Archivio Sonoro: SoundArtMuseum en

WP_Query Object ( [query] => Array ( [post_type] => sounds [settori] => sound-art-museum-en [paged] => 21 [posts_per_page] => 10 ) [query_vars] => Array ( [post_type] => sounds [settori] => sound-art-museum-en [paged] => 21 [posts_per_page] => 10 [error] => [m] => [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [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 ( ) [search_columns] => Array ( ) [meta_query] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_menu_item_cache] => [lazy_load_term_meta] => 1 [update_post_meta_cache] => 1 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [taxonomy] => settori [term] => sound-art-museum-en [order] => DESC ) [tax_query] => WP_Tax_Query Object ( [queries] => Array ( [0] => Array ( [taxonomy] => settori [terms] => Array ( [0] => sound-art-museum-en ) [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-en ) [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] => 10 [name] => SoundArtMuseum en [slug] => sound-art-museum-en [term_group] => 0 [term_taxonomy_id] => 11 [taxonomy] => settori [description] => [parent] => 0 [count] => 1145 [filter] => raw ) [queried_object_id] => 10 [request] => SELECT SQL_CALC_FOUND_ROWS wp_posts.* FROM wp_posts LEFT JOIN wp_term_relationships ON (wp_posts.ID = wp_term_relationships.object_id) JOIN wp_icl_translations wpml_translations ON wp_posts.ID = wpml_translations.element_id AND wpml_translations.element_type = CONCAT('post_', wp_posts.post_type) WHERE 1=1 AND ( wp_term_relationships.term_taxonomy_id IN (11) ) AND ((wp_posts.post_type = 'sounds' AND (wp_posts.post_status = 'publish'))) AND ( ( ( wpml_translations.language_code = 'en' OR ( wpml_translations.language_code = 'it' AND wp_posts.post_type IN ( 'page' ) AND ( ( ( SELECT COUNT(element_id) FROM wp_icl_translations WHERE trid = wpml_translations.trid AND language_code = 'en' ) = 0 ) OR ( ( SELECT COUNT(element_id) FROM wp_icl_translations t2 JOIN wp_posts p ON p.id = t2.element_id WHERE t2.trid = wpml_translations.trid AND t2.language_code = 'en' AND ( p.post_status = 'publish' OR p.post_status = 'private' OR ( p.post_type='attachment' AND p.post_status = 'inherit' ) ) ) = 0 ) ) ) ) AND wp_posts.post_type IN ('post','page','attachment','wp_block','wp_template','wp_template_part','wp_navigation','mc4wp-form','projects','events','sounds' ) ) OR wp_posts.post_type NOT IN ('post','page','attachment','wp_block','wp_template','wp_template_part','wp_navigation','mc4wp-form','projects','events','sounds' ) ) GROUP BY wp_posts.ID ORDER BY wp_posts.post_date DESC LIMIT 200, 10 [posts] => Array ( [0] => WP_Post Object ( [ID] => 6993 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Cfr. n. Arch. 183.58 TRACE is a limited edition collection of two-minute pieces by international sound artists, experimental composers, noise makers and other audio creators. Each artist has produced an original recording of two-minute duration for the CD on the theme of TRACE. TRACE greated an opportunity for a selection of international sound artists to work thematically, as well as providing listeners with further insight into the artists work. By bringing together this calibre and range of contributions, TRACE aims to stimulate further interest in the practice, debate and dialogue surrounding sound art. The artista on TRACE range from well known world figures, to individuals and groups making their first wirks in this field. TRACE was published thanks to a research award from the Centre for Art International Research (CAIR). [post_title] => Trace Elements [post_excerpt] => Rob Rowlands is a Sound sculptor/ generative sound artist, involved in Doctoral research at Liverpool John Moores University. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => trace-elements-2 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:07:09 [post_modified_gmt] => 2015-01-09 16:07:09 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6993 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 988 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 7026 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Cfr. n. Arch.184.30 ZERO is a limited edition collection of one-minute soundworks by international sound artists, experimental composers, noise makers and other audio creators. Contributors were invited to create an original recording of one-minute duration for the CD on the theme of ZERO - whether through their stripped-down, low-tech aesthetic or a focus on themes of absence, abstraction, distortion or a sense of thereshold between one state and another. The CD contains a broad variety of one-minute soundworks and presents the results of artists working thematically in chance juxtaposition. By bringing together this calibre and range of contributions, ZETRO aims to stimulate further interest in the artist work and practice, debate and dialogue surrounding sound art. The artists on ZERO range from well known world figures, to individuals and groups making their first wirks in this field. ZERO was commisioned by the Foundation for Art & Creative Technology (FACT) and was published with the support from Liverpool Art School. [post_title] => Timeless [post_excerpt] => Born in 1944. Lives and works in London. William Furlong belongs to the generation of British artists who developed a new concept of sculpture in the 1970's and 80's (Gilbert & George, Bruce McLean, Paul Richards etc.). Furlong's special contribution has been in the area of "Sound" and, with the founding of Audio Arts (together with Michael Archer) in 1973, he began a project of mapping the territory of contemporary art in a series of cassette editions. The Audio Arts project is not only a massive archive of interviews with artists but also contains documents of important exhibitions, symposia and festivals plus many original acustic works by artists. William Furlong is professor at the Wimbelton School of Art in London. