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2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => nagging haunt [post_excerpt] => titoli diversi su cd e notizia [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => nagging-haunt [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:01:59 [post_modified_gmt] => 2015-01-09 16:01:59 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6059 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 43 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 6091 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => The pink triangle [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => the-pink-triangle [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:02:01 [post_modified_gmt] => 2015-01-09 16:02:01 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6091 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 75 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 6123 [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] => Ursula Nistrup is a Danish sound artist born in 1974. She has studied Fine Art at Glasgow School of Art and at CalArts in Los Angeles. Nistrup’s work is process oriented and site specific. She has exhibited in Europe, USA and in Japan. Cfr. n. Arch. 190.22 [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => untitled-26 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:02:04 [post_modified_gmt] => 2015-01-09 16:02:04 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6123 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 107 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 6155 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Allegro per piano su lettore CD (Fryderyk Chopin) [post_excerpt] => cd name: Alcune Composizioni by e.g.o 2001-2004 [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => allegro-per-piano-su-lettore-cd-fryderyk-chopin [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:02:07 [post_modified_gmt] => 2015-01-09 16:02:07 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6155 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 140 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 6187 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => If only I must, if only you were, if only pf course [post_excerpt] => C.P.: CLAIRE HOPE “If only”, n. archivio 92 una voce femminile con accento britannico snocciola una serie di frammenti “banali” come fossero presi da frasi nel mezzo a conversazioni qualunque: “I know I shouldn’t...”Of course, if possible...” “I must tell you...”, “Go, go, go...”, “If only...”, “If only you were here tonight” ecc. ecc. ascoltando cresce la sensazione che la voce si rivolga ad un partner che non risponde, che non c’è, che non è come lei lo vorrebbe. 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At the same time, he studied art sociology at the University of Utrecht. Following that, he was, successively, the director of the Fine Arts Academy in Leeuwarden; and a curator and head of education and public relations for the Den Haag City Museum and for the Van Abbe Museum in Eindhoven. In addition, he continued to paint and make collages. In 1965 he founded the artist group "De Bende van de Blauwe Hand." This group, which was closely related to Fluxus, presented exhibitions, environments and happenings in museums and galleries. Starting in 1965, he presented "situations" meant to involve the audience, and in 1968, he started the Maciunas Quartet, who are still making experimental music. In the early seventies, Panhuysen worked as an advisory artist with urban development teams and develo .dped systematic ordering systems and mathematical series that he has continued to use in his work as an artist. In addition, Panhuysen's work shows a predilection for found objects and the element of chance. To an increasing degree, Panhuysen has been concentrating on sound art, which has come to occupy an important place in his visual art work. He has presented his Long String Installations, which are played in concerts personally and in exhibitions as automats,worldwide since 1982: a.o. in Boston, Washington D.C., Dresden, Berlin, Hannover, Linz, Ferrara, Barcelona, Lodz, Warsaw, Moskow, Paris, New Yor .èk, San Francisco, Tokyo, Kobe, Kyoto, Lyon, Rome, Prague and Mexico-city. These installations are set-up in indoor or outdoor spaces for anywhere from 1 to 40 days. They utilize the site specific properties and architectural prospects of the location. " Singing the World of Existence " Musee d'art Contemporain, Lyon, France, 1998 Since 1989 Panhuysen developes artworks in which he confronts the audience with the creativity, intelligence and communicational skills of animals, especially of birds. In 1980, Panhuysen founded Het Apollohuis, and since then till 1997, he has been the director of this internationally oriented podium where artists from divergent disciplines can present their work. In 1996 he received the Cultural Award of Noord-Brabant and in1998 he became Companion of the Order of the Dutch Lion. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => mr-bean [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:03:19 [post_modified_gmt] => 2015-01-09 16:03:19 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6516 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 505 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 6548 [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] => I Borbetomagus sono un trio di New York capace di produrre uragani free jazz per due sassofoni (Jim Sauter e Don Dietrich) e chitarra (Donald Miller) distorti da folate elettroniche. I primi due dischi, Borbetomagus (Agaric, 1980) e Work On What Has Been Spoiled (Agaric, 1981), contengono undici Concordats al limite delle possibilita' sonore degli strumenti, bolge di suoni casuali d'intensita' lancinante. Nonostante il suo voler essere terminale, definitiva, insuperabile, la musica mostra una sua progressione logica: l'enfasi feroce e barbara dell'1 e' propedeutica ai barriti spaventosi del 6 e agli stridori spasmodici dell'11. Anche gli album successivi, 3 (Agaric, 1982), che assembla alcune esibizioni dal vivo, e Industrial Strength (Leo 113, 1983), per un ensemble piu' ampio di sette musicisti, tutti improvvisatori, segnano un'evoluzione nello stile, per nulla piu' composto anzi piu' atroce che mai, ma al tempo stesso piu' carico di pathos primitivista. La lunga Barbet Wire Maggot (Agaric, 1983), logica conseguenza di quegli esperimenti, e' il delirio piu' violento del free jazz, una sinfonia di fondi-scala iper-cacofonici ultra-amplificati: la chitarra e' distorta in modo maniacale ed emette soltanto stridori e scordature repellenti, i sassofoni squittiscono e gracchiano su registri assordanti e animaleschi. Suoni tanto estremi vengono fusi in improvvisazioni demenziali durante le quali i musicisti sembrano gareggiare nel provocare i cataclismi sonori piu' efferati. A vincere e' probabilmente Miller nell'assolo devastante e torrenziale che domina il finale. Per quaranta minuti il pandemonio accumula gargarismi e barriti al limite fisiologico delle capacita' uditorie degli esseri umani. Presa coscienza dei loro mezzi, i Borbetomagus possono permettersi di delirare su di essi, di entrare nella fase di un loro personale "barocco". Su Bells Together (Agaric, 1985), una raccolta di duetti fra Sauter e Dietrich, svettano i pigolii maniacali di High I, i gargarismi subsonici di Monk Jimbo On Safari e i glissando spasmodici di Sykes. Il disco, il piu' meditato e ordinato della loro produzione, puo'costituire un valido trait d'union fra gli improvvisatori liberi di Chicago e gli ensemble elettronici. Zurich (Agaric, 1985), con i feedback del chitarrista Donald Miller in bella evidenza, contiene due lunghe, concitatissime suite (Fleetwood DeKooning e Elaine DeFleetwood), che sono fra le loro cose piu' innovative, traboccanti di effetti grotteschi da far arrossire anche Anthony Braxton. Lungi dall'avere uno svolgimento drammatico (come nell'improvvisazione orizzontale del jazz e delle colonne sonore) o dallo stratificare stati d'animo (come nell'improvvisazione verticale del minimalismo e della new age), la loro musica d'improvvisazione totale (come quella dei pittori astratti) esalta la componente puramente ludica, di un'ebbrezza incontenibile. New York Performances (Agaric, 1986) registra altri quattro baccanali d'intensita' tellurica, molto prossimi al frastuono di una battaglia, con il crepitio ininterrotto di infiniti mitragliatori, lo sferragliare stridente di mezzi cingolati e il cupo rombo dei bombardamenti aerei. Borbeto Jam (Cadence, 1985), il condensato di una jam improvvisata in studio dal settetto di Zurigo, aggiunge quattro Concordats al repertorio: il sound si e' alleggerito e rarefatto pur conservando la sua efferata bruttezza (il n.13 e il n.15 sfoggiano i pernacchi e i nitriti di sax e le scordature subsoniche di chitarra piu' suggestivi). Sempre ostili all'idea del ritmo o della melodia, i Borbeto si limitano ad accatastare rumori fastidiosi senza preoccuparsi della struttura. La svolta viene semmai dall'elettronica. Fish That Sparkling Bubble (Agaric, 1987) aggiunge al caos congenito anche un piao di rumoristi esterni, i Voice Crack (Adam Nodelman, Norbert Moslang, Andy Guhl). Ne risultano concerti assordanti per martelli pneumatici, seghe, scosse elettriche, macchinari d'officina, sirene, sul flusso continuo di stridori del trio (We Don't Need No Warrior Goddess, per esempio). Di una violenza senza eguali, la musica fa impallidire i ricordi di Neu e Faust. Valanghe di lava sonora si riversano incandescenti sui maelstrom apocalittici di Vungavunga e un succedersi di fondiscala di abrasivita' misura le tempeste tossiche di My Tongue In Your Cheek. Purge (Agaric, 1989) e Seven Reasons For Tears (Purge 027, 1987) proseguono la saga piu' barbara della storia del jazz. Barefoot In The Head (Force Exposure, 1990), con Thurstone Moore dei Sonic Youth alla chitarra, e' invece l'album meno selvaggio della loro produzione, con una lunga Concerning The Sun As A Cool Solid e un solenne improptu di Moore su Tanned Moon. Il loro motto e' "free jazz free noise free spirits", la loro specialita' sono le esibizioni dal vivo, dove la ferocia non ha praticamente limiti. Usano i sax dissonanti a tutto volume a mo' di generatori di rumore in suite che ricordano tanto i rituali orgiastici dei Throbbing Gristle quanto l'alea di Iannix Xenakis e di Mauricio Kagel. Il loro primitivismo riesce a coniugare la ferocia del Pop Group e il jazz dissonante di Peter Brotzmann. Ma piu' che di primitivismo si tratta di analfabetismo insistito. La barbarie innalzata a civilta'. 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-10 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:03:23 [post_modified_gmt] => 2015-01-09 16:03:23 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6548 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 538 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 6059 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => nagging haunt [post_excerpt] => titoli diversi su cd e notizia [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => nagging-haunt [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:01:59 [post_modified_gmt] => 2015-01-09 16:01:59 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6059 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 43 [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] => ad8e5730ec6e8c026040be4b038d66a1 [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 ) )