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He has composed and performed scores for dance and theatrre companies throughout Europe. Released two CDs on Touch: "Loopholes" and "Surf". He is now working on compositions for radio and installations for galleries. 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_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => in-loving-memory-walter-gibbons-and-arthur-russel [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:07:07 [post_modified_gmt] => 2015-01-09 16:07:07 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6975 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 970 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 7007 [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. 183.3, 184.3 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] => Say Zero [post_excerpt] => Steven Ball, a Master's degree graduate of the University of Michigan School of Music, holds the unique distinction of being the first organist in modern academic history to have proven his abilities as a performer on both the classical and theater organ. Mr. Ball has concertized and lectured around the world including solo performances and silent film presentations in the Netherlands, Germany, Belgium, France, Portugal, Ireland, England and Switzerland. He was also the recipient of a Fulbright Scholarship to the Netherlands in 2001 for his work in the world of Campanology and Carillon Performance. His unique perspective, energy, improvisatory abilities and performance style have kept audiences in theatres on the edge of their seats and have generated a new and unexpected excitement about the future of this instrument in America and elsewhere. Mr. Ball is currently Staff Organist at the Michigan Theater in Ann Arbor, MI and organist at Plymouth Congregational Church in Lansing, MI where he can be heard on a regular basis. He also plays the carillons at the University of Michigan. A specialist in the rare and almost vanished art of live silent film accompaniment, Mr. Ball has participated in numerous festivals over years. Working with original instruments, materials and music he has either composed, arranged, re-created, performed and/or improvised scores for countless films both in solo performance and with orchestra. These have ranged from the familiar to the obscure. Just to name a few from recent seasons: -The Phantom of the Opera -Metropolis -The Hunchback of Notre Dame -Judith of Bethelia -Sunrise -One Week -The Shiek -Steamboat Bill Jr. -Nosferatu -He Who Gets Slapped -Amarilly of Clothes-line Alley -Faust (The Damnation of) -Cops -Steamboat Bill Jr. -His Marriage Vow -Bring Up Baby -IT -The Lamb -Our Hospitality -Habeas Corpus Mr. Ball will be appearing in various theater sponsored film events throughout the 2005-2006 season at the Michigan Theater and was also recently featured on National Public Radio's nationally syndicated program Pipedreams (program # 0447 11/22/2004). You can listen to this show on their online audio archives for free by going to www.pipedreams.publicradio.org [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => say-zero [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:07:11 [post_modified_gmt] => 2015-01-09 16:07:11 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7007 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1002 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 7040 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => 0°C [post_excerpt] => 90° South first appeared with the track V.H.F. on the Decalogue mini-album on Ochre records, followed in 1999 by their debut album The Barie Silence also on Ochre, an atmospheric collection of soundscapes for trans-continental travel, and trans-polar exploration. 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_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => 0c [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:11:19 [post_modified_gmt] => 2015-01-09 16:11:19 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7040 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1036 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 7072 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => fadi@vilnius.It [post_excerpt] => 2006 "Südkurve" - Interactive Sound-Installation for the exhibition "You'll never walk alone" (9.6.-9.7.) - O.K. Centrum für Gegenwartskunst, Linz t-u-b-e Plugged - Experimentelles Internetkonzert zur "Langen Nacht der Musik" T-U-B-E Munich feat. Oliver Augst (Frankfurt) , Nils Bultmann (Madison/USA), Wolfgang Dorninger (base records, Linz), Nick Fells (Glasgow), Klaus Schedl (München) und Axel-Frank Singer (z.Zt. Paris) "Nasca, über die Perspektive" - multi-media performance - 6th February 2006 - La Casa Encendida, Madrid "Nasca, über die Perspektive" - multi-media performance - 3rd-4th February 2006 - O.K. Centrum für Gegenwartskunst, Linz "Nasca, on perspektive" - DVD (base rec.) out June 2006 Acoustic presentation "now & Mozart" Albertina Wien, Curator: Herbert Lachmayr/Da Ponte (März) 2005 "Me and my mike!" Audio-Performance-Lecture Stop Spot 2005 (Symposium) - 18.11. 