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T. 46' 48": selected sound tracks from Stefano Cagol's videos (1997-2004). The sound tracks can be heard without the video images. Sound, editing, post-production by Stefano Cagol. Copyright 2005 [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => im-a-master [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:03:18 [post_modified_gmt] => 2015-01-09 16:03:18 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6497 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 486 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 6529 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Untitled [post_excerpt] => Carl Stone is one of the pioneers of live computer music, and has been hailed by the Village Voice as "the king of sampling." and "one of the best composers living in (the USA) today." He has used computers in live performance since 1986. Stone was born in Los Angeles and now divides his time between San Francisco and Japan. He studied composition at the California Institute of the Arts with Morton Subotnick and James Tenney and has composed electro-acoustic music almost exclusively since 1972. His works have been performed in the U.S., Canada, Europe, Asia, Australia, South America and the Near East. In addition to his schedule of performance, composition and touring, he is on the faculty of the Media Department at Chukyo Unoversity in Japan. A winner of numerous awards for his compositions, including the Freeman Award for the work Hop Ken, Carl Stone is also the recipient of grants from the National Endowment for the Arts, the Rockefeller Foundation and the Foundation for Performance Arts. In 1984 he was commissioned to compose a new work premiered as part of the Olympic Arts Festival in Los Angeles. His music was selected by the dancer/choreographer Bill T. Jones for the production 1-2-3. in that same year. In 1989 he resided for 6 months in Japan under a grant from the Asian Cultural Council and in that same year, The Museum of Contemporary Art, Los Angeles commissioned a new work, Thonburi as part of the radio series "Territory of Art". In 1990 he was commissioned to create music for a 60-minute program for ZDF Television in West Germany entitled Made in Hollywood. In 1991 he received separate commissions from Michiko Akao (She Gol Jib, for traditional Japanese flute and electronics), Sumire Yoshihara (for percussionist and electronics) and Sony PCL (Recurring Cosmos, for High Definition video and electronics), which was awarded special honors at the International Electric Cinema Festival in Switzerland in 1991. In 1993, he was commissioned by the Paul Dresher Ensemble to create a new work, Ruen Pair, with funds from the Meet the Composer/Reader's Digest Commissioning Program. In 1994 he was commissioned by the Strings Plus Festival, Kobe to create Mae Ploy, for string quartet and electronics. In that same year he also created Banh Mi So, for ondes martenot and piano, at the request of Takashi Harada and Aki Takahashi. In 1995, he was commissioned by NTT/Japan to create a new work for the internet , Yam Vun Sen, as part of IC95. In 1996, with support from the Rockefeller Foundation, he created music for The Noh Project, a collaboration with choreographer June Watanabe and Noh master Anshin Uchida. In 1997 he was commissioned by Bay Area Pianists and Cal Performances to create a new work, Sa Rit Gol, for disklavier and pianist, as part of the Henry Cowell Centennial Celebration at UC Berkeley. Other festival performances in 1997 included Other Minds (San Francisco) and TonArt (Bern). In 1999 he was invited as Scholar-in-Residence at the Rockefeller Foundation Bellagio Study and Conference Center. In 2001 he served as Artist-in-Residence at the International Academy of Media Arts and Sciences (IAMAS) in Japan, and in that same year he joined the faculty of Chukyo University's School of Cognitive and Computer Sciences. Recordings of Carl Stone's music has been released on New Albion, CBS Sony, Toshiba-EMI, EAM Discs, Wizard Records, Trigram, t:me recordings, New Tone labels and various other labels. Carl Stone's music has been used by numerous theater directors and choreographers including Hiroshi Koike, Akira Kasai, Bill T. Jones, Setsuko Yamada, Ping Chong, June Watanabe, Kuniko Kisanuki, Rudy Perez, Hae Kyung Lee, and Blondell Cummings. Musical collaborations include those with Yuji Takahashi, Kazue Sawai, Aki Takahashi, Sarah Cahill, Haco, Dorit Cypis, Michiko Akao, Stelarc, z'ev, Bruce and Norman Yonemoto, Tosha Meisho, Otomo Yoshihide, Kathleen Rogers, Min Xiao-Fen and Mineko Grimmer. Carl Stone served as President of the American Music Center from 1992-95. He was the Director of Meet the Composer/California from 1981-1997, and Music Director of KPFK-fm in Los Angeles from 1978-1981. He often hosts a weekly program on KPFA-fm in the Bay Area USA. Other activities have included serving as a regular columnist for Sound & Recording Magazine in Japan, serving as web editor for Other Minds, a world wide web site devoted to New Music., and for the official web site of the John Cage Trust. This double CD-set is the companion to the final book reporting on the activities of Het Apollohuis. The recordings on these CDs give an idea of the music and the sound art presented in concerts at Het Apollohuis in the priod from 1980 through 1997. Out of a total of 500 performances I chose 38, from which exceprts of varying lenght have