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Arch. 190.13 [post_title] => Contempling the effect [post_excerpt] => PlasticViolence Formati da Paolillo Fabrizio e Materazzi Francesca nel 1996, con l’idea di realizzare un progetto musicale con sonorità sperimentali e di chiara impostazione ed argomentazione politica di denuncia. Iniziato come progetto aperto all’ngresso eventuale di altri componenti, il duo si stabilizza definitivamente tale, data la forte affinità e la carenza di musicisti che aderissero ad un simile contesto. Con il primo CD “ufficiale” IMMATERIAL il sound è radicalmente cambiato passando a suoni minimalisti senza cantati, gelidi glitch e dai titoli dei brani che letti di seguito(inizia con “Ideal” e finisce con “Idol”) formano un percorso che mischia la contestazione della materia come forma di prodotto e quella nei confronti dell’arte istituzionalizzata. Per quanto riguarda le rare esibizioni live, i PV fanno da sottofondo con il loro contributo musicale a happening o sets multimediali claustrofobici, aiutati anche da altri collaboratori occasionali. Formed by Paolillo Fabrizio and Materazzi Francesca in 1996, with the idea to realize an experimental resonance musical project with a clear political argument of denunciation. Begun like open project for an eventual entrance of other components, the duet it is stabilized definitive such, given the strong affinity and the deficiency of musicians that adhered things like that context.With the first “official” CD IMMATERIAL the sound is radically changed to minimalist without sung, ice-cold glitches and the titles of the track that read to continue (begins with “Ideal” and ends with “Idol”) form a route that mixes the dispute of the matter like form of product and by comparisons with the istitutionalized art.As far as the rare exhibitions live-sets concerned, the PV does form a background with their musical contribution to happening or claustrophic multimedia sets, helped also by other occasional collaborators. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => contempling-the-effect [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:05:42 [post_modified_gmt] => 2015-01-09 16:05:42 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6816 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 809 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 6848 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => The Liverpool Song Lines. From C to E [post_excerpt] => Benjamin (Ben) Patterson (born 1934 in Pittsburgh, PA.) graduated 1956, University of Michigan, Bachelor of Music. According to an old biography he was "proficient on the double-bass, knowledgeable in music theory and history and acquainted with the crafts of composition and conducting." After a brief career as a double-bassist with symphony orchestras in Canada he settled in Cologne in 1960. There, he was active in the contemporary music scene, performing in festivals in Cologne, Paris, Venice, Vienna and elsewhere. During this pre-Fluxus period he created and performed some of his early seminal works: - "Paper Piece", "Lemons" and "Variations for Double-Bass". Late in 1961 Patterson moved to Paris, where he collaborated with Robert Filliou ("puzzle poems") and where he published his "Methods and Processes". Commuting between Paris and West Germany, Patterson assisted George Maciunas in organizing the historic 1962 Fluxus Festival in Wiesbaden. His interview with Emmett Williams - for the opening of this festival - became the first article ever about Fluxus. Similarly, the first film documentation of Fluxus - news coverage by German Television - featured Patterson's performance of his "Variations for Double-Bass." After Wiesbaden Patterson and his works continued to be an important presence at Fluxus events around the world. In 1963 Patterson moved to New York, where he participated in Fluxus manifestations until the late 1960's - when he returned to pursue "an ordinary life". During the next two decades he successfully pursued a career in arts administration - managing a variety of music, theater and dance companies and serving as administrator or consultant to municipal, state and federal arts funding agencies. Although he remained outside the Fluxus scene during this period, he did occasionally surface with performances and new works for such events as the 20th Anniversary Fluxus Festival in Wiesbaden in 1982 and the 1983 Bienal de Sao Paulo, Brazil, and has been well represented in the various exhibitions throughout the USA of the Silverman Collection. In September 1988 Patterson returned from retirement with a solo exhibition of new assemblages and constructions at the Emily Harvey Gallery in New York. Since then, he has exhibited or performed widely in major or minor venues from Brisbane, Australia, to Prague, Czechoslovakia and from Winnipeg, Canada to Tusa, Sicily. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => the-liverpool-song-lines-from-c-to-e [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:06:54 [post_modified_gmt] => 2015-01-09 16:06:54 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6848 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 841 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 6880 [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. 