Archivio Sonoro: SoundArtMuseum en
WP_Query Object
(
[query] => Array
(
[post_type] => sounds
[settori] => sound-art-museum-en
[paged] => 39
[posts_per_page] => 10
)
[query_vars] => Array
(
[post_type] => sounds
[settori] => sound-art-museum-en
[paged] => 39
[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 380, 10
[posts] => Array
(
[0] => WP_Post Object
(
[ID] => 6866
[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. 183.28, 184.33, 185.23
[post_title] => Null
[post_excerpt] => MARTIN e GREIL (Dornbirn, Austria) Martin e Greil is a composer, sound artist/musician. He has performed throughout Europe and worked with artists including Colin Fallows and Keith Rowe. In 1999, he was artistic director of the Austrian millennium project The Millennium, and in 2000, his solo CD Spheres was released. He also appears on Audio Research Editions collections. He is equally active in multi-media arts, designing various Internet web sites, videos and digital animations. He was a sound Research Assistant and Lecturer at Liverpool School of Art and Design, Liverpool John Moores University (1999-2001) and a Design Lecturer at LIPA. He co-founded the ASPARA Company in 2001, and his own record label M’para.
[post_status] => publish
[comment_status] => closed
[ping_status] => open
[post_password] =>
[post_name] => null
[to_ping] =>
[pinged] =>
[post_modified] => 2019-08-13 11:56:14
[post_modified_gmt] => 2019-08-13 09:56:14
[post_content_filtered] =>
[post_parent] => 0
[guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6866
[menu_order] => 0
[post_type] => sounds
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
[old_id] => 859
[post_it] => 10
)
[1] => WP_Post Object
(
[ID] => 6898
[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. 184.36
[post_title] => September song, with Irma Victoria
[post_excerpt] => Martin Hall is a singer, composer, multi-instrumentalist and author born in 1963, Denmark. He studied at the Royal Academy of Fine arts, copenhagen and has released 16 albu,s and 5 books. He was given the Honorary Award of DJBFA (The Danish Association of Composers) as well as the prestigious 3-year grant from The National Found for Endowment.
[post_status] => publish
[comment_status] => closed
[ping_status] => open
[post_password] =>
[post_name] => september-song-with-irma-victoria
[to_ping] =>
[pinged] =>
[post_modified] => 2015-01-09 17:06:59
[post_modified_gmt] => 2015-01-09 16:06:59
[post_content_filtered] =>
[post_parent] => 0
[guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6898
[menu_order] => 0
[post_type] => sounds
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
[old_id] => 892
[post_it] => 10
)
[2] => WP_Post Object
(
[ID] => 6930
[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. 184.65, 185.44
[post_title] => Hopeless Diamond
[post_excerpt] => Stylus is the pseudonym of the reclusive experimentalist Dafydd Morgan. In April 1997 he released the track "Kinski" (a tribute to Klaus Kinski) on a 10" split record with the band Longstone. "A lengthy, multi-layered piece of electronica, taking in vintage Cluster and 90's digi-dub", as The Wire found out. In 1998 he was part of The Serpents, a collaboration of artists on Ochre Records and Cradiff based Ankst Records (including David Wrench, Skyray, Will Sergeant of Echo & The Bunnymen, Ectogram, Longstone, Rheinhallt H. Rowlands, The Anglesey Ambient Experiment, Zoe Skoulding and Môr) which released their debut 7" single No Mask, No Cloak, Dim Gobaith on 18 May 1998. On 24 June 1998 his track "Paradise Ranch" was broadcast on "The John Peel Show". About "Glass Dream 1", released in November 1998 on the first INFRASONIC WAVES-EP-sampler, the Record Collector wrote: "Stylus put Baudelaire to a throbbing psychedelic backdrop"... Stylus now has forthcoming tracks appearing on Liquefaction Empire, Oggum and Space Age compilations.
[post_status] => publish
[comment_status] => closed
[ping_status] => open
[post_password] =>
[post_name] => hopeless-diamond
[to_ping] =>
[pinged] =>
[post_modified] => 2015-01-09 17:07:03
[post_modified_gmt] => 2015-01-09 16:07:03
[post_content_filtered] =>
[post_parent] => 0
[guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6930
[menu_order] => 0
[post_type] => sounds
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
[old_id] => 925
[post_it] => 10
)
[3] => WP_Post Object
(
[ID] => 6962
[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. 183.24 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] => A Fragment History
[post_excerpt] => Paul Fretwell (b.1972) is a composer and sonic adventurer who walks along the edge of our musical experiences, endowing the everyday, the mundane, the noisy, the quiet, and the unheard with a new musical value. He has produced pieces for traditional instruments from full orchestra to small ensemble, as well as works which use computer technology to transform and develop sound. His music is dramatic, sensuous and evocative, using drones, textures, grating timbres and luscious harmony to create a beguiling sonic vocabulary that bewitches the listener. Many of his works have been performed in festivals and concerts around the world. Two of his electroacoustic pieces have been released on CD, Doors Close and A Fragmented History, both on Audio Research Editions (Hope and Trace). His musical education began early, and as a child he was awarded a place at Chetham’s School of Music, where he studied trombone, piano and composition. Later he attended the University of Birmingham, where he gained a first class honours degree specialising in composition. More recently, he has completed a Masters and PhD at City University, London. He has taught composition in a wide variety of institutions including the Royal Academy of Music, University of Hertfordshire, Bath Spa University, and in September 2005 was appointed to a position at the newly-founded Centre for Music Technology at the University of Kent, where he is contributing to the development of a range of degrees and research programmes.