been included in this anthiology. These have been arranged in chronological order. The diversity of the selected pieces is characteristic of the programme of Het Apollohuis. Only limited number of composers and musicians who performed can be heard in brief fragments o these discs. Consequently a considerable number has been excluded. There simply was no way to include them all (this selection does not imply we value one above the other). The choice of the particular musicians has been my responsability (P: Panhuysen). liner notes: René van Peer sound selection: René Adriaans mastering: Frank Donkersgoed design: Tom Homburg, Marcel d'Anjou (Opera) [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => untitled-19 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:03:21 [post_modified_gmt] => 2015-01-09 16:03:21 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6529 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 518 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 6561 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => All music composed by Alvin Curran, produced by Alvin Curran, executive producer John Zorn associate producer Kazunori Sugiyama mastered by Scott Hull at Hit Factory Mastering, NYC This CD is a compilation of first time releases including selected fragments of orchestral, choral, solo keyboard, electronic and installation works created beetween 1987-2003. I am known for this, that and the other-other, but behind my attempts to transform the earth's entire landscape into a concert hall, there is and always has been a steadfast composer of notes and bening anarchy. Lost Marbles is both an insider's guide and a crash-course intro to my music-music created mostly in prominent experimental back rooms for single occasions and never heard from again. So I decided do make my own musical sapler including fragments of significant musical events from the middle '80s to the present whichI felt would make coincise but essential exposé if not a self-portrait, bringing myself and my public up to date with musics that toured briefly with world-class dance companies or theater groups, or resided in complex and expensive installation that lasted the length of a festival. True, most of these pieces had durations spanning aminimum of thirty minutes to over five hours, but here the chosen snippets arepresented as the antipasti and the main course all in one. Excepting four electronic and improvised pieces, all the music is conventionally written on paper with pen and ink - Alvin Curran (Rome, January 15, 2004). [post_title] => For MG [post_excerpt] => Democratic, irreverent and traditionally experimental, Curran travels in a computerized covered wagon between the Golden Gate and the Tiber River, and makes music for every occasion with any sounding phenomena -- a volatile mix of lyricism and chaos, structure and indeterminacy, fog horns, fiddles and fiddle heads. He is dedicated to the restoration of dignity to the profession of making non-commercial music as part of a personal search for future social, political and spiritual forms. Curran's music-making embraces all the contradictions (composed/improvised, tonal/atonal, maximal/minimal...) in a serene dialectical encounter. His more than 100 works feature taped/sampled natural sounds, piano, synthesizers, computers, violin, percussion, shofar, ship horns, accordion and chorus. Whether in the intimate form of his well-known solo performances, or pure chamber music, experimental radio works or large-scale site-specific sound environments and installations, all forge a very personal language from all the languages through dedicated research and recombinant invention. THE MAIN STORY With a fortuitous bang, he begins his musical journey (1965 in Rome) as co-founder of the radical music collective MUSICA ELETTRONICA VIVA, as a solo performer, and as a composer for Rome's avantgarde theater scene. In the 70's, he creates a poetic series of solo works for synthesizer, voice, taped sounds and found objects. Seeking to develop new musical spaces, and now considered one of the leading figures in making music outside of the concert halls -- he develops a series of concerts for lakes, ports, parks, buildings, quarries and caves -- his natural laboratories. In the 1980's, he extends the ideas of musical geography by creating simultaneous radio concerts for three, then six large ensembles performing together from many European Capitals. By connecting digital samplers to MIDI Grands (Diskklavier) and computers, since 1987, he produces an enriched body of work -- an ideal synthesis between the concert hall and all sounding phenomena in the world. In 1990, he begins a visually striking series of sound installations, in collaboration with Melissa Gould. Throughout these years he continues to write a significant amount of music for acoustic instruments. TEACHING From 1975-80 taught vocal improvisation at the Accademia Nazionale d'Arte Drammatica (Rome) and since 1991 has been the Milhaud Professor of Composition at Mills College in Oakland, California. FORMATIVE YEARS Born December 13, 1938, Providence, Rhode Island. From five years: piano lessons, trombone, marching bands, Synagogue chants, Jazz, and his father's dance bands. Becomes an artist at age 13 in an apple tree at the house of his lifelong friend, poet Clark Coolidge. Hears Spike Jones, the Rhode Island Philharmonic, Satchmo, The Boston Symphony Orcherstra, Art Tatum, Charlie Parker, The