184.15, 185.17 [post_title] => New Year 92: blaring in the new [post_excerpt] => Peter Cusack is a sound artist/recordist and musician with special interests in environmental sound and acoustic ecology. Current activities range from song writing, through improvised music, to research on how sound contributes to our sense(s) of place and recording projects which document areas of special sonic interest - most recently Lake Baikal, Siberia, and the Azerbaijan oil fields. He is particularly interested in global patterns of sonic change created by migrations of people who make and create them and by new technologies. In 1998 he initiated the on-going 'Your Favourite London Sound' project, which aims to find out what Londoners find positive in their city's soundscape. Currently he is involved in 'Sound & the City' the British Council's sound art project for Beijing, October 2005. Active as a performer he has played 100s of concerts at home and abroad. Musical collaborators include Clive Bell, Nic Collins, Alterations, Chris Cutler, Max Eastley, Evan Parker, Hugh Davies, Annette Krebs and Viv Corringham. He was a founder member, and director, of the London Musicians Collective and frequently collaborates with artists in other fields, especially film/video, installation and 'public art'. In collaboration with Isobel Clouter he produces 'Vermilion Sounds' , a monthly radio series on environmental sound for Resonance FM, London, now approaching 50 shows. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => new-year-92-blaring-in-the-new [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:06:57 [post_modified_gmt] => 2015-01-09 16:06:57 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6880 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 874 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 6912 [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. 184.47, 185.32 [post_title] => Where there's L.I.F.E. there's hope [post_excerpt] => The enigmatic Longstone with their madcap array of musical trickery and odd instrumentation. Using a combination of synthesizers, bass clarinet and a revamped child’s Speak and Spell machine, the band produced a stunningly unique blend of electro-acoustic ambience - weird and unapologetically wonderful. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => where-theres-l-i-f-e-theres-hope [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:07:01 [post_modified_gmt] => 2015-01-09 16:07:01 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6912 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 906 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 6944 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Bear Shit [post_excerpt] => Hank Bull lives in Vancouver. He is a jack-of-all-trades, an improviser and a rambler. He is a fair cook. He like to play the piano at parties. Each year he spends a coupèle of months in the bush, off road, off line and off on. 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] => bear-shit [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:07:04 [post_modified_gmt] => 2015-01-09 16:07:04 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6944 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 939 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 6976 [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. 185.27 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] => 1471 [post_excerpt] => Noel Jones is a Multimedia Artist and Lecturer in Electronic Arts and Audio technology. After completing his BA (Hons) in fine Art at Liverpool Art School, Liverpool Moores University, the Stuart Sutcliffe Fellowship was catalyst for his progression towards the area of sound and digital art. He completed an MA in Multimedia Design and Production in 1998. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => 1471 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:07:08 [post_modified_gmt] => 2015-01-09 16:07:08 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6976 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 971 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 7008 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Below Zero [post_excerpt] => Born July 17, 167, Dusan Bauk lives in Belgrade, Serbia. Since 1984 he has been a radio sound engineer for various radio station in Belgrade and also works a a theatre sound and light designer. He is a founder/ member of the sound group Our Picture (with Aleksandar Vasiljevic) 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] => below-zero [to_ping] => [pinged] => [post_modified] => 2019-08-13 13:23:09 [post_modified_gmt] => 2019-08-13 11:23:09 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7008 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1003 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 7041 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => 1'00" [post_excerpt] => Random Play randomly and quite quietly in various virtual spaces. 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] => 100 [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=7041 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1037 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 7084 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Piece in 3 Parts [post_excerpt] => Michael J. Schumacher is a composer, performer and installation artist from New York City. He works predominantly with electronic and digital media, specializing in computer generated sound environments which evolve continuously for long time periods. He imbues these self-creating structures with an abundance of sonic material, resulting in forms that flow through a wide range of moods, timbral combinations and textural densities. In their realization, Schumacher uses multiple speaker configurations which relate the sounds of the installation to the architecture of the exhibition space. Architectural and acoustical considerations thereby become basic structural elements. For these compositions, Schumacher has worked with instrumentalists Tim Barnes, Anthony Burr, Charles Curtis, Jane Henry, Kato Hideki, Rebecca Moore, David Shively, Peter Zummo and others, recording and manipulating their sounds. Schumacher’s sound installations have been heard at Art in General, Apex Art, PS 1, The Kitchen, the Queens Museum and Sculpture-Center in New York City, CCNOA in Brussels, the Technical University and Podewil in Berlin, the Museum for Applied Arts in Frankfurt , the Museum of Modern Art in Lyon, Triskel