2005 O.K. Centrum für Gegenwartskunst, Linz Installation "Die Stimme - interaktive Pop-Algorithmen" Peter Weibel / Wolfgang Dorninger Kunstfest Weimar vom 22.8. - 11.9.2005 2004 "Phonorama" ZKM Karlsruhe - Acoustic presentation, Curator: Brigitte Felderer, Architect: Markus Pillhofer "Phonorama" ZKM Karlsruhe - Installation "Die Stimme - interaktive Pop-Algorithmen" Peter Weibel / Wolfgang Dorninger "Die Stimme" Ruhrtriennale Essen - Acoustic concept 2001 Uraufführung "Hisatsinom, über das Verschwinden" Festival "4020" Linz. Studienaufenthalt in Tucson, Arizona (12-2000 bis 3-2001) 2000 Musik für das Tanzstück "Sozialwerk" mit Marina Koraiman, Monika Huemer, Didi Bruckmayr, Michael Strohmann und Peter Thalhammer (Aufführungen im Posthof Linz und der Volksbühne Berlin, April 2000) "fadi @ vilnius.lt" for Dialog2 Articulation (Litauen/Oberösterreich) im OK-Centrum für Gegenwartskunst - CD base records 0046 - Katalog Edition OK, April 2000 Aufführung und Videoscreening im Contemporary Art Center Vilnius (Februar 2000) Teilnahme an der Ausstellung "Aus dem Umfeld - Zeichnungen+" Stadtwerkstatt 1979-1999 - Kunstuni Linz (Februar 2000) 1999 Auftragsarbeit Asten für Resocycling beim Festival der Regionen 1999 CD Asten (base records) Klangpark (Ars Electronica 1999) mit Michael Nyman, Scanner, Sam Auinger, Rupert Huber, Jomasound, Robert Worby und Gordan Paunovic. Gilt auch für die CD Klangpark (Ars Electrica) 1998 Laager - eine Auftragsarbeit für den europäischen Kulturmonat in Linz - Musik-Produktion von Peter Androsch, Sam Auinger, Dietmar Bruckmayr und Wolfgang Dorninger 1997 Sampling Realities mit Werner Jauk, Musik und Doris Jauk-Hinz, Videoinstallation - Forum Stadtpark Graz 11/97, Teilnehmer bei Symposium music<->media auf der Hochschule für Amerikanistik, Graz 1995 Ars Electronica 1995 - 3 Live-Auftritte mit Aural Screenshots (Wolfgang Dorninger und Josef Linschinger of Fuckhead) Teilnahme an Horizontal Radio des Ö1-Kunstradios mit Aural Screenshots Sounddesign für Achse des Ofens (Festival der Regionen - Androsch, Dörr und Kurovski) 1994 Musik für die CD und das Kunstradio für 11 23 Wien (Neville Brody, Glückstein, Senger) 1987 Ars Electronica 1987 Auftragsarbeit: Monochrome Bleu "Kopfstich - Musik und Video Pt.6" von Monochrome Bleu (Dorninger, Resch, Schatzl, Androsch und Kurt Hennrich (Videokünstler)) Morgen Hysterisch Theater Aufführung in der Fachhochschule für Architektur und Design in Düsseldorf - Rauminstallation und Theater mit Sabine Bitter, Helmut Weber, Leo Schatzl, Pepi Maier und Wolfgang Dorninger aka Josef K. Noyce) Intergallaktisches Lärmstrukturfestival - Ravensburg: Monochrome Bleu "Musik und Video Pt.5". 1986 Wohnen Von Sinnen - Düsseldorf: Projekt mit der Gruppe Wohnfreiheit zur Ausstellung im Düsseldorfer Kunstmuseum. Titel: "Badewannenkonzert" (mit Georg Ritter, Gotthard Wagner u.v.m) Unter jeder Kunst Beteiligung bei der illegalen Gemeinschaftsausstellung von Studenten der Mkl. für visuelle Gestaltung in Linz in den Katakomben der abgebrannten Ring-Brot-Werke Linz Klare Nacht Musikenironment für die Rauminstallation von Leo Schatzl in einer Linzer Bar. 1985 MUKU 1995 Multimediaperformance mit Monochrome Bleu (Dorninger, Resch und Schatzl) im Rahmen eines gemeinsamen Projektes der Gruppe Schöner Schein (Rainer Zendron, Leo Schatzl, etc.) auf dem Multimediafestival MUKU in Kassel, Deutschland. "Schnell und Hell" Musik zur Ausstellung und Performance von Leo Schatzl. 1984 "KLA4" Neue Galerie Linz, Performance mit Karl Heinz Klopf Ars Electronica 1994 Multimediaperformance mit der Gruppe Monochrome Bleu (Wolfgang Dorninger, Thomas Resch, Leo Schatzl, Dr. Geza Eisserer) mit dem Titel "Musik Sehen" mit Markus Binder und Pepi Maier. Visualisierte Musik - Auftritte in der Galerie Krintzinger, Zu den Sachen, etc. - 10 Auftritte 1983 "Schwarze Bilder" Konzert und Ausstellung in einem Abbruchhaus mit Sabine Bitter, Helmut Weber u.a. "Wechselstrom" Ausstellung, Beitrag mit Markus Binder (Attwenger), Pepi Maier (Gruppe Musik Sehen) in einer aufgelassenen Fabrik im Süden von Linz. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => fadivilnius-it [to_ping] => [pinged] => [post_modified] => 2019-08-13 17:34:38 [post_modified_gmt] => 2019-08-13 15:34:38 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7072 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1068 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 7104 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Midi Feedback Loop [post_excerpt] => Dan Gärdenfors is Swedish and was born in 1976. He holds a university degree in music science. In addition, he has worked with sound design and as a curator for sound art exhibitions and authored several publications on sound, games and space. The interactive is a main interest of Gärdenfors, both in his research and in the productions he has made for his sound design company. 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] => midi-feedback-loop [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:11:25 [post_modified_gmt] => 2015-01-09 16:11:25 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7104 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1100 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 7743 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Campana sommersa [post_excerpt] =>

