Archivio Sonoro: SoundArtMuseum en
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[post_title] => Insistence
[post_excerpt] => PlasticViolence
Formati da Paolillo Fabrizio e Materazzi Francesca nel 1996, con l’idea di realizzare un progetto musicale con sonorità sperimentali e di chiara impostazione ed argomentazione politica di denuncia. Iniziato come progetto aperto all’ngresso eventuale di altri componenti, il duo si stabilizza definitivamente tale, data la forte affinità e la carenza di musicisti che aderissero ad un simile contesto.
Con il primo CD “ufficiale” IMMATERIAL il sound è radicalmente cambiato passando a suoni minimalisti senza cantati, gelidi glitch e dai titoli dei brani che letti di seguito(inizia con “Ideal” e finisce con “Idol”) formano un percorso che mischia la contestazione della materia come forma di prodotto e quella nei confronti dell’arte istituzionalizzata.
Per quanto riguarda le rare esibizioni live, i PV fanno da sottofondo con il loro contributo musicale a happening o sets multimediali claustrofobici, aiutati anche da altri collaboratori occasionali.
Formed by Paolillo Fabrizio and Materazzi Francesca in 1996, with the idea to realize an experimental resonance musical project with a clear political argument of denunciation. Begun like open project for an eventual entrance of other components, the duet it is stabilized definitive such, given the strong affinity and the deficiency of musicians that adhered things like that context.With the first “official” CD IMMATERIAL the sound is radically changed to minimalist without sung, ice-cold glitches and the titles of the track that read to continue (begins with “Ideal” and ends with “Idol”) form a route that mixes the dispute of the matter like form of product and by comparisons with the istitutionalized art.As far as the rare exhibitions live-sets concerned, the PV does form a background with their musical contribution to happening or claustrophic multimedia sets, helped also by other occasional collaborators.
Cfr. n. Arch. 190.13
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[post_content] => Something new is happening in Rotterdam and i's a world premiere GRRR JAMMING SQUEAK is opening for a whole year. What is it? it's a fully equipped music recording studio, attended by sound engineers. Available to everyone, for free, to play music along with the sound of animals.
GRRR JAMMING SQUEAK is a public art work by PAOLA PIVI
www.paolapivi.com
David Cunningham is a record producer and musician who has worked with with an eclectic range of people and music which has included The Flying Lizards, Palais Schaumburg and Michael Nyman amongst many others. His installation works in art galleries magnify the sound of a room, a music delineated by the architectural characteristics of the space and modulated by the transient nature of people passing through. David Cunningham will play guitar live with a selection of animal sounds. The guitar is treated through a delay system which allows notes played to recycle infinitely, overlapping in different rhythms. Chronological rather than metronome time. The intention is to create a parallel structure alongside the aural ecologies taher than simply an exotic decoration. All the guitar sounds are originated live in the performance, the only pre-recorded material will be Grrr Jamming Squeak multispecies sound library.
Friday 15 April 2011
COOLSINGEL 63
ROTTERDAM [post_title] => DAVID CUNNINGHAM @ GRRR JAMMING SQUEAK [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => david-cunningham-grrr-jamming-squeak [to_ping] => [pinged] => [post_modified] => 2015-01-08 13:09:34 [post_modified_gmt] => 2015-01-08 12:09:34 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7858 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 2016 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 6246 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Fa parte del CD "Ann"; T.T. 68' 34". Copyright: Kaffe Matthews 1997 R.G.: Kaffe Matthews “CD Ann” – archivio SAM n. 123/a 17 tracce, compl. 68’36” Musica elettroacustica di taglio ambient/minimal, sperimentale ma abbastanza “ascoltabile”. Suoni e rumori concreti, sostanzialmente rari e rarefatti. Musica predominante: con tastiere, campionamenti vari, archi, percussioni. Non male, nel complesso: però molto lungo, piuttosto omogeneo (leggi monotono) e in definitiva un po’ “già sentito”. [post_title] => To Manson 13 (track 11) [post_excerpt] => Kaffe Matthews has been making and performing new electro-acoustic music since 1990. She is acknowledged as a leading figure and pioneer in the field of electronic improvisation and live composition making on average 50 performances a year worldwide. In 1997 she established the label Annette Works, releasing the best of these events on the six cd's, 'cd Ann', 'cd Bea' , 'cd cecile' ,'cd dd', 'cd eb and flo' presenting an annual document of ever developing sound worlds. Matthews makes site-specific sound works live, playing in the dark in the middle of the space, the audience surrounding her, the sounds moving around them. She uses self-designed software based matrices through which she pulls, pushes and reprocesses sounds live. Starting with an empty hard drive, a theremin, carefully located microphones and a four channel sound system, the room/gallery/concert hall/club/church/ship/audience/desert and its acoustic are also her instrument. It’s dangerous, but playing live on that fragile human boundary between success and failure is an essential aspect to her process. She also collaborates and has worked and performed with many artists worldwide including agf, Ryoko Kuwajima, Zeena Parkins, Sachiko M, Brian Duffy, Ikue Mori, Marina Rosenfeld, Pan-Sonic, O’Blaat, Oren Ambarchi, Alan