Archivio Sonoro: SoundArtMuseum en

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With ID BATTERY, they have released so far some obscure vinyls and CDRs with their very personal image of a kind of 'concrete ambience', which mixes low-fi self-recorded found sounds into a music that has very rich details on a microtonal level, thus this could be described as 'microscopic music'. Brandon LaBelle is a sound artist and writer from Los Angeles. Working in the field of sound- performance- and installation-art since 1992, LaBelle's work aims to draw attention to the dynamics of sound as it is found within spaces and objects, public events and interactions, language and the body. Through a performative interaction with objects, found-sound, and minimal electronics, the work draws attention to the quality and nature of what is already there through an emphasis on and displacement of listening and interaction, as a technological and architectural glitch. LaBelle's interest in site-specificity reflects a desire to consider the relationships and tensions between art and a broader social environment. Lauren Chasse: "I am interested in the way people listen, especially when I consider the different expectations and sensitivities listeners bring to situations. As an educator and sound artist, I realize how significant environment is when contextualizing a listening experience and investing it with possibilities. In my work as a teacher in the San Francisco public schools and as Director of Education for sound arts organization 23five, I have been developing curricula and teaching programs that introduce students to the means (conceptual, creative, and technological) for actively and imaginatively listening—where sound may become a material for catalyzing literary, social, scientific and artistic practices. In my work with students as well as in my art, I am interested not so much in presenting meaning as I am in various means (through listening) for alternatively constructing it. Often too, it is enough to leave meaning alone and relate to an experience at the level of the sentient. In this case, I hope not so much that anything is ‘understood’, but that something imaginary is ‘touched’. Approaches to Performance and Recording: Performances are my means for exploring the individual experience of the listener. At the same time, I investigate ways in which ‘fields’ are affected as they are recorded. I use numerous strategies for recording, playback and re-recording within the duration of the live event to evolve a sort of ‘composition’. By engaging an entire performance space as a ‘field’, I like to demonstrate how my experience making music begins privately with a period of collecting raw material (recording on portable devices with headphones, inside the audience) where my gestures and interaction with the situations and materials of the space imply a music the audience cannot yet hear. At the same time, my performances aim to stimulate private experiences for the audience by means of acoustically generating sounds in intimate proximity to each listener’s ear. I consider the sounds of natural and unnatural places, situations, and found objects a spirited material that may be transported, mutated and reintegrated under new conditions to yield hybrid apparitions of spaces, things and moments. The microphone as an extended ear composes as it moves through a space, sensitive to various thresholds and spatial phenomena that my own ear cannot always grasp, or at least, that my ear grasps differently. My recorded work often features electronic and acoustical noises--hums, whirs, sputters and drones—that emulate sounds in nature. The combination of such objects as motors, clocks and strobe lights with materials such as stones, branches, gravel, sand and leaves creates an atmosphere of fantasy, something familiar yet unnamable, neither here nor there". [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => a-short-history-of-decay [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:06:59 [post_modified_gmt] => 2015-01-09 16:06:59 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6902 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 896 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 6934 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Hope [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => hope [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:07:03 [post_modified_gmt] => 2015-01-09 16:07:03 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6934 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 929 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 6966 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Liverpool-Leipzig = Zeichen [post_excerpt] => Born in 1954 in Bootle, Lancashire. Spent childhood watching Bill and Ben on the telly, reading the Dandy and the Beano and listening to a brown vulcanite Rediffusion radio on a shelf in the kitchen. Left school at 15, bought an electric guitar - wired it up to his cheap record player. 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] => liverpool-leipzig-zeichen [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:07:06 [post_modified_gmt] => 2015-01-09 16:07:06 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6966 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 961 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 6998 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Timetraces [post_excerpt] => Andrea Sodomka was born in 1961 in Vienna, Austria. She obtained diplomas from the Academy of Music (Institute of Electroacoustics), Vienn (1987) and the Academy of Applied arts, Vienna (1989). From 1991-1995 she was President of Society of Electroacoustic Music, Austria and since 1996 a member of the Artist'Assocation Wiener Secession. Andrea sodomka works in the realms of intermedia, installation, sound art, net, art, radio art, video and photography. 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] => timetraces [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:07:10 [post_modified_gmt] => 2015-01-09 16:07:10 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6998 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 993 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 7031 [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.184.40 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] => Basit [post_excerpt] => Aidan Mark Humphrey was born in Liverpool. Surprisingly, Franfurt, a german city, is the same size of Liverpool. Aidan lives there now with 600,000 other people. 60% are not germans. In Franfurt it is possible to purchase shells for mobile telephones in the design of the Turkish flag. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => basit [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=7031 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1027 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 7063 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Idylle [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. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => idylle [to_ping] => [pinged] => [post_modified] => 2019-08-13 17:15:56 [post_modified_gmt] => 2019-08-13 15:15:56 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7063 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1059 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 7095 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Sänpäkkilä [post_excerpt] => Opec is a Danish duo consisting of Jonas Olesen (b. 1979) and Christian Stadsgaard (b. 1975). Jonas Olesen has a background in techno- and electronica music, genres which operate with computer generated sounds. Christian Stadsgaard’s background is in noise music, a genre which incorporates sound elements from amplifiers and technical equipment. Opec has made a joint release with Norwegian Jazzkammer and contributed to the release spool.drv. The duo is currently working on their debut album. 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_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => sanpakkila [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:11:24 [post_modified_gmt] => 2015-01-09 16:11:24 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7095 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1091 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 7756 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Nato a Mulhouse, Francia (1980). Vive e lavora a Parigi. MOSTRE PERSONALI SELEZIONATE 2009 Galerie Lucile Corty, Paris Color Suite, Module, Palais de Tokyo, Paris A Brief History of the Twentieth Century, co Galerie Sassa Trülzsch, dans le cadre de Berlin-Paris, un échange de Galerie, Berlin 2007 Les Abîmes, galerie Lucile Corty, Paris Perhaps -- (avec Hannes Schmidt), galerie Nice&Fit, Showroom, Berlin 2006 Le Présent (avec Benoît Maire), Cortex Athletico, Bordeaux 2005 Le Troupeau du dehors / The Outside Herd (Cast), La Planck, Air de Paris, Paris 2004 Le Troupeau du dehors / The Outside Herd, Circuit, Lausanne / Arêne des singes du parc zoologique de Mulhouse Flat Screen Tragedy #3 (avec Benoit Maire), TNT, Bordeaux [post_title] => Two Minutes of the Emptiness of Space [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => two-minutes-of-the-emptiness-of-space-2 [to_ping] => [pinged] => [post_modified] => 2019-08-19 13:12:52 [post_modified_gmt] => 2019-08-19 11:12:52 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7756 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1911 [post_it] => 1 ) [8] => WP_Post Object ( [ID] => 11964 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => 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_title] => Autumn Apparition [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => autumn-apparition-2 [to_ping] => [pinged] => [post_modified] => 2017-03-07 13:29:45 [post_modified_gmt] => 2017-03-07 12:29:45 [post_content_filtered] => [post_parent] => 0 [guid] => http://www.radioartemobile.it/suoni/autumn-apparition-2/ [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 0 [post_it] => 0 ) [9] => WP_Post Object ( [ID] => 7882 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => RAMradioartemobile presenta

