Liliana Moro
Archivio Sonoro: SoundArtMuseum en
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Nuit Blanche Parigi 2013
(Q.i Q.i) LES OISEAUX
Play list
2-David Bertocchi (Italia 1969) & Robonom: Poule/son (Pollo /suono che in italiano è un gioco di parole) Si tratta di un finto field recording di un pollaio, che riproduce pseudo suoni ottenuti interamente con macchine analogiche vecchio stile.
05 ottobre 2013 - 06 ottobre 2013
La Gaîté Lyrique 3bis Rue Papin
75003 Parigi, Francia
I nostri ringraziamenti vanno a Chiara Parisi e Julie Pellegrin, direttore artistico delle Notti Bianche, Jerome Delormas, direttore delle Gaite Lyrique e le loro rispettive squadre. Ringraziamo in particolare Picnic Radio (Berlino) per la loro collaborazione. [post_title] => LES OISEAUX [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => les-oiseaux-13 [to_ping] => [pinged] => [post_modified] => 2015-01-08 13:07:55 [post_modified_gmt] => 2015-01-08 12:07:55 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7870 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 2028 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 6234 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Dépaysements è una serie di lavori per strumento solo e per voce e pianoforte dedicati ad incontri tra la musica contemporanea e le tradizioni extra-europee. TT: 69' 42". Dépaysements è un lavoro di sfioramenti, marginalità e sconfinamenti. La traccia em,ozionale che lo attraversa è una permanente condizione di deriva o naufragio di un paesaggio nelll'altro. Si gioca l'inserimento di suggestioni geografiche in un sistema centrifugo dove, scivolando semanticamente, ognuna di questa si sottrae all atrappola della definizione o non definizione di sé. L'"artificio delle temporalità" tra musica colta occidentale e il dato extraeuropeo, con la sua diversa percezione della storia, ispira l'intero ciclo per un convivere di identità stimolate al movimento non solo dalla trama delle storie del passato ma anche e soprattutto da sempre più compromettenti e politiche ipotesi di futuro. Il CD "Dépaysements" si compone di 10 tracce: 1: Maftir (2003) per viola da gamba sola, 6' 46", viola Hille Perl; 2: Mizmor (1999) per pianoforte solo, 4' 48", pianoforte Cristina Barbuti; 3- 6: Le divan oriental-occidental (2002) Quatre chansons pour voix et piano, soprano Linda Campanella, pianoforte Cristina Barbuti 3: Ad'h'â at--tanâ'i (testo di Ibn Zaydun), 7' 14"; 4: Gestern mittags (testo di R. M. Rilke), 4' 59"; 5: Gingo biloba (testo di J. W. Von Goethe), 6'07"; 6: L'âme que l'amour ne connaît (testo di Rûmi), 4' 49"; 7: Dhil (2004) per contrabasso solo, 7' 59", contrabasso Willy Merz; 8: Pardes (2003) per percussione sola, 13' 34", percussioni Thierry Miroglio; 9 Dung (1998) per faagotto solo, 5' 33", fagotto Diego Chenna; 10: Reng (2003) per viola sola, 7' 48", viola Danilo Rossi. [post_title] => Dung [post_excerpt] => Willy Merz è compositore, direttore d'orchestra e contrabbassista. Diplomatosi in Contrabasso e in Composizione presso il Conservatorio di Torino e in Direzione d'Orchestra presso il Conservatorio di Milano, si è perfezionato all'Accademia Chigiana di Siena con Franco Donatoni, all'IRCAM di Parigi e con Fernand Leitner in Direzione d'Orchestra. Nel 2003 è stato preiato dal "Councours international de Composition" di Friburgo. Sue composizioni sono abitualmente eseguite in importanti Festivals europei e diffuse su France Culture, Suedwest Rundfunk e RAITRE. Nel 2003 la sua opera "Ulysses" è stata eseguita presso il Teatro Colòn di Buenos Aires. 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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. 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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] => closed [post_password] => [post_name] => clean-tone-falling [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=6299 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 286 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 6330 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Copyright Aaron Acosta 2004 [post_title] => Wave [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. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => wave [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=6330 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 317 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 6362 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Track 8 del CD "Canoni Pitagorici"; T. T.: 49' 41". A.C.T. played by David Cossin. [post_title] => Canone pitagorico ø7 [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => canone-pitagorico-o7 [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=6362 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 351 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 6394 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Sounds for the New Millenium [post_excerpt] => Jorge Calvo (Costa Rica), along with Michele Beck, is a multidisciplinary artist working with video, sound and performance. Michele and Jorge met in New York City in December 1998 and have been working together ever since. They are recipients of the Manhattan Community Arts Fund Grant and they SOS grant from the New York Foundation for the Arts. Michele and Jorge have shown their work nationally and internationally at venues including The ICA in London, The Blaffer Gallery at The Art Museum at the University of Texas Museum, Galerie Chez Valentin in Paris, France and The Queens Museum of Art.