Lamb, Christian Fennesz, and is now working on things Italian with Tarantata, an opera with 'the lappetites' and ongoing democractic stuggles with pan-European electronics orchestra ‘MIMEO’. She has also been making a growing body of composed works through collaborations with a variety of people, things and processes. From working with NASA astronauts researching the sonic experience of human and animal space travel making BAFTA awarded Weightless Animals, kites and the weather on an uninhabited Scottish island, (Weather Made', AWCDr01), taut wires in the Australian outback, mobile phone communication to a gallery in New York, and more recently “Touching Concrete Lightly” for MIMEO at the Serpentine Gallery Pavilion 2003, London designed by Oscar Niemeyer, now available as triple cd. Future commissions include sonic bed for 'Her Noise' (opening South London Gallery,September 2005), and a site specific work for the Mexican Sound Oasis Exhibition, Mexico City, February 2005 at Paseo de la Reforma. Background. Playing classical violin from the age of 7, singing badly in one band but getting further with bass and drums in another which recorded and toured for 4 years, in 1985 she discovered electricity and sound and with that, her current trajectory. Since then, acid house engineering, electrically reconstructing the violin, Distinction for a Masters in Music Technology, introducing and running a Performance Technology course at one of the leading Live Arts Colleges in the UK, and establishing the label Annette Works. She also set up a shop and did a Zoology degree along the way. 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[post_title] => The red Room [part one] (track 8) [post_excerpt] => Kaffe Matthews has been making and performing new electro-acoustic music since 1990. She is acknowledged as a leading figure and pioneer in the field of electronic improvisation and live composition making on average 50 performances a year worldwide. In 1997 she established the label Annette Works, releasing the best of these events on the six cd's, 'cd Ann', 'cd Bea' , 'cd cecile' ,'cd dd', 'cd eb and flo' presenting an annual document of ever developing sound worlds. Matthews makes site-specific sound works live, playing in the dark in the middle of the space, the audience surrounding her, the sounds moving around them. She uses self-designed software based matrices through which she pulls, pushes and reprocesses sounds live. Starting with an empty hard drive, a theremin, carefully located microphones and a four channel sound system, the room/gallery/concert hall/club/church/ship/audience/desert and its acoustic are also her instrument. It’s dangerous, but playing live on that fragile human boundary between success and failure is an essential aspect to her process. She also collaborates and has worked and performed with many artists worldwide including agf, Ryoko Kuwajima, Zeena Parkins, Sachiko M, Brian Duffy, Ikue Mori, Marina Rosenfeld, Pan-Sonic, O’Blaat, Oren Ambarchi, Alan Lamb, Christian Fennesz, and is now working on things Italian with Tarantata, an opera with 'the lappetites' and ongoing democractic stuggles with pan-European electronics orchestra ‘MIMEO’. She has also been making a growing body of composed works through collaborations with a variety of people, things and processes. From working with NASA astronauts researching the sonic experience of human and animal space travel making BAFTA awarded Weightless Animals, kites and the weather on an uninhabited Scottish island, (Weather Made', AWCDr01), taut wires in the Australian outback, mobile phone communication to a gallery in New York, and more recently “Touching Concrete Lightly” for MIMEO at the Serpentine Gallery Pavilion 2003, London designed by Oscar Niemeyer, now available as triple cd. Future commissions include sonic bed for 'Her Noise' (opening South London Gallery,September 2005), and a site specific work for the Mexican Sound Oasis Exhibition, Mexico City, February 2005 at Paseo de la Reforma. Background. Playing classical violin from the age of 7, singing badly in one band but getting further with bass and drums in another which recorded and toured for 4 years, in 1985 she discovered electricity and sound and with that, her current trajectory. Since then, acid house engineering, electrically reconstructing the violin, Distinction for a Masters in Music Technology, introducing and running a Performance Technology course at one of the leading Live Arts Colleges in the UK, and establishing the label Annette Works. She also set up a shop and did a Zoology degree along the way. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => the-red-room-part-one-track-8 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:00:54 [post_modified_gmt] => 2015-01-09 16:00:54 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6279 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 266 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 6310 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Fa parte del CD "flo"; T.T. 54' 19". Copyright: Kaffe Matthews 2003 Mixed and produced by km at Annette Works. [post_title] => In the dust [post_excerpt] => Kaffe Matthews has been making and performing new electro-acoustic music since 1990. She is acknowledged as a leading figure and pioneer in the field of electronic improvisation and live composition making on average 50 performances a year worldwide. In 1997 she established the label Annette Works, releasing the best of these events on the six cd's, 'cd Ann', 'cd Bea' , 'cd cecile' ,'cd dd', 'cd eb and flo' presenting an annual document of ever developing sound worlds. Matthews makes site-specific sound works live, playing in the dark in the middle of the space, the audience