Nuit Blanche Parigi 2013

(Q.i Q.i) LES OISEAUX

Play list

23-ManfreDu Schu (Austria, 1959) Body of Bird “Ogni notte indago il mio corpo attraverso sogni feroci. L’aria penetra il mio piumaggio bizzarro… L’aria mi avvolge nella sua corrente e mi fa volare. Questo è un momento per essere VERI.”

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 [to_ping] => [pinged] => [post_modified] => 2015-01-08 13:04:01 [post_modified_gmt] => 2015-01-08 12:04:01 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7882 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 2040 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 6902 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => A short history of decay [post_excerpt] => Real Name: Loren Chasse, Brandon LaBelle ID BATTERY is a duo consisting of two of the most interesting working experimental artists from the US west-coast at this time, LOREN CHASSE and BRANDON LABELLE. With ID BATTERY, they have released so far some obscure vinyls and CDRs with their very personal image of a kind of 'concrete ambience', which mixes low-fi self-recorded found sounds into a music that has very rich details on a microtonal level, thus this could be described as 'microscopic music'. Brandon LaBelle is a sound artist and writer from Los Angeles. Working in the field of sound- performance- and installation-art since 1992, LaBelle's work aims to draw attention to the dynamics of sound as it is found within spaces and objects, public events and interactions, language and the body. Through a performative interaction with objects, found-sound, and minimal electronics, the work draws attention to the quality and nature of what is already there through an emphasis on and displacement of listening and interaction, as a technological and architectural glitch. LaBelle's interest in site-specificity reflects a desire to consider the relationships and tensions between art and a broader social environment. Lauren Chasse: "I am interested in the way people listen, especially when I consider the different expectations and sensitivities listeners bring to situations. As an educator and sound artist, I realize how significant environment is when contextualizing a listening experience and investing it with possibilities. In my work as a teacher in the San Francisco public schools and as Director of Education for sound arts organization 23five, I have been developing curricula and teaching programs that introduce students to the means (conceptual, creative, and technological) for actively and imaginatively listening—where sound may become a material for catalyzing literary, social, scientific and artistic practices. In my work with students as well as in my art, I am interested not so much in presenting meaning as I am in various means (through listening) for alternatively constructing it. Often too, it is enough to leave meaning alone and relate to an experience at the level of the sentient. In this case, I hope not so much that anything is ‘understood’, but that something imaginary is ‘touched’. Approaches to Performance and Recording: Performances are my means for exploring the individual experience of the listener. At the same time, I investigate ways in which ‘fields’ are affected as they are recorded. I use numerous strategies for recording, playback and re-recording within the duration of the live event to evolve a sort of ‘composition’. By engaging an entire performance space as a ‘field’, I like to demonstrate how my experience making music begins privately with a period of collecting raw material (recording on portable devices with headphones, inside the audience) where my gestures and interaction with the situations and materials of the space imply a music the audience cannot yet hear. At the same time, my performances aim to stimulate private experiences for the audience by means of acoustically generating sounds in intimate proximity to each listener’s ear. I consider the sounds of natural and unnatural places, situations, and found objects a spirited material that may be transported, mutated and reintegrated under new conditions to yield hybrid apparitions of spaces, things and moments. The microphone as an extended ear composes as it moves through a space, sensitive to various thresholds and spatial phenomena that my own ear cannot always grasp, or at least, that my ear grasps differently. My recorded work often features electronic and acoustical noises--hums, whirs, sputters and drones—that emulate sounds in nature. The combination of such objects as motors, clocks and strobe lights with materials such as stones, branches, gravel, sand and leaves creates an atmosphere of fantasy, something familiar yet unnamable, neither here nor there". 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