Intermedia in Cork, Ireland, Transmissions Festival in Chicago, SFIFEM in Sante Fe, the Waveform Festival in Sydney, Via 7 Festival in Paris, and others. Schumacher has been a close associate of the ground breaking composer La Monte Young since 1989 and has worked as a producer of events at the Dream House, Young’s and Marian Zazeela’s installation space in Tribeca. In this capacity he has produced concerts of classical Indian music as well as sound installations and concerts of contemporary music by composers associated with Young, such as Terry Jennings and Richard Maxfield. He has also worked as technical director of the Dream House and as a recording engineer at Dream House events. Since 1996, Schumacher has pioneered, first at his downtown gallery Studio Five Beekman and, since 2000, at Diapason Gallery located in midtown, sound art in New York City, by giving over 100 artists the opportunity to present, in environments with high quality multi-channel sound systems and free of outside noise, cutting edge installations with sound as their focus. He has produced premieres by David Behrman, David First, Tetsu Inoue, Ron Kuivila, Steve Roden, Marina Rosenfeld and Stephen Vitiello, to name a few. A complete listing of past presentations and upcoming events is viewable online at www.diapasongallery.org. Schumacher is a frequent collaborator with the video artist Ursula Scherrer, with whom he founded Studio Five Beekman. Their works have appeared in many festivals, including Media Test Wall at MIT in Cambridge, the Dissonanze in Rome, the 9e Biennale de l’Image en Movement in Geneva, and the BAC 36 Int’l Film and Video Festival at the Brooklyn Museum of Art. Schumacher has published six solo CDs, a duo CD with Donald Miller, and an LP with Miller and Charles Curtis. He is on the Sub Rosa anthology of noise and electronic music and the lower case 2002 compilation, as well as on an LP of remixes of music by Oren Ambarchi on the Touch label. Schumacher’s CD "Room Pieces", on the XI label, was rated best of 2003 for “modern composition” by The Wire magazine. Schumacher has lectured at Bard College, The New School, The School for Visual Arts and Juilliard. He taught electronic music at the Center for Media Arts in New York City in the mid 1980s. He has taught piano, composition, theory and ear training privately since 1983. Schumacher was awarded the prestigious Foundation for Contemporary Performance Arts Grant in 2001. He has also received awards and residencies from NYFA, Harvestworks, Rennsellaer Polytechnic Institute, Meet the Composer and others. Schumacher has degrees in music composition from Indiana University, where he won the composition prize in 1982, and the Juilliard School, where he earned the doctorate in 1988. His teachers have been Stanley Applebaum, Seymour Bernstein, Bernhard Heiden, John Eaton, John Ogden, Shigeo Neriki, La Monte Young and Vincent Persichetti. Born in 1961 in Washington, DC, he has lived in New York since 1983. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => piece-in-3-parts [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:11:23 [post_modified_gmt] => 2015-01-09 16:11:23 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7084 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1080 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 7747 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Nata a  Ceprano (Fr) nel 1970 Vivee lavora a Frosinone [post_title] => Piece [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => piece-2 [to_ping] => [pinged] => [post_modified] => 2019-08-19 10:36:39 [post_modified_gmt] => 2019-08-19 08:36:39 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7747 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1902 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 6816 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Cfr. n. Arch. 190.13 [post_title] => Contempling the effect [post_excerpt] => PlasticViolence Formati da Paolillo Fabrizio e Materazzi Francesca nel 1996, con l’idea di realizzare un progetto musicale con sonorità sperimentali e di chiara impostazione ed argomentazione politica di denuncia. Iniziato come progetto aperto all’ngresso eventuale di altri componenti, il duo si stabilizza definitivamente tale, data la forte affinità e la carenza di musicisti che aderissero ad un simile contesto. Con il primo CD “ufficiale” IMMATERIAL il sound è radicalmente cambiato passando a suoni minimalisti senza cantati, gelidi glitch e dai titoli dei brani che letti di seguito(inizia con “Ideal” e finisce con “Idol”) formano un percorso che mischia la contestazione della materia come forma di prodotto e quella nei confronti dell’arte istituzionalizzata. Per quanto riguarda le rare esibizioni live, i PV fanno da sottofondo con il loro contributo musicale a happening o sets multimediali claustrofobici, aiutati anche da altri collaboratori occasionali. Formed by Paolillo Fabrizio and Materazzi Francesca in 1996, with the idea to realize an experimental resonance musical project with a clear political argument of denunciation. Begun like open project for an eventual entrance of other components, the duet it is stabilized definitive such, given the strong affinity and the deficiency of musicians that adhered things like that context.With the first “official” CD IMMATERIAL the sound is radically changed to minimalist without sung, ice-cold glitches and the titles of the track that read to continue (begins with “Ideal” and ends with “Idol”) form a route that mixes the dispute of the matter like form of product and by comparisons with the istitutionalized art.As far as the rare exhibitions live-sets concerned, the PV does form a background with their musical contribution to happening or claustrophic multimedia sets, helped also by other occasional collaborators. 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Piece

Donatella Spaziani

Piece

2010