Archivio Sonoro: SoundArtMuseum en
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[post_content] => Cfr. nn. Arch. 184.24, 185.17
[post_title] => Hope Spring
[post_excerpt] => Max Eastley is an artist whose work combines kinetic sound sculpture and music to produce a unique art form. Since the late 1960s, Eastley has been fascinated by the relationship of chance to music and art, and in environmental forces such as wind and water. He began to investigate this relationship in his work, using kinetic sound machines and the natural forces of the wind, streams and the sea. As a consequence, his career opened out into new areas of creative and philosophical exploration. Eastley is an important and innovative figure in the field of sound art. He often works in collaboration with other artists from a range of disciplines. He has exhibited his sound installations internationally, and worked closely with a wide range of artists, musicians and filmmakers, including Brian Eno, Peter Greenaway, Evan Parker, Thomas Köner, Eddie Prévost and The Spaceheads. Exhibitions of his installations in 2000 included Sonic Boom at the Hayward Gallery and Sound as Media in Toyko. In 2002 he composed the music for Plants and Ghosts by Siobhan Davies Dance. He has worked with musician and writer David Toop to produce the critically acclaimed albums New and Rediscovered Musical Instruments 1975, Buried Dreams 1994 and Doll Creature 2004. For The Ship Eastley has produced a sound sculpture installation which incorporates found sound recorded during Cape Farewell expeditions. 'I'm a musician and a sound artist, and I'm here on the boat to collect as many different sounds as I can: sounds the ship makes, water sounds, birdcalls, seal songs, that kind of thing. I do an awful lot of recording all over the place and I've never heard anything like the sounds I've heard on this voyage. We went to a kittiwake colony - a huge city of seabirds all nesting on the side of a cliff - and that was absolutely fantastic.' (Max Eastley, Cape Farewell 2003 Voyage)
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[post_content] => Cfr. n. Arch. 184.54
[post_title] => Brass, Steel, Skin and Bone and Hope
[post_excerpt] => Al Willard Peterson was born into a small mining community in the Rhondda Valley, South Wales. Moved to Liverpool where he was educated at Liverpool School of Art and the Liverpool Mathay School of Music. Most of his musical career has been spent working within the confines of contemporary rhythm and Blues throughout the North-Western region.
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[post_content] => CFR. n. Arch. 183.15 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] => Trace of Reason
[post_excerpt] => Roger Dean, Australian sound-artist,has composed about 70 works for chamber groups, and more than 30 are commercially recorded. He has performed in 30 countries, as bassist and keyboardist. His music has been broadcast in 50 countries. Currently he focuses on computer composition, and computer-interacive improvisation with the austraLYSIS Electroband. "I am involved with sound creation for the web and for computer-based installations, as well as for performance. I have particularly focused on creating real-time sound transformations which are run as a result of a screenerís participation. Increasingly, I work with generative materials as well, though from my perspective this approach for the time being remains subject to serious restrictions across the web. These restrictions are especially pertinent for my work with multiple streams of both audio and image, and for coordinated algorithmic approaches to their real-time production or manipulation. In performance, I achieve generative processes partly by writing in the coordinated software platform MAX/MSP/NATO. I am determined to use sound as a co-equal with other media, or as the dominant partner, unlike the situation with most web or installation works, in which image, or occasionally text, predominate. My purposes include establishing mutual interrogation between sound, image and text, often collaboratively with Hazel Smith (writer), Greg White (sound design, programming), and with several visual artists. The work is produced in the context of the creative ensemble, austraLYSIS, of which I am the founder and artistic director. austraLYSIS acknowledges grant support from the Australia Council for the Arts".
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[post_content] => Cfr. n. Arch. 185.34 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] => Soft bullets
[post_excerpt] => Russel Mills has worked extensively as a visual artist, designer, musician, lecturer, producing influential book and album covers, multi-media installations, stage sets, light and video sculptures and has exhibited internatonally. Following his critically acclaimed "Undark" album (1996), his 2nd "Undark" project "Pearl and Umbra" (Bella Union) is released in September 1999.
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[post_title] => Cutting halves into infinity
[post_excerpt] => Frank Coleman is an award-winning musician, singer, writer, film-maker, poet, cartoonist, former child actor, co-founder of Beat Theater and computer artist and programmer, with over ten years experience in all aspects of new media creation and technology. 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.