Jorge pursued his studies in experimental theatre in Sydney, Australia. After finishing his training, he performed with the alternative theatre companies G.R.O.U.P and Dangerous Visions Theatre, both of which received funding from the Australian Arts Council. He works as a sound designer for film and video. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => sounds-for-the-new-millenium [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=6394 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 383 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 6063 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Pink Circles [post_excerpt] => email: maritfolstad@hotmail.com Geschmatze ??? [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => pink-circles [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=6063 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 47 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 7743 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Campana sommersa [post_excerpt] =>
Liliana Moro è nata nel 1961 a Milano, dove vive e lavora. Il suo esordio è legato alla fondazione con altri artisti, alla fine degli anni ottanta, dello spazio autogestito di Via Lazzaro Palazzi. Qui espone dal 1989 al 1992. Il lavoro di Liliana Moro sembra essere percorso da un rigore rafforzato dalla modalità che l’artista mette in atto sia quando usa tecniche elaborate, sia quando sceglie di utilizzare oggetti che fanno parte del quotidiano o materiali esistenti. Le opere di Liliana Moro non pretendono di scomporre la realtà, ma anzi diventano gli ambienti stessi in cui sono “contenute”: dentro e fuori, visibile e invisibile. Grazie alla luce e al suono, l’artista spinge lo spettatore a guardare in basso, forzandolo ad uno spostamento spazio/temporale.
[post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => campana-sommersa-2 [to_ping] => [pinged] => [post_modified] => 2019-08-17 16:45:38 [post_modified_gmt] => 2019-08-17 14:45:38 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7743 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1898 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 6031 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => News Clip Study 1 [post_excerpt] => René Morgensen, Danish composer and musician, works across many musical areas, investigating a broad range of compositional possibilities in works for chamber ensembles and jazz ensembles, as well as creations in electroacoustic sound art, in an effort to go beyond idiomatic compartmentalism. In 2004 he completed his new Promenade Symfony for the Tivoli Promenade Orchestra, a 16 piece chamber orchestra in Copenhagen, Denmark for premiere in June of that year. His works for soloist with electronics including Five Seasons, and others for ensembles of various instrumentations with electroacoustics have been presented in various venues around New York City, and in Europe. Mogensen has completed several commissions for Danish Public Radio Program One (DR P1) in the past few years. He has recently created new works during residencies at DIEM, STEIM, Logos, and other music & technology research centers. Three recent scores for modern dance/theater have included Heaven or Cell and Terrror and Money and Air and Marble for productions in New York City with choreographer Renata Celichowska during 2002-2003. Mogensen’s electroacoustic works have been presented in radio programs and concerts in many places around the world. His works for chamber ensembles, as well as works for jazz groups, have been performed by various ensembles, including concerts by the Esbjerg Ensemble in Denmark, the Ensemble Rosario in Argentina, and by the NYU New Music Ensemble in New York City, as well as by René Mogensen’s Ensemble in New York. Recent releases include appearances on tenor saxophone on the Korean released cd Selfless Self by Woochang Lee, and the inclusion of Mogensen’s works News Clips Study 1 and Economics 102 on the Belgian KriKri 2002 cd. Mogensen was the composer in residence at the Center for Contemporary Music at Mills College, CA, in October of 1999, where his piece Spring Decomposition for wind trio and tape was premiered. During the summers 1996 and 1997, he was the composer and performer in residence in the NYU graduate music program in Pisa, Italy, where several of his works were premiered in concerts as part of the Strada Facendo performing arts festival. More information about concerts, recordings, and other news about Mogensen's work is listed on the web page: www.geocities.com/renemogensen Mogensen's work is recorded on various labels including: Capstone and Wassard in New York, AV-Art in Denmark, and Hwa-Eum Records and Notation Records in Korea. He is the recipient of awards for his work from various foundations including the Danish Institute for Electroacoustic Music, Meet the Composer USA, the John Anson Kittredge Fund, the Yvar Mikhashoff Trust for New Music, the Danish Music Council, the Eubie Blake Fund, and others. He holds an MA in music from New York University, and a BA from the University of Rochester, NY, USA. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => news-clip-study-1 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:01:56 [post_modified_gmt] => 2015-01-09 16:01:56 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6031 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 14 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 7870 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => RAMradioartemobile presentaNuit Blanche Parigi 2013
(Q.i Q.i) LES OISEAUX
Play list
2-David Bertocchi (Italia 1969) & Robonom: Poule/son (Pollo /suono che in italiano è un gioco di parole) Si tratta di un finto field recording di un pollaio, che riproduce pseudo suoni ottenuti interamente con macchine analogiche vecchio stile.
05 ottobre 2013 - 06 ottobre 2013
La Gaîté Lyrique 3bis Rue Papin
75003 Parigi, Francia
I nostri ringraziamenti vanno a Chiara Parisi e Julie Pellegrin, direttore artistico delle Notti Bianche, Jerome Delormas, direttore delle Gaite Lyrique e le loro rispettive squadre. Ringraziamo in particolare Picnic Radio (Berlino) per la loro collaborazione. [post_title] => LES OISEAUX [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => les-oiseaux-13 [to_ping] => [pinged] => [post_modified] => 2015-01-08 13:07:55 [post_modified_gmt] => 2015-01-08 12:07:55 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7870 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 2028 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 6234 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Dépaysements è una serie di lavori per strumento solo e per voce e pianoforte dedicati ad incontri tra la musica contemporanea e le tradizioni extra-europee. TT: 69' 42". Dépaysements è un lavoro di sfioramenti, marginalità e sconfinamenti. La traccia em,ozionale che lo attraversa è una permanente condizione di deriva o naufragio di un paesaggio nelll'altro. Si gioca l'inserimento di suggestioni geografiche in un sistema centrifugo dove, scivolando semanticamente, ognuna di questa si sottrae all atrappola della definizione o non definizione di sé. L'"artificio delle temporalità" tra musica colta occidentale e il dato extraeuropeo, con la sua diversa percezione della storia, ispira l'intero ciclo per un convivere di identità stimolate al movimento non solo dalla trama delle storie del passato ma anche e soprattutto da sempre più compromettenti e politiche ipotesi di futuro. Il CD "Dépaysements" si compone di 10 tracce: 1: Maftir (2003) per viola da gamba sola, 6' 46", viola Hille Perl; 2: Mizmor (1999) per pianoforte solo, 4' 48", pianoforte Cristina Barbuti; 3- 6: Le divan oriental-occidental (2002) Quatre chansons pour voix et piano, soprano Linda Campanella, pianoforte Cristina Barbuti 3: Ad'h'â at--tanâ'i (testo di Ibn Zaydun), 7' 14"; 4: Gestern mittags (testo di R. M. Rilke), 4' 59"; 5: Gingo biloba (testo di J. W. Von Goethe), 6'07"; 6: L'âme que l'amour ne connaît (testo di Rûmi), 4' 49"; 7: Dhil (2004) per contrabasso solo, 7' 59", contrabasso Willy Merz; 8: Pardes (2003) per percussione sola, 13' 34", percussioni Thierry Miroglio; 9 Dung (1998) per faagotto solo, 5' 33", fagotto Diego Chenna; 10: Reng (2003) per viola sola, 7' 48", viola Danilo Rossi. [post_title] => Dung [post_excerpt] => Willy Merz è compositore, direttore d'orchestra e contrabbassista. Diplomatosi in Contrabasso e in Composizione presso il Conservatorio di Torino e in Direzione d'Orchestra presso il Conservatorio di Milano, si è perfezionato all'Accademia Chigiana di Siena con Franco Donatoni, all'IRCAM di Parigi e con Fernand Leitner in Direzione d'Orchestra. Nel 2003 è stato preiato dal "Councours international de Composition" di Friburgo. Sue composizioni sono abitualmente eseguite in importanti Festivals europei e diffuse su France Culture, Suedwest Rundfunk e RAITRE. Nel 2003 la sua opera "Ulysses" è stata eseguita presso il Teatro Colòn di Buenos Aires. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => dung [to_ping] => [pinged] => [post_modified] => 2015-01-09 16:20:32 [post_modified_gmt] => 2015-01-09 15:20:32 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6234 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 221 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 6267 [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 "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_title] => The surface as ice I belive [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] => closed [post_password] => [post_name] => the-surface-as-ice-i-belive [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=6267 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 254 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 6299 [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] => Clean tone falling [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] => closed [post_password] => [post_name] => clean-tone-falling [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=6299 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 286 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 6330 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Copyright Aaron Acosta 2004 [post_title] => Wave [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. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => wave [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=6330 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 317 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 6362 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Track 8 del CD "Canoni Pitagorici"; T. T.: 49' 41". A.C.T. played by David Cossin. [post_title] => Canone pitagorico ø7 [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => canone-pitagorico-o7 [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=6362 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 351 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 6394 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Sounds for the New Millenium [post_excerpt] => Jorge Calvo (Costa Rica), along with Michele Beck, is a multidisciplinary artist working with video, sound and performance. Michele and Jorge met in New York City in December 1998 and have been working together ever since. They are recipients of the Manhattan Community Arts Fund Grant and they SOS grant from the New York Foundation for the Arts. Michele and Jorge have shown their work nationally and internationally at venues including The ICA in London, The Blaffer Gallery at The Art Museum at the University of Texas Museum, Galerie Chez Valentin in Paris, France and The Queens Museum of Art.
Jorge pursued his studies in experimental theatre in Sydney, Australia. After finishing his training, he performed with the alternative theatre companies G.R.O.U.P and Dangerous Visions Theatre, both of which received funding from the Australian Arts Council. He works as a sound designer for film and video. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => sounds-for-the-new-millenium [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=6394 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 383 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 6063 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Pink Circles [post_excerpt] => email: maritfolstad@hotmail.com Geschmatze ??? [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => pink-circles [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=6063 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 47 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 7743 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Campana sommersa [post_excerpt] =>
Liliana Moro è nata nel 1961 a Milano, dove vive e lavora. Il suo esordio è legato alla fondazione con altri artisti, alla fine degli anni ottanta, dello spazio autogestito di Via Lazzaro Palazzi. Qui espone dal 1989 al 1992. Il lavoro di Liliana Moro sembra essere percorso da un rigore rafforzato dalla modalità che l’artista mette in atto sia quando usa tecniche elaborate, sia quando sceglie di utilizzare oggetti che fanno parte del quotidiano o materiali esistenti. Le opere di Liliana Moro non pretendono di scomporre la realtà, ma anzi diventano gli ambienti stessi in cui sono “contenute”: dentro e fuori, visibile e invisibile. Grazie alla luce e al suono, l’artista spinge lo spettatore a guardare in basso, forzandolo ad uno spostamento spazio/temporale.
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