surrounding her, the sounds moving around them. She uses self-designed software based matrices through which she pulls, pushes and reprocesses sounds live. Starting with an empty hard drive, a theremin, carefully located microphones and a four channel sound system, the room/gallery/concert hall/club/church/ship/audience/desert and its acoustic are also her instrument. It’s dangerous, but playing live on that fragile human boundary between success and failure is an essential aspect to her process. She also collaborates and has worked and performed with many artists worldwide including agf, Ryoko Kuwajima, Zeena Parkins, Sachiko M, Brian Duffy, Ikue Mori, Marina Rosenfeld, Pan-Sonic, O’Blaat, Oren Ambarchi, Alan Lamb, Christian Fennesz, and is now working on things Italian with Tarantata, an opera with 'the lappetites' and ongoing democractic stuggles with pan-European electronics orchestra ‘MIMEO’. She has also been making a growing body of composed works through collaborations with a variety of people, things and processes. From working with NASA astronauts researching the sonic experience of human and animal space travel making BAFTA awarded Weightless Animals, kites and the weather on an uninhabited Scottish island, (Weather Made', AWCDr01), taut wires in the Australian outback, mobile phone communication to a gallery in New York, and more recently “Touching Concrete Lightly” for MIMEO at the Serpentine Gallery Pavilion 2003, London designed by Oscar Niemeyer, now available as triple cd. Future commissions include sonic bed for 'Her Noise' (opening South London Gallery,September 2005), and a site specific work for the Mexican Sound Oasis Exhibition, Mexico City, February 2005 at Paseo de la Reforma. Background. Playing classical violin from the age of 7, singing badly in one band but getting further with bass and drums in another which recorded and toured for 4 years, in 1985 she discovered electricity and sound and with that, her current trajectory. Since then, acid house engineering, electrically reconstructing the violin, Distinction for a Masters in Music Technology, introducing and running a Performance Technology course at one of the leading Live Arts Colleges in the UK, and establishing the label Annette Works. She also set up a shop and did a Zoology degree along the way. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => in-the-dust [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:00:57 [post_modified_gmt] => 2015-01-09 16:00:57 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6310 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 297 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 6342 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => ddd3 [post_excerpt] => Aaron Acosta is a graduate from the College of Santa Fe with a BA in Sound Design in Media in 2002. This is a Self Designed major that consists of studies in Theatre, Film, and Music. He enjoys designing soundscapes for theatre and film and he has many skills as far as theatre and film production. What he loves most is sound. Sound helps us interpret the world in a unique way with frequency, amplitude and time: he chooses to explore these realms. He is involved with electro acoustic composition as well as more traditional composition. He is currently working as Technical Director/ Resident Designer for Santa Fe Performing Arts. FESTIVALS. - Wave under 60, Vox Novus, New York, november 2004. - Traffic, Lunel (France) June 6th 2004, The Electrolune performance. - Traffic under 60, 60x60 concert, Vox Novus, New York, november 2003. - Reflection on "Eye of God", (2002) featured in 2003 Electric Rainbow Coalition Festival and Sixth Annual Santa Fe International Festival of Electro-Acoustic Music. - Traffic and Nebulous, performed at a special tape music reception on sept. 25 at the Santa Cruz Cayuga Vault for local audience and members of the Woodstockhausen Staff. Music copyright Aaron Acosta; all artwork + design herein is the copyright of Leona Graham: www.home.earthlink.net/~leonamae/leona.html R.G.: Aaron Acosta “frequency, amplitude and time” – archivio SAM n. 124/b,13 tracce, compl. 59’18” Lavoro musicale. Fasce elettroniche, che spesso risolvono in ritmo. Timbriche interessanti ma un po’ datate. Uso di strumenti e voci campionate, afferenti soprattutto al mondo della musica indiana (sitar, tablas, solfeggio sillabico), ma anche pianoforte acustico, zampogna, ecc. Lavoro piuttosto vario, lungo, vagamente noioso e non particolarmente innovativo, eppure non privo di un suo fascinaccio: in particolare nei momenti più estatici e “immobili” (vedi traccia 11). [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => ddd3 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:01:00 [post_modified_gmt] => 2015-01-09 16:01:00 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6342 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 329 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 6374 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Il brano è il track 4 di un Cd (T. T. 50' 10") dove sono raccolti alcuni lavori dell'artista. 