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[post_content] => Cfr. nn. Arch. 183.62 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] => Coleman's Fireproof Depository
[post_excerpt] => Paul Simpson is an artist and musician based in Liverpool. As Skyray he has released critically acclaimed albums including: Tranquilliser (1997); Womb (1998); Mind Lagoons (1999); and Slow Dissolve (2000). On his Skyray CD's he has worked solo and in collaboration with Will Sergeant (Echo & the Bunnymen), Bill Drummond (KLF) et al. Skyray performances include: ISEA98, Ochre 5 (1999), and Cornucopea: Two South Bank Evenings with Julian Cope, Royal Festival Hall, London (2000). Paul co-founded The Teardrop Explodes with Julian Cope; fronted The Wild Swans and Care with Ian Broudie - releasing music internationally. In 2000 Paul completed a Visiting Fellowship at Liverpool School of Art and Design, Liverpool John Moores University.
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[post_content] => "Hisatsinom, über das Verschwinden" is the first part of a trilogy. The second part, "Nasca, on perspective" (FC.188) was premiered in 2006.
[post_title] => Das Anti-Gedächtnis
[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.
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[post_content] => 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_title] => Hang groove [post_excerpt] => Eamon Ore-Giron is American and holds a degree in Fine Art from UCLA and San Francisco Art Institute. He is also a painter with a clear reference to surrealism and the American post-pop art. Ore-Giron is concerned with the aesthetics of popular culture. Besides performing his sound art he works as a dj. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => hang-groove [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:52:16 [post_modified_gmt] => 2015-01-09 16:52:16 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7715 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1870 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 7750 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Nato a Karl-Marx-Stadt, Germania (1965). Vive e lavora a Berlino. Carsten Nicolai ha studiato architettura urbanistica presso l’università di Berlino, dove inizia la propria ricerca artistica attorno alla meta' degli anni 80. Carsten Nicolai e' un artista poliedrico; lavora sia come pittore che come musicista. La sua ricerca analizza il rapporto che sussiste tra l'utilizzo delle tecnologie e l'identita' dell'uomo nel contesto urbano e mediatico odierno. La sua poetica si focalizza sui suoni/emissioni dalle nuove tecnologie; partendo dai suoni di fax, telefoni e modem e con un impostazione da landscape designer, immette nella sua musica una concezione geometrica del suono; il carattere duale dell'opera di Carsten Nicolai si esprime nella compresenza tra le caratteristiche fisiche dell'impatto sonoro, espresso nell'utilizzo di bassissime e altissime frequenze usate in modo potente e allo stesso tempo tagliente e il carattere chirurgico e microscopico delle strutture in cui questo impianto sonico si realizza. Tutto cio' vale anche per le opere visive nelle quali Nicolai utilizza cromatismi netti (i bianchi e i neri) all'interno di opere rigorose e delicate allo stesso tempo, ancora in un'ottica di forte polarita' tra gli elementi utilizzati. La sintesi dei suoi lavori la troviamo nelle installazioni dove si intersecano la ricerca visiva e quelle acustica. La sua ricerca prende inoltre spunto da fenomeni naturali come il suono (di cui studia il rapporto con lo spazio, il tempo e il movimento), la luce, i campi elettromagentici (e in particolare gli effetti delle polarita') ed elementi naturali come il latte o la neve. e proprio come i fiocchi di neve rendono possibile il generarsi di forme uniche e irripetibili, le opere di Nicolai partono da un suono che costituisce il nucleo attorno al quale si crea un sistema di eventi sonori a cui aggiunge l'elemento errore che provoca cambiamenti di suono e frequenza creando cosi' infiniti altri nuclei e infinite via di fuga. Nel 1999 assieme a Frank Bretschneider (Komet) e Olaf Bender (Byetone) fonda l'etichetta Raster-Noton (fondendo la Raster Music dei due con la sua Noton.archiv.fur.ton.und.nichtton). www.raster-noton.de - Dopo la sua partecipazione a importanti mostre internazionali come Documenta X e la 49a e la 50a Biennale di Venezia, le opere di Nicolai sono state esposte in diverse occasioni tra cui; Schirn Kunsthalle di Francoforte, in Germania e alla Neue Nationalgalerie di Berlino, Germania (syn chron) in 2005. Da diversi anni ormai Carsten Nicolai sperimenta con il suono sotto lo pseudonimo di Alva Noto. Come Alva Noto si è esibito tra l’altro al Solomon R. Guggenheim Museum in New York, al San Francisco Museum of Modern Art, al Centre Pompidou a Paris, al Kunsthaus Graz e alla Tate Modern di Londra. Inoltre