[post_status] => publish
[comment_status] => closed
[ping_status] => open
[post_password] =>
[post_name] => a-fragment-history
[to_ping] =>
[pinged] =>
[post_modified] => 2015-01-09 17:07:06
[post_modified_gmt] => 2015-01-09 16:07:06
[post_content_filtered] =>
[post_parent] => 0
[guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6962
[menu_order] => 0
[post_type] => sounds
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
[old_id] => 957
[post_it] => 10
)
[4] => WP_Post Object
(
[ID] => 6994
[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. 183.38, 183.26, 185.39 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] => Tonedual
[post_excerpt] => Ruth Jarman and Joseph Gerhardt are artists working and living in Brighton. They work togheter as Semiconductor engineering multi-media events, producing electronic music and most recently working on sound films, using techiniques od direct translation from sound to image. Much of the work deals with a sonic/retinal relationship, not just in terms of synchronisation but in the actual code, both in digital and analog.
[post_status] => publish
[comment_status] => closed
[ping_status] => open
[post_password] =>
[post_name] => tonedual
[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=6994
[menu_order] => 0
[post_type] => sounds
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
[old_id] => 989
[post_it] => 10
)
[5] => WP_Post Object
(
[ID] => 7027
[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. 184.31 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] => Between Zero
[post_excerpt] => Andrew Garton is a sound and media artist. He has been commissioned to create networked sound pieces and installations for Stelarc, Ars Electronica, various radio performances and the percy Grainger Museum (Australia). He is also a member of the International theremin Ensemble and founding composer of teh choir, fierce Throat.
[post_status] => publish
[comment_status] => closed
[ping_status] => open
[post_password] =>
[post_name] => between-zero
[to_ping] =>
[pinged] =>
[post_modified] => 2015-01-09 17:11:18
[post_modified_gmt] => 2015-01-09 16:11:18
[post_content_filtered] =>
[post_parent] => 0
[guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7027
[menu_order] => 0
[post_type] => sounds
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
[old_id] => 1023
[post_it] => 10
)
[6] => WP_Post Object
(
[ID] => 7059
[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] => upper lime
[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] => upper-lime
[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=7059
[menu_order] => 0
[post_type] => sounds
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
[old_id] => 1055
[post_it] => 10
)
[7] => WP_Post Object
(
[ID] => 7091
[post_author] => 2
[post_date] => 2014-08-22 10:38:39
[post_date_gmt] => 2014-08-22 08:38:39
[post_content] =>
[post_title] => David Mann
[post_excerpt] => Eske Nørholm is Danish and born in 1983. As a musician and sound artist he manipulates electronic components (i.e. by circuit bending), uses field recordings as well as more traditional instruments in his compositions. Eske Nørholm is part of the noise band Dødskuglen, and he has participated in international sound art and music festivals in Scandinavia. 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] => david-mann
[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=7091
[menu_order] => 0
[post_type] => sounds
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
[old_id] => 1087
[post_it] => 10
)
[8] => WP_Post Object
(
[ID] => 7795
[post_author] => 1
[post_date] => 2014-08-22 10:38:39
[post_date_gmt] => 2014-08-22 08:38:39
[post_content] => Globalgroove nasce alla fine degli anni novanta da un’idea di Michele Andreoni e Fabio Toffolo. Inizialmente l’interesse si rivolge al web con il sito www.globalgroove.it , una pubblicazione on-line al limite tra arte e advertising. In seguito il progetto ha ampliato il suo raggio d'azione con pittura, fotografia, collage, campionamenti audio e progetti editoriali.
[post_title] => Happy New Year
[post_excerpt] => Spectrograms è un diario noir in formato microfilm. Dalla marcetta meccanica di Altenberg Maschinen al funk psichedelico di Bill In Whitfield Touch, vengono attraversati in modo obliquo generi e stili musicali come ambient, art rock, elettronica, torch song, hip hop.
[post_status] => publish
[comment_status] => closed
[ping_status] => open
[post_password] =>
[post_name] => happy-new-year-2
[to_ping] =>
[pinged] =>
[post_modified] => 2019-08-08 11:51:33
[post_modified_gmt] => 2019-08-08 09:51:33
[post_content_filtered] =>
[post_parent] => 0
[guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7795
[menu_order] => 0
[post_type] => sounds
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
[old_id] => 1953
[post_it] => 10
)
[9] => WP_Post Object
(
[ID] => 7752
[post_author] => 1
[post_date] => 2014-08-22 10:38:39
[post_date_gmt] => 2014-08-22 08:38:39
[post_content] =>
[post_title] => Bios-sfere
[post_excerpt] => Nato a Napoli, Italia (1961). Vive e lavora a Roma.