Band of America, Thelonius Monk, Gerry Mulligan, Miles Davis, Coltrane, Bartok and Christian Wolff. Studies composition with Ron Nelson (B.A. Brown University 1960) and with Elliott Carter and Mel Powell( M.Mus., Yale School of Music l963). During summer vacations, plays European crossings with the "Brunotes" on the Holland American Line, in a Greek Dance Band in the Catskills, and in the Dunes Hotel in Las Vegas. Continues studies and friendship with Carter in Berlin (1964 Ford Foundation Grant), meets Stravinsky, Xenakis, Berio, Yuji Takahashi, Andriessen, Remo Remotti, and above all Rzewski. Goes to Darmstadt, hangs with Babbitt and Earl Brown, hears Stockhausen and Ligeti. Goes to Rome with Joel Chadabe and plays piano in bars on via Veneto, meets Franco Evangelisti and Cornelius Cardew. In the MUSICA ELETTRONICA VIVA years (1966 -1971 in Rome), performs in over 200 concerts in Europe and the USA with Teitelbaum and Rzewski, Carol Plantamura, Ivan Vandor, Alan Bryant and Jon Phetteplace; and makes significant artistic encounters with: Giuseppe Chiari, Edith Schloss, AMM, Cardew, Steve Lacy, Michelangelo Pistoletto, Steve ben Israel, Anthony Braxton, Simone Forti, Steve Reich, Joan LaBarbara, Michael Nyman, La Monte Young, Trisha Brown, Ashley, Behrman, Gordon Mumma, Alvin Lucier, Larry Austin, Bill Smith, Ketoff, Robert Moog, Nuova Consonanza, MEV2, Meme Perlini, Mario Ricci, Maria Monti, Prima Materia, Ron Bunzl, Phil Glass, Charlemagne Palestine, Terry Riley, George Lewis, Evan Parker, Gregory Reeves, Serge Tcherepnin, Kosugi, Pulsa, Maryanne Amacher, John Cage, David Tudor, Morton Feldman. Scelsi becomes his friend and mentor. PRIZES AND AWARDS Bearns Prize, BMI award, National Endowment for the Arts (twice), DAAD (Berlin residencies 1963-4 and 1986-7), Ars Acoustica International (WDR), Prix Italia (special award l988), Premio Novecento (city of Pisa), Fromm Foundation (Harvard University), Hass Family Award (San Francisco), Meet the Composer (assistance to many concerts), Leonardo Award for Excellence (1995), Guggenheim Foundation (2004). [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => for-mg [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:03:24 [post_modified_gmt] => 2015-01-09 16:03:24 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6561 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 551 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 6593 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Platinum Segments [post_excerpt] => Ted Apel is a sound artist whose sculptures and installations focus on the audio transducing element as the source of visual and sonic material. He has exhibited his work at sound art festivals and exhibits including the SoundCulture 96 festival in San Francisco; the Ussachevsky Festival in Claremont, California; the EarArt Sound exhibit in Chico, California; the Sinusoidal Sound Art Show at SFSU; the Audio Art Festival in Krakow, Poland; and the Sound Symposium in St. John's Newfoundland. He was twice a prizewinner at the Bourges International Electroacoustic Music Competition for his sound installations. And his sound installation received an honorary mention at the Prix Ars Electronica 2001. Ted Apel studied electroacoustic music at Dartmouth College with Jon Appleton, Larry Polansky and Christian Wolff. He is currently teaching computer music as adjunct faculty at the Boise State University Department of Music. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => platinum-segments [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:03:28 [post_modified_gmt] => 2015-01-09 16:03:28 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6593 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 583 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 6625 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Perpetual Dizziness [post_excerpt] => I am a modernist but mostly I am an audiophile - albeit with peculiar and often eccentric taste. Consequently, in my artistic practice I am interested in examining, locating or commemorating collective culturl experiences in historic moments of creative transition. I attemp a marriage of art history and black history within the realm of the abstract languages they constructed. This notion is manifested through multi-disciplinary pieces that incorporate sound, works on paper, and site based projects all focusing on music, specifically the aage of modern music-the more avant-garde or Be Bopera, aperiosd with intense social and cultural implications. Complimenting today's deluge of hip hop culture as defining black culture, the audio pieces transform the gallery space into concert hall via speakers or private listening zones vie headsets. Assembling fresh pieces by means of jazz concepts like "call and response", tempo chanes, "stop-time" and counter melody, I build variations on the original compositions themselves, not unlike a musician riffing on a "standars" tune. Future project ideas range from the transcription of sheet music (scores) into large-scale drawings, collaborating with musicians to then "play" those works - to site related projects in and around Harlem. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => perpetual-dizziness [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:05:22 [post_modified_gmt] => 2015-01-09 16:05:22 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6625 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 616 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 6657 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Terminal [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] => terminal [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:05:26 [post_modified_gmt] => 2015-01-09 16:05:26 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6657 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 648 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 6717 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Was halten Sie vom Loch? (track 6) [post_excerpt] => WILLIAM ENGELEN, (1964, Weert, the Netherlands) lives and works in Rotterdam and Berlin. From 1989-1991 he studied at the Jan van Eyck Academy in Maastricht. Recently he participated in the exhibition Made in Berlin at the Artforum 2004 in Berlin. In 2003 he had a solo exhibition in the Neuer Aachener Kunstverein: Partitur. Music and visual art are interwoven in the work of William Engelen. For instance the artist writes scores for musical performances, which at the same time serve as drawings. His work Plu (2004) which can be seen in Projektraum Kastalia, was conceived as a choreography. It suggests dance, movement and sound in a silent, architectural sculpture. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => was-halten-sie-vom-loch-track-6 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:05:32 [post_modified_gmt] => 2015-01-09 16:05:32 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6717 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 708 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 6749 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [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] => Little string litany [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] => little-string-litany [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:05:35 [post_modified_gmt] => 2015-01-09 16:05:35 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6749 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 740 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 6803 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => gocce n.4 [post_excerpt] => Studia chitarra brasiliana e chitarra flamenco. Dopo il diploma al liceo classico studia architetura alla Sapienza e pianoforte classico con il maestro Emilio Rabaglino. Quindi frequenta la scuola popolare di musica di testaccio (composizione e pianoforte jazz), e partecipa ai seminari estivi della Berklee ad Umbria Jazz e a quelli di Siena Jazz. Suona a Jeddah (Arabia Saudita) per uno scambio culturale, sia come solista che come accompagnatore. Compone una sonorizzazione per una performance teatrale di Filippo Garrone. Suona con la Moinor Funk Orchestra diretta da Angelo Schiavi. Nel 1998 si trasferisce a New York dove studia alla Mannes Jazz School of Music ed all'Istitute of Audio Research diplomandosi in ingegneria del suono. In questo periodo suona in diversi locali di NY e NJ. Compone la colonna sonora per il cortometraggio "taken..." di Bartek Rainski (vincitore al RIFF come miglior corto straniero), scrive e co-produce con lo stesso Rainski il cortometraggio "CONFINI". Nel 2002 lavora a Ouagadougou in Burkina Faso per l'avviamento di uno studio di registrazione (basato sul sistema digitale Soundscape), insegnando ad uno stagista Burkinabé le tecniche di regisrtazione e post produzione, e registrando diversi gruppi locali (verranno prodotti due dischi). Tornato in Italia, finisce insieme a Bartek Rainski la post-produzione del cortometraggio "Confini", e ne compone la colonna sonora. Composizione/sonorizzazzione per la performance video/teatrale "Narciso violento" e "Evian" di Caroline Freddi. Compone musiche per pubblicità, cartoni animati e programmi tv. In questo periodo lavora anche ad una raccolta di brani di carattere minimalista per pianoforte solo intitolata 'gocce', registrata poi nel Giugno 2005 e pubblicata in Ottobre. Insegna pianoforte moderno alla scuola "Officine Musicali". [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => gocce-n-4 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:05:41 [post_modified_gmt] => 2015-01-09 16:05:41 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6803 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 796 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 6835 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => miller garden [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] => miller-garden [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:06:53 [post_modified_gmt] => 2015-01-09 16:06:53 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6835 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 828 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 6497 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => I'm a master [post_excerpt] => Cd T. T. 46' 48": selected sound tracks from Stefano Cagol's videos (1997-2004). The sound tracks can be heard without the video images. Sound, editing, post-production by Stefano Cagol. Copyright 2005 [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => im-a-master [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:03:18 [post_modified_gmt] => 2015-01-09 16:03:18 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6497 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 486 [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] => 4c76de77f8c9453e27f46898a3c958d8 [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 ) )