ha avviato diversi progetto con artisti Ryoji Ikeda (cyclo.), Mika Vainio e Thomas Knak (opto); recentemente si è esibito in Europa, Australia ed Asia con Ryuichi Sakamoto. [post_title] => Word/Monitortest/Morse [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => wordmonitortestmorse-2 [to_ping] => [pinged] => [post_modified] => 2019-08-19 10:51:18 [post_modified_gmt] => 2019-08-19 08:51:18 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7750 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1905 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 6028 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => JOHN BISCHOFF (b. 1949, San Francisco) is an early pioneer of live computer music. He is known for his solo constructions in real-time synthesis as well as his ground-breaking work in computer network bands. Bischoff's music is built from intrinsic features of the electronic medium: high definition noise components, tonal edges, imperfections, transitions, digital shading, and non-linear motion. Through empirical play and investigation he builds pieces that can be described as sonic sculptures, shaped in real-time and present for the duration of a performance. Recently, he has fashioned pieces that combine electronically-triggered bells with synthetic computer sounds. In such works bells are distributed around the performance space in a pattern distinct from the speaker locations. His idea is to disperse the sense of source; in electronic music—to release the music from being trapped in the speaker enclosure while highlighting the beauty of speaker-transmitted sound at the same time. Bischoff studied composition with Robert Moran, James Tenney, and Robert Ashley. He has been active in the experimental music scene in the San Francisco Bay Area for over 25 year as a composer, performer, teacher, and grassroots activist. His performances around the US include NEW MUSIC AMERICA festivals in 1981 (SF) and 1989 (NYC), Experimental Intermedia (NYC), Roulette Intermedium (NYC), and the Beyond Music Festival (LA). He has performed in Europe at the Festival d'Automne in Paris, Akademie der Kunst in Berlin, Fylkingen in Stockholm, and TUBE in Munich. He was a founding member of the League of Automatic Music Composers (1978), considered to be the world's first Computer Network Band, and he co-authored an article on the League's music that appears in "Foundations of Computer Music" (MIT Press 1985). He was also a founding member of the network band The Hub with whom he performed and recorded from 1985 to 1996. In 1999 he received a $25,000 award from the Foundation for Contemporary Performance Arts (NYC) in recognition of his music. Recordings of his work are available on Lovely Music, Frog Peak, and Artifact Recordings. A solo album, APERTURE, is newly released on 23FIVE INC. He is a Lecturer in Computer Music and on staff as Studios Coordinator at the Center for Contemporary Music, Mills College, in Oakland, California. [post_title] => Aperture [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => aperture [to_ping] => [pinged] => [post_modified] => 2017-01-06 11:33:44 [post_modified_gmt] => 2017-01-06 10:33:44 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6028 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 10 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 6887 [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. 184.24, 185.17 [post_title] => Hope Spring [post_excerpt] => Max Eastley is an artist whose work combines kinetic sound sculpture and music to produce a unique art form. Since the late 1960s, Eastley has been fascinated by the relationship of chance to music and art, and in environmental forces such as wind and water. He began to investigate this relationship in his work, using kinetic sound machines and the natural forces of the wind, streams and the sea. As a consequence, his career opened out into new areas of creative and philosophical exploration. Eastley is an important and innovative figure in the field of sound art. He often works in collaboration with other artists from a range of disciplines. He has exhibited his sound installations internationally, and worked closely with a wide range of artists, musicians and filmmakers, including Brian Eno, Peter Greenaway, Evan Parker, Thomas Köner, Eddie Prévost and The Spaceheads. Exhibitions of his installations in 2000 included Sonic Boom at the Hayward Gallery and Sound as Media in Toyko. In 2002 he composed the music for Plants and Ghosts by Siobhan Davies Dance. He has worked with musician and writer David Toop to produce the critically acclaimed albums New and Rediscovered Musical Instruments 1975, Buried Dreams 1994 and Doll Creature 2004. For The Ship Eastley has produced a sound sculpture installation which incorporates found sound recorded during Cape Farewell expeditions. 