1. un testo che illustra le occasioni e i modi di realizzazione dei brani che compongono il CD; 2. Materiale illustrativo + dvd (FC3) relativi al lavoro Lignes d'air (Orléans, 2004); 3. C.v.; 4. Materiale illustrativo del lavoro "Swell" (5/11/2004); 5.Brochure dell'istallazione"Station 3". [post_title] => Station 1 et 2 [post_excerpt] => Dominique Leroy Né en 1970 aux Sables d’Olonne / Born in 1970 in Sables d’Olonne (F). Études et formation / Education: -2003-2004/ HISK (Hoger Institut voor Schone Kunsten), Antwerpen -1991-1996/ École Régionale des Beaux-Arts de Tours et de Nantes Bourses et résidences / Grants: -2003-2004/ Programme MAP, Pépinières européennes pour jeunes artistes, Mons -2002/ Résidence à Saint-Setiers, Association « Appelboom » -1999/ Aide à l’installation d’atelier, DRAC Pays de la Loire Expositions individuelles / Solo exhibitions: -2003/ Idem+Arts, Maubeuge -2002/ La Pommerie, Saint-Setiers Idem+Arts, Maubeuge Expositions de groupe et performances / Collective exhibitions and performances -2003/ W139, Amsterdam « ’été + », Mons Musée des Beaux-Arts de Mons « Station 2 », galerie 7m3, médiathèque de Mons -2002/ « Sous le soleil », Saint-Herblain Théâtre de l’Agora, Ivry -2001/ « Station1 », Journées du patrimoine, Nantes « Champ de traces et ligne de loup », galerie du Haïdouc, Bourges « Aller-retour », Nantes et Bordeaux « SBAM+ », Centre commercial Beaulieu, Nantes -2000/ « Festival des labos », musique et cinéma expérimental, Grenoble « Actif-Réactif », Le Lieu Unique, Nantes Galerie pédagogique, Collège Victor Segalen, Châteaugiron Ancienne gare SNCF, Oudon -1999/ « Un samedi soir en mouvement », Oudon Ancienne gare SNCF, Oudon [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => station-1-et-2 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:01:03 [post_modified_gmt] => 2015-01-09 16:01:03 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6374 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 363 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 6406 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Twittwit [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => twittwit [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:01:06 [post_modified_gmt] => 2015-01-09 16:01:06 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6406 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 395 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 6075 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Max Serietà No Perditempo [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => max-serieta-no-perditempo-2 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:02:00 [post_modified_gmt] => 2015-01-09 16:02:00 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6075 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 59 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 6107 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => 101 [post_excerpt] => diverse persone contano fino a 101 sia in italiano che in tedesco: sono 26 tracce di diversa durata ciascuna. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => 101 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:02:02 [post_modified_gmt] => 2015-01-09 16:02:02 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6107 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 91 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 6043 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Insistence [post_excerpt] => PlasticViolence Formati da Paolillo Fabrizio e Materazzi Francesca nel 1996, con l’idea di realizzare un progetto musicale con sonorità sperimentali e di chiara impostazione ed argomentazione politica di denuncia. Iniziato come progetto aperto all’ngresso eventuale di altri componenti, il duo si stabilizza definitivamente tale, data la forte affinità e la carenza di musicisti che aderissero ad un simile contesto. Con il primo CD “ufficiale” IMMATERIAL il sound è radicalmente cambiato passando a suoni minimalisti senza cantati, gelidi glitch e dai titoli dei brani che letti di seguito(inizia con “Ideal” e finisce con “Idol”) formano un percorso che mischia la contestazione della materia come forma di prodotto e quella nei confronti dell’arte istituzionalizzata. Per quanto riguarda le rare esibizioni live, i PV fanno da sottofondo con il loro contributo musicale a happening o sets multimediali claustrofobici, aiutati anche da altri collaboratori occasionali. Formed by Paolillo Fabrizio and Materazzi Francesca in 1996, with the idea to realize an experimental resonance musical project with a clear political argument of denunciation. Begun like open project for an eventual entrance of other components, the duet it is stabilized definitive such, given the strong affinity and the deficiency of musicians that adhered things like that context.With the first “official” CD IMMATERIAL the sound is radically changed to minimalist without sung, ice-cold glitches and the titles of the track that read to continue (begins with “Ideal” and ends with “Idol”) form a route that mixes the dispute of the matter like form of product and by comparisons with the istitutionalized art.As far as the rare exhibitions live-sets concerned, the PV does form a background with their musical contribution to happening or claustrophic multimedia sets, helped also by other occasional collaborators. Cfr. n. 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GRRR JAMMING SQUEAK is a public art work by PAOLA PIVI
www.paolapivi.com
David Cunningham is a record producer and musician who has worked with with an eclectic range of people and music which has included The Flying Lizards, Palais Schaumburg and Michael Nyman amongst many others. His installation works in art galleries magnify the sound of a room, a music delineated by the architectural characteristics of the space and modulated by the transient nature of people passing through. David Cunningham will play guitar live with a selection of animal sounds. The guitar is treated through a delay system which allows notes played to recycle infinitely, overlapping in different rhythms. Chronological rather than metronome time. The intention is to create a parallel structure alongside the aural ecologies taher than simply an exotic decoration. All the guitar sounds are originated live in the performance, the only pre-recorded material will be Grrr Jamming Squeak multispecies sound library.
