Archivio Sonoro: SoundArtMuseum en

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Collabora con la galleria Richard Saltoun di Londra, lo  Studio Stefania Miscetti di Roma e la Galleria Marcolini di Forlì. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => mamma [to_ping] => [pinged] => [post_modified] => 2019-08-17 14:47:30 [post_modified_gmt] => 2019-08-17 12:47:30 [post_content_filtered] => [post_parent] => 0 [guid] => https://www.radioartemobile.it/?post_type=sounds&p=14590 [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] => 14586 [post_author] => 2 [post_date] => 2019-08-17 13:54:07 [post_date_gmt] => 2019-08-17 11:54:07 [post_content] => [post_title] => Stalker [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => stalker [to_ping] => [pinged] => [post_modified] => 2019-08-17 14:44:29 [post_modified_gmt] => 2019-08-17 12:44:29 [post_content_filtered] => [post_parent] => 0 [guid] => https://www.radioartemobile.it/?post_type=sounds&p=14586 [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] => 14584 [post_author] => 2 [post_date] => 2019-08-17 13:54:05 [post_date_gmt] => 2019-08-17 11:54:05 [post_content] => [post_title] => Three [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => three [to_ping] => [pinged] => [post_modified] => 2019-08-17 14:42:59 [post_modified_gmt] => 2019-08-17 12:42:59 [post_content_filtered] => [post_parent] => 0 [guid] => https://www.radioartemobile.it/?post_type=sounds&p=14584 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 0 [post_it] => 0 ) [3] => WP_Post Object ( [ID] => 14577 [post_author] => 2 [post_date] => 2019-08-16 19:24:26 [post_date_gmt] => 2019-08-16 17:24:26 [post_content] => Sound Barrier è un progetto di ricerca audio-video teso ad esplorare i confini dei rapporti tra suono e immagine nell'era delle tecnologie digitali. L'esito attuale di questa ricerca in-progress è un live-set che vede coinvolte, in un'azione performativa, diverse forme espressive legate ai new-media : software art, live cinema, sound design, VJing. Il punto di partenza è costituito da frammenti di materiale cinematografico muto, per lo più proveniente da episodi cinetico/immaginali degli anni '60 e '70 a funzione non (o almeno non primariamente) autopoietica, i cosiddetti ephemeral film, che dal vivo vengono analizzati e processati attraverso dei software specifici in grado di estrarne informazioni che successivamente vengono trasformate in suoni. [post_title] => L'effet imbattable [post_excerpt] => Mappatura di una serie di Ephemeral video. Video a vocazione non artistica come i video delle webcam o dei circuiti di sorveglianza trovano un sonorizzazione ''oggettiva'' attraverso l'analisi computazionale dell'imagine. 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Il punto di partenza è costituito da frammenti di materiale cinematografico muto, per lo più proveniente da episodi cinetico/immaginali degli anni '60 e '70 a funzione non (o almeno non primariamente) autopoietica, i cosiddetti ephemeral film, che dal vivo vengono analizzati e processati attraverso dei software specifici in grado di estrarne informazioni che successivamente vengono trasformate in suoni. [post_title] => Rempire [post_excerpt] => Mappatura dello storico lavoro di Andy Warhol, applicando parametri sonori allo spazio della pellicola. L'assoluta peuliarità sta nel fatto che il footage è eseguito totalmente con telecamera fissa, per cui a suonare è letteralmente il supporto fiscio della pellicola, attraverso flyckering salti, zone diversamente impressionate. E' il supporto fiscio stesso che, attraverso procedimenti di transcodifica digitale viene suonato. 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Noordigaart [post_excerpt] => Il filo conduttore di ogni mio pezzo sta nell'uso di suoni ''di scarto'' registrati in diverse occasioni e riutilizzati attraverso una serie di modifiche per creare il corpo del pezzo. In qualche occasione, sopratutto nei primi lavori, le tracce sono state realizzate utilizzando files audio presenti all'interno di vari software musicali ma sempre rimodellati a seconda dell'utilizzo da farne, in seguito ho iniziato a fondere files già esistenti con registrazioni e frammenti inediti da me registrati, fino al completo abbandono di files digitali in favore di materiale inedito registrato e modificato. Altra caratteristica che accomuna i pezzi è solitamente la staticità, la ripetitività degli elementi e la quasi totale assenza di parti ritmiche, ridotte all'essenziale in brevi parti di alcune tracce. Cerco, inoltre, di fondere un livello sonoro ''freddo'', quindi puramente elettronico e schematizzato, son sonorità generate da strumenti reali quali violino, arpa, piano o sax, in modo da non lasciare mai vivere i due livelli singolarmente. Ogni suono, nato in un determinato contesto, viene quasi totalmente decontestualizzato, modificato e riutilizzato... in un certo senso rinasce. 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Collabora con la galleria Richard Saltoun di Londra, lo  Studio Stefania Miscetti di Roma e la Galleria Marcolini di Forlì. 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