'I'm a musician and a sound artist, and I'm here on the boat to collect as many different sounds as I can: sounds the ship makes, water sounds, birdcalls, seal songs, that kind of thing. I do an awful lot of recording all over the place and I've never heard anything like the sounds I've heard on this voyage. We went to a kittiwake colony - a huge city of seabirds all nesting on the side of a cliff - and that was absolutely fantastic.' (Max Eastley, Cape Farewell 2003 Voyage) [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => hope-spring [to_ping] => [pinged] => [post_modified] => 2019-08-13 11:43:32 [post_modified_gmt] => 2019-08-13 09:43:32 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6887 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 881 [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] => 9590a24359eaa6d1473ffe60a25ce576 [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 ) )
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_title] => Hang groove [post_excerpt] => Eamon Ore-Giron is American and holds a degree in Fine Art from UCLA and San Francisco Art Institute. He is also a painter with a clear reference to surrealism and the American post-pop art. Ore-Giron is concerned with the aesthetics of popular culture. Besides performing his sound art he works as a dj. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => hang-groove [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:52:16 [post_modified_gmt] => 2015-01-09 16:52:16 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7715 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1870 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 7750 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Nato a Karl-Marx-Stadt, Germania (1965). Vive e lavora a Berlino. Carsten Nicolai ha studiato architettura urbanistica presso l’università di Berlino, dove inizia la propria ricerca artistica attorno alla meta' degli anni 80. Carsten Nicolai e' un artista poliedrico; lavora sia come pittore che come musicista. La sua ricerca analizza il rapporto che sussiste tra l'utilizzo delle tecnologie e l'identita' dell'uomo nel contesto urbano e mediatico odierno. La sua poetica si focalizza sui suoni/emissioni dalle nuove tecnologie; partendo dai suoni di fax, telefoni e modem e con un impostazione da landscape designer, immette nella sua musica una concezione geometrica del suono; il carattere duale dell'opera di Carsten Nicolai si esprime nella compresenza tra le caratteristiche fisiche dell'impatto sonoro, espresso nell'utilizzo di bassissime e altissime frequenze usate in modo potente e allo stesso tempo tagliente e il carattere chirurgico e microscopico delle strutture in cui questo impianto sonico si realizza. Tutto cio' vale anche per le opere visive nelle quali Nicolai utilizza cromatismi netti (i bianchi e i neri) all'interno di opere rigorose e delicate allo stesso tempo, ancora in un'ottica di forte polarita' tra gli elementi utilizzati. La sintesi dei suoi lavori la troviamo nelle installazioni dove si intersecano la ricerca visiva e quelle acustica. La sua ricerca prende inoltre spunto da fenomeni naturali come il suono (di cui studia il rapporto con lo spazio, il tempo e il movimento), la luce, i campi elettromagentici (e in particolare gli effetti delle polarita') ed elementi naturali come il latte o la neve. e proprio come i fiocchi di neve rendono possibile il generarsi di forme uniche e irripetibili, le opere di Nicolai partono da un suono che costituisce il nucleo attorno al quale si crea un sistema di eventi sonori a cui aggiunge l'elemento errore che provoca cambiamenti di suono e frequenza creando cosi' infiniti altri nuclei e infinite via di fuga. Nel 1999 assieme a Frank Bretschneider (Komet) e Olaf Bender (Byetone) fonda l'etichetta Raster-Noton (fondendo la Raster Music dei due con la sua Noton.archiv.fur.ton.und.nichtton). www.raster-noton.de - Dopo la sua partecipazione a importanti mostre internazionali come Documenta X e la 49a e la 50a Biennale di Venezia, le opere di Nicolai sono state esposte in diverse occasioni tra cui; Schirn Kunsthalle di Francoforte, in Germania e alla Neue Nationalgalerie di Berlino, Germania (syn chron) in 2005. Da diversi anni ormai Carsten Nicolai sperimenta con il suono sotto lo pseudonimo di Alva Noto. Come Alva Noto si è esibito tra l’altro al Solomon R. Guggenheim Museum in New York, al San Francisco Museum of Modern Art, al Centre Pompidou a Paris, al Kunsthaus Graz e alla Tate Modern di Londra. Inoltre ha avviato diversi progetto con artisti Ryoji Ikeda (cyclo.), Mika Vainio e Thomas Knak (opto); recentemente si è esibito in Europa, Australia ed Asia con Ryuichi Sakamoto. [post_title] => Word/Monitortest/Morse [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => wordmonitortestmorse-2 [to_ping] => [pinged] => [post_modified] => 2019-08-19 10:51:18 [post_modified_gmt] => 2019-08-19 08:51:18 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7750 