Friday 15 April 2011
COOLSINGEL 63
ROTTERDAM [post_title] => DAVID CUNNINGHAM @ GRRR JAMMING SQUEAK [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => david-cunningham-grrr-jamming-squeak [to_ping] => [pinged] => [post_modified] => 2015-01-08 13:09:34 [post_modified_gmt] => 2015-01-08 12:09:34 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7858 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 2016 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 6246 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Fa parte del CD "Ann"; T.T. 68' 34". Copyright: Kaffe Matthews 1997 R.G.: Kaffe Matthews “CD Ann” – archivio SAM n. 123/a 17 tracce, compl. 68’36” Musica elettroacustica di taglio ambient/minimal, sperimentale ma abbastanza “ascoltabile”. Suoni e rumori concreti, sostanzialmente rari e rarefatti. Musica predominante: con tastiere, campionamenti vari, archi, percussioni. Non male, nel complesso: però molto lungo, piuttosto omogeneo (leggi monotono) e in definitiva un po’ “già sentito”. [post_title] => To Manson 13 (track 11) [post_excerpt] => Kaffe Matthews has been making and performing new electro-acoustic music since 1990. She is acknowledged as a leading figure and pioneer in the field of electronic improvisation and live composition making on average 50 performances a year worldwide. In 1997 she established the label Annette Works, releasing the best of these events on the six cd's, 'cd Ann', 'cd Bea' , 'cd cecile' ,'cd dd', 'cd eb and flo' presenting an annual document of ever developing sound worlds. Matthews makes site-specific sound works live, playing in the dark in the middle of the space, the audience surrounding her, the sounds moving around them. She uses self-designed software based matrices through which she pulls, pushes and reprocesses sounds live. Starting with an empty hard drive, a theremin, carefully located microphones and a four channel sound system, the room/gallery/concert hall/club/church/ship/audience/desert and its acoustic are also her instrument. It’s dangerous, but playing live on that fragile human boundary between success and failure is an essential aspect to her process. She also collaborates and has worked and performed with many artists worldwide including agf, Ryoko Kuwajima, Zeena Parkins, Sachiko M, Brian Duffy, Ikue Mori, Marina Rosenfeld, Pan-Sonic, O’Blaat, Oren Ambarchi, Alan Lamb, Christian Fennesz, and is now working on things Italian with Tarantata, an opera with 'the lappetites' and ongoing democractic stuggles with pan-European electronics orchestra ‘MIMEO’. She has also been making a growing body of composed works through collaborations with a variety of people, things and processes. From working with NASA astronauts researching the sonic experience of human and animal space travel making BAFTA awarded Weightless Animals, kites and the weather on an uninhabited Scottish island, (Weather Made', AWCDr01), taut wires in the Australian outback, mobile phone communication to a gallery in New York, and more recently “Touching Concrete Lightly” for MIMEO at the Serpentine Gallery Pavilion 2003, London designed by Oscar Niemeyer, now available as triple cd. Future commissions include sonic bed for 'Her Noise' (opening South London Gallery,September 2005), and a site specific work for the Mexican Sound Oasis Exhibition, Mexico City, February 2005 at Paseo de la Reforma. Background. Playing classical violin from the age of 7, singing badly in one band but getting further with bass and drums in another which recorded and toured for 4 years, in 1985 she discovered electricity and sound and with that, her current trajectory. Since then, acid house engineering, electrically reconstructing the violin, Distinction for a Masters in Music Technology, introducing and running a Performance Technology course at one of the leading Live Arts Colleges in the UK, and establishing the label Annette Works. She also set up a shop and did a Zoology degree along the way. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => to-manson-13-track-11 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:00:51 [post_modified_gmt] => 2015-01-09 16:00:51 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6246 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 233 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 6279 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Fa parte del CD "Bea"; T.T. 69' 19". Copyright: Kaffe Matthews 1998 Remixed and produced by km at Annette Works, 47 Margetson House, Stamford Hill, London N16 5LE. R.G.: Kaffe Matthews “CD Bea” – archivio SAM n. 123/c 26 tracce, compl. 