Liliana Moro è nata nel 1961 a Milano, dove vive e lavora. Il suo esordio è legato alla fondazione con altri artisti, alla fine degli anni ottanta, dello spazio autogestito di Via Lazzaro Palazzi. Qui espone dal 1989 al 1992. Il lavoro di Liliana Moro sembra essere percorso da un rigore rafforzato dalla modalità che l’artista mette in atto sia quando usa tecniche elaborate, sia quando sceglie di utilizzare oggetti che fanno parte del quotidiano o materiali esistenti. Le opere di Liliana Moro non pretendono di scomporre la realtà, ma anzi diventano gli ambienti stessi in cui sono “contenute”: dentro e fuori, visibile e invisibile. Grazie alla luce e al suono, l’artista spinge lo spettatore a guardare in basso, forzandolo ad uno spostamento spazio/temporale.

[post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => campana-sommersa-2 [to_ping] => [pinged] => [post_modified] => 2019-08-17 16:45:38 [post_modified_gmt] => 2019-08-17 14:45:38 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7743 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1898 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 6031 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => News Clip Study 1 [post_excerpt] => René Morgensen, Danish composer and musician, works across many musical areas, investigating a broad range of compositional possibilities in works for chamber ensembles and jazz ensembles, as well as creations in electroacoustic sound art, in an effort to go beyond idiomatic compartmentalism. In 2004 he completed his new Promenade Symfony for the Tivoli Promenade Orchestra, a 16 piece chamber orchestra in Copenhagen, Denmark for premiere in June of that year. His works for soloist with electronics including Five Seasons, and others for ensembles of various instrumentations with electroacoustics have been presented in various venues around New York City, and in Europe. Mogensen has completed several commissions for Danish Public Radio Program One (DR P1) in the past few years. He has recently created new works during residencies at DIEM, STEIM, Logos, and other music & technology research centers. Three recent scores for modern dance/theater have included Heaven or Cell and Terrror and Money and Air and Marble for productions in New York City with choreographer Renata Celichowska during 2002-2003. Mogensen’s electroacoustic works have been presented in radio programs and concerts in many places around the world. His works for chamber ensembles, as well as works for jazz groups, have been performed by various ensembles, including concerts by the Esbjerg Ensemble in Denmark, the Ensemble Rosario in Argentina, and by the NYU New Music Ensemble in New York City, as well as by René Mogensen’s Ensemble in New York. Recent releases include appearances on tenor saxophone on the Korean released cd Selfless Self by Woochang Lee, and the inclusion of Mogensen’s works News Clips Study 1 and Economics 102 on the Belgian KriKri 2002 cd. Mogensen was the composer in residence at the Center for Contemporary Music at Mills College, CA, in October of 1999, where his piece Spring Decomposition for wind trio and tape was premiered. During the summers 1996 and 1997, he was the composer and performer in residence in the NYU graduate music program in Pisa, Italy, where several of his works were premiered in concerts as part of the Strada Facendo performing arts festival. More information about concerts, recordings, and other news about Mogensen's work is listed on the web page: www.geocities.com/renemogensen Mogensen's work is recorded on various labels including: Capstone and Wassard in New York, AV-Art in Denmark, and Hwa-Eum Records and Notation Records in Korea. He is the recipient of awards for his work from various foundations including the Danish Institute for Electroacoustic Music, Meet the Composer USA, the John Anson Kittredge Fund, the Yvar Mikhashoff Trust for New Music, the Danish Music Council, the Eubie Blake Fund, and others. He holds an MA in music from New York University, and a BA from the University of Rochester, NY, USA. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => news-clip-study-1 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:01:56 [post_modified_gmt] => 2015-01-09 16:01:56 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6031 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 14 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 7870 [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

2-David Bertocchi (Italia 1969) & Robonom: Poule/son (Pollo /suono che in italiano è un gioco di parole) Si tratta di un finto field recording di un pollaio, che riproduce pseudo suoni ottenuti interamente con macchine analogiche vecchio stile.