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1905 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 6028 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => JOHN BISCHOFF (b. 1949, San Francisco) is an early pioneer of live computer music. He is known for his solo constructions in real-time synthesis as well as his ground-breaking work in computer network bands. Bischoff's music is built from intrinsic features of the electronic medium: high definition noise components, tonal edges, imperfections, transitions, digital shading, and non-linear motion. Through empirical play and investigation he builds pieces that can be described as sonic sculptures, shaped in real-time and present for the duration of a performance. Recently, he has fashioned pieces that combine electronically-triggered bells with synthetic computer sounds. In such works bells are distributed around the performance space in a pattern distinct from the speaker locations. His idea is to disperse the sense of source; in electronic music—to release the music from being trapped in the speaker enclosure while highlighting the beauty of speaker-transmitted sound at the same time. Bischoff studied composition with Robert Moran, James Tenney, and Robert Ashley. He has been active in the experimental music scene in the San Francisco Bay Area for over 25 year as a composer, performer, teacher, and grassroots activist. His performances around the US include NEW MUSIC AMERICA festivals in 1981 (SF) and 1989 (NYC), Experimental Intermedia (NYC), Roulette Intermedium (NYC), and the Beyond Music Festival (LA). He has performed in Europe at the Festival d'Automne in Paris, Akademie der Kunst in Berlin, Fylkingen in Stockholm, and TUBE in Munich. He was a founding member of the League of Automatic Music Composers (1978), considered to be the world's first Computer Network Band, and he co-authored an article on the League's music that appears in "Foundations of Computer Music" (MIT Press 1985). He was also a founding member of the network band The Hub with whom he performed and recorded from 1985 to 1996. In 1999 he received a $25,000 award from the Foundation for Contemporary Performance Arts (NYC) in recognition of his music. Recordings of his work are available on Lovely Music, Frog Peak, and Artifact Recordings. A solo album, APERTURE, is newly released on 23FIVE INC. He is a Lecturer in Computer Music and on staff as Studios Coordinator at the Center for Contemporary Music, Mills College, in Oakland, California. [post_title] => Aperture [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => aperture [to_ping] => [pinged] => [post_modified] => 2017-01-06 11:33:44 [post_modified_gmt] => 2017-01-06 10:33:44 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6028 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 10 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 6887 [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. 184.24, 185.17 [post_title] => Hope Spring [post_excerpt] => Max Eastley is an artist whose work combines kinetic sound sculpture and music to produce a unique art form. Since the late 1960s, Eastley has been fascinated by the relationship of chance to music and art, and in environmental forces such as wind and water. He began to investigate this relationship in his work, using kinetic sound machines and the natural forces of the wind, streams and the sea. As a consequence, his career opened out into new areas of creative and philosophical exploration. Eastley is an important and innovative figure in the field of sound art. He often works in collaboration with other artists from a range of disciplines. He has exhibited his sound installations internationally, and worked closely with a wide range of artists, musicians and filmmakers, including Brian Eno, Peter Greenaway, Evan Parker, Thomas Köner, Eddie Prévost and The Spaceheads. Exhibitions of his installations in 2000 included Sonic Boom at the Hayward Gallery and Sound as Media in Toyko. In 2002 he composed the music for Plants and Ghosts by Siobhan Davies Dance. He has worked with musician and writer David Toop to produce the critically acclaimed albums New and Rediscovered Musical Instruments 1975, Buried Dreams 1994 and Doll Creature 2004. For The Ship Eastley has produced a sound sculpture installation which incorporates found sound recorded during Cape Farewell expeditions. 'I'm a musician and a sound artist, and I'm here on the boat to collect as many different sounds as I can: sounds the ship makes, water sounds, birdcalls, seal songs, that kind of thing. I do an awful lot of recording all over the place and I've never heard anything like the sounds I've heard on this voyage. We went to a kittiwake colony - a huge city of seabirds all nesting on the side of a cliff - and that was absolutely fantastic.' 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