70’26” Lavoro strutturalmente molto simile al precedente (123.a), forse ancora più “musicale” che “concreto”. Stesso giudizio. [post_title] => The red Room [part one] (track 8) [post_excerpt] => Kaffe Matthews has been making and performing new electro-acoustic music since 1990. She is acknowledged as a leading figure and pioneer in the field of electronic improvisation and live composition making on average 50 performances a year worldwide. In 1997 she established the label Annette Works, releasing the best of these events on the six cd's, 'cd Ann', 'cd Bea' , 'cd cecile' ,'cd dd', 'cd eb and flo' presenting an annual document of ever developing sound worlds. Matthews makes site-specific sound works live, playing in the dark in the middle of the space, the audience surrounding her, the sounds moving around them. She uses self-designed software based matrices through which she pulls, pushes and reprocesses sounds live. Starting with an empty hard drive, a theremin, carefully located microphones and a four channel sound system, the room/gallery/concert hall/club/church/ship/audience/desert and its acoustic are also her instrument. It’s dangerous, but playing live on that fragile human boundary between success and failure is an essential aspect to her process. She also collaborates and has worked and performed with many artists worldwide including agf, Ryoko Kuwajima, Zeena Parkins, Sachiko M, Brian Duffy, Ikue Mori, Marina Rosenfeld, Pan-Sonic, O’Blaat, Oren Ambarchi, Alan Lamb, Christian Fennesz, and is now working on things Italian with Tarantata, an opera with 'the lappetites' and ongoing democractic stuggles with pan-European electronics orchestra ‘MIMEO’. She has also been making a growing body of composed works through collaborations with a variety of people, things and processes. From working with NASA astronauts researching the sonic experience of human and animal space travel making BAFTA awarded Weightless Animals, kites and the weather on an uninhabited Scottish island, (Weather Made', AWCDr01), taut wires in the Australian outback, mobile phone communication to a gallery in New York, and more recently “Touching Concrete Lightly” for MIMEO at the Serpentine Gallery Pavilion 2003, London designed by Oscar Niemeyer, now available as triple cd. Future commissions include sonic bed for 'Her Noise' (opening South London Gallery,September 2005), and a site specific work for the Mexican Sound Oasis Exhibition, Mexico City, February 2005 at Paseo de la Reforma. Background. Playing classical violin from the age of 7, singing badly in one band but getting further with bass and drums in another which recorded and toured for 4 years, in 1985 she discovered electricity and sound and with that, her current trajectory. Since then, acid house engineering, electrically reconstructing the violin, Distinction for a Masters in Music Technology, introducing and running a Performance Technology course at one of the leading Live Arts Colleges in the UK, and establishing the label Annette Works. She also set up a shop and did a Zoology degree along the way. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => the-red-room-part-one-track-8 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:00:54 [post_modified_gmt] => 2015-01-09 16:00:54 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6279 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 266 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 6310 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Fa parte del CD "flo"; T.T. 54' 19". Copyright: Kaffe Matthews 2003 Mixed and produced by km at Annette Works. [post_title] => In the dust [post_excerpt] => Kaffe Matthews has been making and performing new electro-acoustic music since 1990. She is acknowledged as a leading figure and pioneer in the field of electronic improvisation and live composition making on average 50 performances a year worldwide. In 1997 she established the label Annette Works, releasing the best of these events on the six cd's, 'cd Ann', 'cd Bea' , 'cd cecile' ,'cd dd', 'cd eb and flo' presenting an annual document of ever developing sound worlds. Matthews makes site-specific sound works live, playing in the dark in the middle of the space, the audience surrounding her, the sounds moving around them. She uses self-designed software based matrices through which she pulls, pushes and reprocesses sounds live. Starting with an empty hard drive, a theremin, carefully located microphones and a four channel sound system, the room/gallery/concert hall/club/church/ship/audience/desert and its acoustic are also her instrument. It’s dangerous, but playing live on that fragile human boundary between success and failure is an essential aspect to her process. She also collaborates and has worked and performed with many artists worldwide including agf, Ryoko Kuwajima, Zeena Parkins, Sachiko M, Brian Duffy, Ikue Mori, Marina Rosenfeld, Pan-Sonic, O’Blaat, Oren Ambarchi, Alan Lamb, Christian Fennesz, and is now working on things Italian with Tarantata, an opera with 'the lappetites' and ongoing democractic stuggles with pan-European electronics orchestra ‘MIMEO’. She has also been making a growing body of composed works through collaborations with a variety of people, things and processes. From working with NASA astronauts researching the sonic experience of human and animal space travel making BAFTA awarded Weightless Animals, kites and the weather on an uninhabited Scottish island, (Weather Made', AWCDr01), taut wires in the Australian outback, mobile phone communication to a gallery in New York, and more recently “Touching Concrete Lightly” for MIMEO at the Serpentine Gallery Pavilion 