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => timeless [to_ping] => [pinged] => [post_modified] => 2019-08-13 13:25:10 [post_modified_gmt] => 2019-08-13 11:25:10 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7026 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1022 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 7058 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Cfr. nn. Arch. 158.a.1,2,4,5; 183.59 [post_title] => charter [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. Paul Farrington, AKA TONNE This prize-winning visual artist and designer has made visible the work of Scanner, Pole and Spring Heel Jack among others, linking sound with visuals that vary between elegantly simple lines to multiple layers of superimposed imagery. Tonne's interactive sound interfaces allow music to be produced as responses to the movement of graphics, and vice-versa. By manipulating sound utilities, Tonne builds toys, games, interactive environments and soundbanks. Developing and producing controlled systems for sound and image interaction, Tonne has performed live at Sonar (Barcelona 2000), FCMN (Montréal), Expanded Cinema (Milan), Lovebytes (Sheffield), and Steim (Amsterdam). Tonne was awarded Creative Review's Creative Futures Up-And-Coming Graphic Designer of 1999. Recently Tonne has been commissioned by the music label Meta to release recordings of his sound toys. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => charter [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:11:21 [post_modified_gmt] => 2015-01-09 16:11:21 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7058 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1054 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 7090 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Panic Attack [post_excerpt] => Astrid Lomholt and Tanja Schlander are both Danish and born in 1974. Lomholt finished from Det Fynske Kunstakademi in 2005. Schlander is currently studying at Det Jyske Kunstakademi and has already participated in a number of sound installations, performances, exhibitions and concerts in Denmark and abroad. Together they have collaborated since 2004, especially doing live shows. Their material is usually based on field recordings. Technical Breakdown is an international sound art exhibition, which took place uin the public space of Cophenagen, denmark in November 2005 - January 2006. The exhibition consists of 5 different listening posts presenting 30 sound works by artists from 10 different countries.The sound art exhibition Technical Breakdown takes as its starting point the chaotic and unpredictable field of communication in which misunderstanding and the unspeakable take on a life of their own. The exhibition encourages "a grant of self conduct" practice, setting loose sounds and feedback from all spheres making it possible for them to diffuse and mingle into the sound-scapes we inhabit.The exhibition consists of 5 different listening posts, eahc presenting its own perpective pn the error. The listening posts introduce the audience to a numebr of unique sound worlds, using the technical breakdown itself as a strategy to give voice and body to that which would not otherwise surfece. Through circuit bending, cut-ups and samples, the sound art reaches into the environment and breaches the continuity of our rational experience of the world. The art works show us unconcious moods and phenomena, and connects circuits not designed to be connected. The surroundings are animated by sound which again enhance our sense of space. The sound works mark the installation sites by interfering and underlining, amplifying or unermining the surroundings. In this way the sites themselves take part in creating cross-references between the many different layers of sound that one is likely to be tuned in on simoultaneously, though at different levels of intensity. The listening post Panic Room turns up the paranoia and surveillance atmosphere in the shopping centre Field's. The intimidating refuge criticises as well as imitates consumer culture buffoon and chaos with sample of sound from media and the collapse of discourses. At The Culture House KIB, The Cones couples the harbour front with the another dimension. The sounds function as a portal linking the site to be underground and the mystical. At The Royal Library The Black Diamond, The Glass breaks the borders between inside and outside - between private and public - with its fragile, crisp sounds and forces itself on the visitor's itnimate sphere. At the cinema and film institute, Cinemateket, Sonographic Stele translates picture itno sound and sound intopicture. One language talks on behalf of the oher an dinitiates acomplicated dialogue on the verge of nonsense. In the web-basedc listening post, City on the Net everything is inter-twined cacophony - no sound is limited to its original context, while virtual cities are recreated as soundscapes. The artists participating in Technical Breakdown all contemplate events and notions that are out of our reach - and out of control. In the exhibition sound layers ranging from the fictive ti the real, from the cognitive to the evocative come together and form a sonic web around us. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => panic-attack [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:11:24 [post_modified_gmt] => 2015-01-09 16:11:24 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7090 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1086 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 7753 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Il lupo d’insperato [post_excerpt] => Nato a Roma, Italia (1934). Vive e lavora a Roma.