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-13 [to_ping] => [pinged] => [post_modified] => 2015-01-08 13:07:55 [post_modified_gmt] => 2015-01-08 12:07:55 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7870 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 2028 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 6234 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Dépaysements è una serie di lavori per strumento solo e per voce e pianoforte dedicati ad incontri tra la musica contemporanea e le tradizioni extra-europee. TT: 69' 42". Dépaysements è un lavoro di sfioramenti, marginalità e sconfinamenti. La traccia em,ozionale che lo attraversa è una permanente condizione di deriva o naufragio di un paesaggio nelll'altro. Si gioca l'inserimento di suggestioni geografiche in un sistema centrifugo dove, scivolando semanticamente, ognuna di questa si sottrae all atrappola della definizione o non definizione di sé. L'"artificio delle temporalità" tra musica colta occidentale e il dato extraeuropeo, con la sua diversa percezione della storia, ispira l'intero ciclo per un convivere di identità stimolate al movimento non solo dalla trama delle storie del passato ma anche e soprattutto da sempre più compromettenti e politiche ipotesi di futuro. Il CD "Dépaysements" si compone di 10 tracce: 1: Maftir (2003) per viola da gamba sola, 6' 46", viola Hille Perl; 2: Mizmor (1999) per pianoforte solo, 4' 48", pianoforte Cristina Barbuti; 3- 6: Le divan oriental-occidental (2002) Quatre chansons pour voix et piano, soprano Linda Campanella, pianoforte Cristina Barbuti 3: Ad'h'â at--tanâ'i (testo di Ibn Zaydun), 7' 14"; 4: Gestern mittags (testo di R. M. Rilke), 4' 59"; 5: Gingo biloba (testo di J. W. Von Goethe), 6'07"; 6: L'âme que l'amour ne connaît (testo di Rûmi), 4' 49"; 7: Dhil (2004) per contrabasso solo, 7' 59", contrabasso Willy Merz; 8: Pardes (2003) per percussione sola, 13' 34", percussioni Thierry Miroglio; 9 Dung (1998) per faagotto solo, 5' 33", fagotto Diego Chenna; 10: Reng (2003) per viola sola, 7' 48", viola Danilo Rossi. [post_title] => Dung [post_excerpt] => Willy Merz è compositore, direttore d'orchestra e contrabbassista. Diplomatosi in Contrabasso e in Composizione presso il Conservatorio di Torino e in Direzione d'Orchestra presso il Conservatorio di Milano, si è perfezionato all'Accademia Chigiana di Siena con Franco Donatoni, all'IRCAM di Parigi e con Fernand Leitner in Direzione d'Orchestra. Nel 2003 è stato preiato dal "Councours international de Composition" di Friburgo. Sue composizioni sono abitualmente eseguite in importanti Festivals europei e diffuse su France Culture, Suedwest Rundfunk e RAITRE. Nel 2003 la sua opera "Ulysses" è stata eseguita presso il Teatro Colòn di Buenos Aires. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => dung [to_ping] => [pinged] => [post_modified] => 2015-01-09 16:20:32 [post_modified_gmt] => 2015-01-09 15:20:32 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6234 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 221 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 6267 [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 "Cécile"; T.T. 60' 18". Copyright: Kaffe Matthews 1999 Edited, mixed and mastered by km at Annette Works, Top floor, 11-29 Fashion Street, London E1 6PX. [post_title] => The surface as ice I belive [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-surface-as-ice-i-belive [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=6267 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 254 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 6975 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => In loving memory: Walter Gibbons and Arthur Russel [post_excerpt] => Philip Jack began composition using record-players and electronics in the early 1980s. He has composed and performed scores for dance and theatrre companies throughout Europe. Released two CDs on Touch: "Loopholes" and "Surf". He is now working on compositions for radio and installations for galleries. 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). 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