennium, and in 2000, his solo CD Spheres was released. He also appears on Audio Research Editions collections. He is equally active in multi-media arts, designing various Internet web sites, videos and digital animations. He was a sound Research Assistant and Lecturer at Liverpool School of Art and Design, Liverpool John Moores University (1999-2001) and a Design Lecturer at LIPA. He co-founded the ASPARA Company in 2001, and his own record label M’para. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => cubosphere [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:17 [post_modified_gmt] => 2014-09-25 10:36:17 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3145 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 854 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 3177 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Species Machine [post_excerpt] => Reed Ghazala is a self-taught, self-exiled, self-executed multi-media artist. All of Reed's work --visual, audio, musical instrument design and writing-- reflects a unique thinking-space. Reed doesn't bend the rules; he simply never learned them. Original, improbable; Reed's work constantly surprises on its own terms and has established Reed as a materials and concepts visionary. Reed's work can be found in the NYC Museum of Modern Art, the Guggenheim and the Whitney permanent collections. His sculptural experimental instruments have been built for Tom Waits, Peter Gabriel, King Crimson's Pat Mastalotto, Faust, Chris Cutler, Towa Tei, Yann Tomita, Peter Kember, Blur and many others. Reed's work has been requested and covered throughout the major media including ABC Television, The Discovery Channel, MTV, Disney, The New York Times, The Washington Post, Wired Magazine, Option, Billboard and Computers & Music. Reed's article series, "Circuit-Bending and Living Instruments" is now published and translated 'round the world. Reed Ghazala is now known internationally as "The Father of Circuit-Bending", an original and amazingly simple electronic process of creating experimental musical instruments from pre-existing audio gadgets. Without any prior knowledge of electronics, people everywhere are following this new standard of audio exploration and are designing their own fantastic instruments. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => species-machine [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:19 [post_modified_gmt] => 2014-09-25 10:36:19 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3177 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 887 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 3209 [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. 158.a.1, 2, 4, 5, 186.a [post_title] => Hope [post_excerpt] => Scanner - British artist Robin Rimbaud - traverses the experimental terrain between sound, space, image and form, creating absorbing, multi-layered sound pieces that twist technology in unconventional ways . From his early controversial work using found mobile phone conversations, through to his focus on trawling the hidden noise of the modern metropolis as the symbol of the place where hidden meanings and missed contacts emerge, his restless explorations of the experimental terrain have won him international admiration from amongst others, Bjork, Aphex Twin and Stockhausen. Scanner is committed to working with cutting edge practitioners and has collaborated with artists from every imaginable genre: musicians Bryan Ferry and Laurie Anderson, The Royal Ballet and Random Dance companies, composers Michael Nyman and Luc Ferrari, and artists Mike Kelley and Derek Jarman. As well as producing compositions and audio CDs, his diverse body of work includes soundtracks for films, performances, radio, and site-specific intermedia installations. He has performed and created works in many of the world's most prestigious spaces including SFMOMA USA, Hayward Gallery London, Pompidou Centre Paris, Kunsthalle Vienna, Bolshoi Theatre Moscow, Tate Modern London and the Royal Opera House London. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => hope-4 [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:22 [post_modified_gmt] => 2014-09-25 10:36:22 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3209 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 920 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 2919 [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] => Declivities [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] => declivities [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=2919 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 626 [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 ) )
Hope

Scanner, Tonne

Hope

1998