L’artista si esprime in campo visivo e letterario. Da anni promuove un concettualismo visivo e letterario totalizzante ed esistenziale (fare o subire la propria vita). Dalla fotografia al libro (e il suono) espressivo e teorico all’installazione, il suo lavoro è contrario all’idealismo meccanicistico vigente; nel suo lavoro, la dimensione creativa dialettizza con quella scientifica e psicologica, in un’apertura est-etica”, leggibile e offerta a tutti (conoscere è un grande piacere, ma ancora più grande è essere con te).
Ha tenuto numerose mostre personali ed antologiche in Italia e all’Estero e le sue opere si trovano in noti musei (da Bruxelles a Antwerpen, da Parigi a Amsterdam e Roma) oltre ad aver pubblicato numerosi libri. Il catalogo più recente è “Patella ressemble à Patella.

[post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => il-lupo-dinsperato-2 [to_ping] => [pinged] => [post_modified] => 2019-08-19 13:07:11 [post_modified_gmt] => 2019-08-19 11:07:11 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7753 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1908 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 7725 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Francesco Fonassi nasce a Brescia nel 1986. Tra le mostre personali: 'Sonic Raids - in place of listening', a cura di Amerigo Nutolo e 'Crocedomini', a cura di Daniela Zangrando. Nel 2011 realizza il progetto ‘Everest fm 100.1’. Tra le mostre collettive: 'Theatre of Life', a cura di Dobrila Denegri presso il CoCa di Torun (PL); Lunaparkproject, Chapitre X: La roulette russe, presso BB15 di Linz (A), 'StudioVisit', a cura di Andrea Bruciati ed Eva Comuzzi, presso la Galleria Comunale d'Arte Contemporanea di Monfalcone; 'Presences: 2001-2010', a cura di Dobrila Denegri, presso la Remont Gallery di Belgrado (SRB) e 'Opera BLM 2011' presso la Fondazione Spinola-Banna di Torino. Prende parte al programma di residenza Real-Presence a Belgrado nel 2007 e presso il Castello di Rivoli nel 2008. [post_title] => Everest fm 100.1 [post_excerpt] => Radio pièce per 50 esecutori, mixato da dodici ore di trasmissione radio pirata in occasione del progetto 'Everest fm 100.1', presso Torre Everest, Vicenza (I) Recording, Mix - Francesco Fonassi Mastering - Giorgio Presti [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => everest-fm-100-1-2 [to_ping] => [pinged] => [post_modified] => 2019-08-16 20:13:02 [post_modified_gmt] => 2019-08-16 18:13:02 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7725 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1880 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 6038 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Three Trombones [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. (9) possono essere presentato anche pezzi del lavoro… William Engelen, geb. 1964 in Weert/Holland, lebt in Berlin. Ausstellungen u. a. 1993 MUKHA Antwerpen 1997 Witte des With, Rotterdam 2002 Württembergischer Kunstverein Stuttgart 2003 Neuer Aachener Kunstverein. William Engelen, Partitur, herausgegeben vom NAK Neuer Aachener Kunstverein, erschienen im Revolver Archiv für aktuelle Kunst, Frankfurt/M., 2003, ist in der Galerie für EURO 25 erhältlich. Der Katalog enthält hervorragende Textbeiträge von Susanne Titz, Michael Glasmeier und Joachim Krausse sowie eine CD mit musikalischen Kompositionen Engelens. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => three-trombones [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=6038 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 21 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 7863 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => RAMradioartemobile presenta

