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Copyright: Kaffe Matthews 1999 Edited, mixed and mastered by km at Annette Works, Top floor, 11-29 Fashion Street, London E1 6PX. [post_title] => Outside [post_excerpt] => 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_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => outside [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=6271 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 258 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 6302 [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 "eb"; T.T. 51' 47". Copyright: Kaffe Matthews 2003 Mixed and produced by km at Annette Works. [post_title] => Get out more [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] => open [post_password] => [post_name] => get-out-more [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:00:56 [post_modified_gmt] => 2015-01-09 16:00:56 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6302 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 289 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 6334 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => earth study song [post_excerpt] => Aaron Acosta is a graduate from the College of Santa Fe with a BA in Sound Design in Media in 2002. This is a Self Designed major that consists of studies in Theatre, Film, and Music. He enjoys designing soundscapes for theatre and film and he has many skills as far as theatre and film production. What he loves most is sound. Sound helps us interpret the world in a unique way with frequency, amplitude and time: he chooses to explore these realms. He is involved with electro acoustic composition as well as more traditional composition. He is currently working as Technical Director/ Resident Designer for Santa Fe Performing Arts. FESTIVALS. - Wave under 60, Vox Novus, New York, november 2004. - Traffic, Lunel (France) June 6th 2004, The Electrolune performance. - Traffic under 60, 60x60 concert, Vox Novus, New York, november 2003. - Reflection on "Eye of God", (2002) featured in 2003 Electric Rainbow Coalition Festival and Sixth Annual Santa Fe International Festival of Electro-Acoustic Music. - Traffic and Nebulous, performed at a special tape music reception on sept. 25 at the Santa Cruz Cayuga Vault for local audience and members of the Woodstockhausen Staff. Music copyright Aaron Acosta; all artwork + design herein is the copyright of Leona Graham: www.home.earthlink.net/~leonamae/leona.html R.G.: Aaron Acosta “frequency, amplitude and time” – archivio SAM n. 124/b,13 tracce, compl. 59’18” Lavoro musicale. Fasce elettroniche, che spesso risolvono in ritmo. Timbriche interessanti ma un po’ datate. Uso di strumenti e voci campionate, afferenti soprattutto al mondo della musica indiana (sitar, tablas, solfeggio sillabico), ma anche pianoforte acustico, zampogna, ecc. Lavoro piuttosto vario, lungo, vagamente noioso e non particolarmente innovativo, eppure non privo di un suo fascinaccio: in particolare nei momenti più estatici e “immobili” (vedi traccia 11). [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => earth-study-song [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:00:59 [post_modified_gmt] => 2015-01-09 16:00:59 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6334 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 321 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 6366 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Track 12 del CD "Canoni Pitagorici"; T. T.: 49' 41" [post_title] => Canone pitagorico 11 [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => canone-pitagorico-11 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:01:02 [post_modified_gmt] => 2015-01-09 16:01:02 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6366 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 355 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 6398 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Composto da Mauro Pandolfino tra il 1999 e il 2000; eseguito da Rossano Baldini nel maggio 2001 presso la biblioteca comunale di Cerveter (Autoproduzioni Plerema). "In questa era moderna edi certo non nuova, come qualcuno ha voluto definirla, dove goni forma di sentimento si sta facendo sempre più ermetica e distante, dove viviamo ormai fra codici e linguaggi che ci impongono una visione unilaterale della realtà a cui sembra impossinbile potersi sottrarre: la necessità di avanzare una ricerca oggettiva del suono (inteso quest'ultimo come ogni possibile forma di vibrazione da noi percepibile), la volontà di un contatto diretto con ciò che apparentemente circonda il nostro spazio precludendo ed affermando la nostra soggettività. Tutto questo mi ha portato ad un approfondimento di un aspetto arcaico dei fenomeni sonori a cui fa appunto riferimento "I Ceserti della Coscienza" dove tutto il mio impegno e la mia attenzione sono concentrati nel voler far emergere un frammento che appartenensse solo e unicamente a s[". [post_title] => I deserti della coscienza [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => i-deserti-della-coscienza [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:01:05 [post_modified_gmt] => 2015-01-09 16:01:05 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6398 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 387 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 6067 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Taboo Box [post_excerpt] => Joan Shuman is American and born in 1961. She has produced montages and documentaries for a number of radio stations in Europe and USA. Schuman also creates sound art. In her art she has a strong feminist agenda, she is an active member of several women rights’ organizations. Schuman teaches sound design and radio art. Cfr. n. Arch. 190.19 [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => taboo-box [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=6067 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 51 [post_it] => 1 ) [6] => WP_Post Object ( [ID] => 6099 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Mind Machinery [post_excerpt] => Cfr. n. Arch. 50.a …full satisfaction. Playback should be at high volume for best impact. 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Copyright: Kaffe Matthews 1999 Edited, mixed and mastered by km at Annette Works, Top floor, 11-29 Fashion Street, London E1 6PX. [post_title] => Outside [post_excerpt] => 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. 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