2003, London designed by Oscar Niemeyer, now available as triple cd. Future commissions include sonic bed for 'Her Noise' (opening South London Gallery,September 2005), and a site specific work for the Mexican Sound Oasis Exhibition, Mexico City, February 2005 at Paseo de la Reforma. Background. Playing classical violin from the age of 7, singing badly in one band but getting further with bass and drums in another which recorded and toured for 4 years, in 1985 she discovered electricity and sound and with that, her current trajectory. Since then, acid house engineering, electrically reconstructing the violin, Distinction for a Masters in Music Technology, introducing and running a Performance Technology course at one of the leading Live Arts Colleges in the UK, and establishing the label Annette Works. She also set up a shop and did a Zoology degree along the way. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => in-the-dust [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:00:57 [post_modified_gmt] => 2015-01-09 16:00:57 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6310 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 297 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 6342 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => ddd3 [post_excerpt] => Aaron Acosta is a graduate from the College of Santa Fe with a BA in Sound Design in Media in 2002. This is a Self Designed major that consists of studies in Theatre, Film, and Music. He enjoys designing soundscapes for theatre and film and he has many skills as far as theatre and film production. What he loves most is sound. Sound helps us interpret the world in a unique way with frequency, amplitude and time: he chooses to explore these realms. He is involved with electro acoustic composition as well as more traditional composition. He is currently working as Technical Director/ Resident Designer for Santa Fe Performing Arts. FESTIVALS. - Wave under 60, Vox Novus, New York, november 2004. - Traffic, Lunel (France) June 6th 2004, The Electrolune performance. - Traffic under 60, 60x60 concert, Vox Novus, New York, november 2003. - Reflection on "Eye of God", (2002) featured in 2003 Electric Rainbow Coalition Festival and Sixth Annual Santa Fe International Festival of Electro-Acoustic Music. - Traffic and Nebulous, performed at a special tape music reception on sept. 25 at the Santa Cruz Cayuga Vault for local audience and members of the Woodstockhausen Staff. Music copyright Aaron Acosta; all artwork + design herein is the copyright of Leona Graham: www.home.earthlink.net/~leonamae/leona.html R.G.: Aaron Acosta “frequency, amplitude and time” – archivio SAM n. 124/b,13 tracce, compl. 59’18” Lavoro musicale. Fasce elettroniche, che spesso risolvono in ritmo. Timbriche interessanti ma un po’ datate. Uso di strumenti e voci campionate, afferenti soprattutto al mondo della musica indiana (sitar, tablas, solfeggio sillabico), ma anche pianoforte acustico, zampogna, ecc. Lavoro piuttosto vario, lungo, vagamente noioso e non particolarmente innovativo, eppure non privo di un suo fascinaccio: in particolare nei momenti più estatici e “immobili” (vedi traccia 11). [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => ddd3 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:01:00 [post_modified_gmt] => 2015-01-09 16:01:00 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6342 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 329 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 6374 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Il brano è il track 4 di un Cd (T. T. 50' 10") dove sono raccolti alcuni lavori dell'artista. 1. un testo che illustra le occasioni e i modi di realizzazione dei brani che compongono il CD; 2. Materiale illustrativo + dvd (FC3) relativi al lavoro Lignes d'air (Orléans, 2004); 3. C.v.; 4. Materiale illustrativo del lavoro "Swell" (5/11/2004); 5.Brochure dell'istallazione"Station 3". [post_title] => Station 1 et 2 [post_excerpt] => Dominique Leroy Né en 1970 aux Sables d’Olonne / Born in 1970 in Sables d’Olonne (F). Études et formation / Education: -2003-2004/ HISK (Hoger Institut voor Schone Kunsten), Antwerpen -1991-1996/ École Régionale des Beaux-Arts de Tours et de Nantes Bourses et résidences / Grants: -2003-2004/ Programme MAP, Pépinières européennes pour jeunes artistes, Mons -2002/ Résidence à Saint-Setiers, Association « Appelboom » -1999/ Aide à l’installation d’atelier, DRAC Pays de la Loire Expositions individuelles / Solo exhibitions: -2003/ Idem+Arts, Maubeuge -2002/ La Pommerie, Saint-Setiers Idem+Arts, Maubeuge Expositions de groupe et performances / Collective exhibitions and performances -2003/ W139, Amsterdam « ’été + », Mons Musée des Beaux-Arts de Mons « Station 2 », galerie 7m3, médiathèque de Mons -2002/ « Sous le soleil », Saint-Herblain Théâtre de l’Agora, Ivry -2001/ « Station1 », Journées du patrimoine, Nantes « Champ de traces et ligne de loup », galerie du Haïdouc, Bourges « Aller-retour », Nantes et Bordeaux « SBAM+ », Centre commercial Beaulieu, Nantes -2000/ « Festival des labos », musique et cinéma expérimental, Grenoble « Actif-Réactif », Le Lieu Unique, Nantes Galerie pédagogique, Collège Victor Segalen, Châteaugiron Ancienne gare SNCF, Oudon -1999/ « Un samedi soir en mouvement », Oudon Ancienne gare SNCF, Oudon [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => station-1-et-2 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:01:03 [post_modified_gmt] => 2015-01-09 16:01:03 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6374 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 363 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 6406 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Twittwit [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => twittwit [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:01:06 [post_modified_gmt] => 2015-01-09 16:01:06 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6406 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 395 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 6075 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Max Serietà No Perditempo [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => max-serieta-no-perditempo-2 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:02:00 [post_modified_gmt] => 2015-01-09 16:02:00 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6075 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 59 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 6107 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => 101 [post_excerpt] => diverse persone contano fino a 101 sia in italiano che in tedesco: sono 26 tracce di diversa durata ciascuna. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => 101 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:02:02 [post_modified_gmt] => 2015-01-09 16:02:02 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6107 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 91 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 6043 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Insistence [post_excerpt] => PlasticViolence Formati da Paolillo Fabrizio e Materazzi Francesca nel 1996, con l’idea di realizzare un progetto musicale con sonorità sperimentali e di chiara impostazione ed argomentazione politica di denuncia. Iniziato come progetto aperto all’ngresso eventuale di altri componenti, il duo si stabilizza definitivamente tale, data la forte affinità e la carenza di musicisti che aderissero ad un simile contesto. Con il primo CD “ufficiale” IMMATERIAL il sound è radicalmente cambiato passando a suoni minimalisti senza cantati, gelidi glitch e dai titoli dei brani che letti di seguito(inizia con “Ideal” e finisce con “Idol”) formano un percorso che mischia la contestazione della materia come forma di prodotto e quella nei confronti dell’arte istituzionalizzata. Per quanto riguarda le rare esibizioni live, i PV fanno da sottofondo con il loro contributo musicale a happening o sets multimediali claustrofobici, aiutati anche da altri collaboratori occasionali. Formed by Paolillo Fabrizio and Materazzi Francesca in 1996, with the idea to realize an experimental resonance musical project with a clear political argument of denunciation. Begun like open project for an eventual entrance of other components, the duet it is stabilized definitive such, given the strong affinity and the deficiency of musicians that adhered things like that context.With the first “official” CD IMMATERIAL the sound is radically changed to minimalist without sung, ice-cold glitches and the titles of the track that read to continue (begins with “Ideal” and ends with “Idol”) form a route that mixes the dispute of the matter like form of product and by comparisons with the istitutionalized art.As far as the rare exhibitions live-sets concerned, the PV does form a background with their musical contribution to happening or claustrophic multimedia sets, helped also by other occasional collaborators. Cfr. n. Arch. 190.13 [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => insistence [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:01:57 [post_modified_gmt] => 2015-01-09 16:01:57 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6043 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 27 [post_it] => 10 ) [comment_count] => 0 [current_comment] => -1 [found_posts] => 1139 [max_num_pages] => 114 [max_num_comment_pages] => 0 [is_single] => [is_preview] => [is_page] => [is_archive] => 1 [is_date] => [is_year] => [is_month] => [is_day] => [is_time] => [is_author] => [is_category] => [is_tag] => [is_tax] => 1 [is_search] => [is_feed] => [is_comment_feed] => [is_trackback] => [is_home] => [is_privacy_policy] => [is_404] => [is_embed] => [is_paged] => 1 [is_admin] => [is_attachment] => [is_singular] => [is_robots] => [is_favicon] => [is_posts_page] => [is_post_type_archive] => 1 [query_vars_hash:WP_Query:private] => 7616b7d2a2ded15ba772db90f446be2c [query_vars_changed:WP_Query:private] => 1 [thumbnails_cached] => [allow_query_attachment_by_filename:protected] => [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 ) )
David Cunningham, Paola Pivi
DAVID CUNNINGHAM @ GRRR JAMMING SQUEAK
a public art work by PAOLA PIVI2011
Cyprian Li
Twittwit