Nuit Blanche Parigi 2013

(Q.i Q.i) LES OISEAUX

Play list

5-Alvin Curran (U.S., 1938) La Favola Protagonista indiscusso di molte favole, il re degli uccelli canori è il protagonista di una sperimentazione musicale. Il piccolo usignolo è capace di produrre un canto fatto da toni chiari e forti, considerato tra i più complessi ed è composto da strofe di toni singoli e doppi.

05 ottobre 2013 - 06 ottobre 2013

La Gaîté Lyrique 3bis Rue Papin

75003 Parigi, Francia

I nostri ringraziamenti vanno a Chiara Parisi e Julie Pellegrin, direttore artistico delle Notti Bianche, Jerome Delormas, direttore delle Gaite Lyrique e le loro rispettive squadre. Ringraziamo in particolare Picnic Radio (Berlino) per la loro collaborazione. [post_title] => LES OISEAUX [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => les-oiseaux-20 [to_ping] => [pinged] => [post_modified] => 2015-01-08 13:08:52 [post_modified_gmt] => 2015-01-08 12:08:52 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7863 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 2021 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 6241 [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] => A hot bath [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] => a-hot-bath [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:00:50 [post_modified_gmt] => 2015-01-09 16:00:50 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6241 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 228 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 6274 [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] => A custom skylark (track 3) [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] => a-custom-skylark-track-3 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:00:53 [post_modified_gmt] => 2015-01-09 16:00:53 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6274 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 261 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 6993 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Cfr. n. Arch. 183.58 TRACE is a limited edition collection of two-minute pieces by international sound artists, experimental composers, noise makers and other audio creators. Each artist has produced an original recording of two-minute duration for the CD on the theme of TRACE. TRACE greated an opportunity for a selection of international sound artists to work thematically, as well as providing listeners with further insight into the artists work. By bringing together this calibre and range of contributions, TRACE aims to stimulate further interest in the practice, debate and dialogue surrounding sound art. The artista on TRACE range from well known world figures, to individuals and groups making their first wirks in this field. TRACE was published thanks to a research award from the Centre for Art International Research (CAIR). [post_title] => Trace Elements [post_excerpt] => Rob Rowlands is a Sound sculptor/ generative sound artist, involved in Doctoral research at Liverpool John Moores University. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => trace-elements-2 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:07:09 [post_modified_gmt] => 2015-01-09 16:07:09 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6993 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 988 [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] => 983e5b3ce11ab01d0be5a58f568b4d99 [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 ) )