Musicista, compositore, performer, sound artist, produttore. Lavora essenzialmente su sensazioni ritmiche, dinamiche, temporali, tattili e cinetiche, utilizzando indifferentemente sia il canale sonoro che quello visivo. Inizia la sua attività professionale trasferendosi a Roma negli anni ‘90, e fonda gruppi di musica d'avanguardia e di sperimentazione.
Nel 1995 fonda i gruppi di lavoro e di ricerca sperimentale Martusciello, Ossatura, Metaxu, Zelle e Dogon: gruppi italiani che da subito si impongono sulla scena sperimentale internazionale. Con questi gruppi, collabora con artisti come: Michiko Hirayama, M.E.V. (Musica Elettronica Viva), Dagmar Krause, Tim Hodgkinson. Nel 2000 l'etichetta discografica francese Metamkine, nella collezione Cinema pour l'oreille pubblica CD Unsettled Line, una composizione di musica concreta che è stata oggetto di numerose segnalazioni internazionali ed è stata premiata al Concorso Internazionale di Musica Elettronica di S. Paulo in Brasile nel 2001. Nel 2001 è invitato in Francia per un Composer in Residence presso il Centro di Ricerca di Albi (GMEA, Groupe de Musique Electroacoustique d'Albi). Negli studi francesi del GMEA compone “Dissectio” un'opera di musica concreta. Partecipa ai maggiori festival in tutto il mondo. Nel 2003, presenta nel festival RomaEuropa2003 presso l'Auditorium Parco della Musica di Roma, nella sala Santa Cecilia, il progetto sperimentale MOV1. Il lavoro prende spunto dalla seconda Sinfonia di Mahler. MOV1 nasce in collaborazione con il pianista Danilo Rea. Progetta anche le due installazioni audiovisive: “Exceptio” commissionata dal Comune di Roma, nel suggestivo luogo delle Terme di Diocleziano, e "Fronte D'onda" . Nel 2004, sempre in Roma per la Fondazione Armellini. Numerose le collaborazioni con gruppi di arte audiovisiva, fra queste con il gruppo di cinema sperimentale Cane capovolto e Atelier MTK (Marsiglia) e Metamkine e Skoltz_Kolgen. Compone lavori per la Radio Nazionale Italiana RAI Radio Tre e per Journees Electro-Radio Days Canadese e per la televisione suonando nella trasmissione Mediamente. A Parigi, alla Villette Numérique presenta il progetto elettronico “Rumors of war” un lavoro di denuncia contro ogni tipo di guerra. E’ invitato alla Biennale Musica di Venezia presentando il progetto X-Scape. Con il compositore di musica contemporanea Giorgio Battistelli nasce il lavoro “Experimentum Mundi Remix”, che viene presentato in prima mondiale all'Auditorium Parco della Musica di Roma nella serata elettronica del Festival RomaEuropa 2004.
Nel 2005 riceve un nuovo invito dal Ministero della Cultura Francese per una composizione sul tema della "Resistenza", eseguita in novembre nella Cinémathèque de Toulouse. Lo stesso anno compone ed esegue presso l'Auditorium Parco della Musica di Roma Sala Santa Cecilia il progetto “Saunscape”, con la partecipazione di Markus Stockhausen alla tromba, Tara Bouman al clarinetto basso e Mark Nauseef alle percussioni. Un anno dopo dalla collaborazione con Enrico Ghezzi nasce un progetto performativo audio-visivo dal titolo “Fuorioraria: D(r)rive Out Of Time”, una performance realizzata in un classico "Blob Style". Nel 2007 crea il progetto Gazelab, una produzione Auditorium Parco della Musica, un progetto live in omaggio alla prestigiosa etichetta tedesca ECM. Gazelab è creato in due parti, “Works e Sguardi”, ed è una reinterpretazione, in forma elettronica audio-visiva, delle due collane antologiche Works e :rarum della ECM. A completare il progetto live, alcuni tra i migliori musicisti di area ECM: Jon Hassell, Terje Rypdal, Jon Balke, Anja Lechner, Miki N'Doye e dell’elettronica di “M2” martux & mass. Pubblica anche per l’etichetta discografica Auditorium Parco della Musica il CD “Reminiscence” con il pianista Danilo Rea. Nel 2008 gli viene commissionata un installazione dall’Auditorium Parco della Musica, nella rassegna Artist’s Corner dal titolo X-Scape 07.
E' stato curatore della programmazione di Sensoralia, rassegna di arte elettronica audiovisiva, presso il teatro Palladium di Roma dal 2003 al 2005.
Bios-sfere
2009
