Archivio Sonoro: SoundArtMuseum en

WP_Query Object ( [query] => Array ( [post_type] => sounds [settori] => sound-art-museum-en [paged] => 90 [posts_per_page] => 10 ) [query_vars] => Array ( [post_type] => sounds [settori] => sound-art-museum-en [paged] => 90 [posts_per_page] => 10 [error] => [m] => [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [category_name] => [tag] => [cat] => [tag_id] => [author] => [author_name] => [feed] => [tb] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [title] => [fields] => [menu_order] => [embed] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [post_name__in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [post_parent__in] => Array ( ) [post_parent__not_in] => Array ( ) [author__in] => Array ( ) [author__not_in] => Array ( ) [search_columns] => Array ( ) [meta_query] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_menu_item_cache] => [lazy_load_term_meta] => 1 [update_post_meta_cache] => 1 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [taxonomy] => settori [term] => sound-art-museum-en [order] => DESC ) [tax_query] => WP_Tax_Query Object ( [queries] => Array ( [0] => Array ( [taxonomy] => settori [terms] => Array ( [0] => sound-art-museum-en ) [field] => slug [operator] => IN [include_children] => 1 ) ) [relation] => AND [table_aliases:protected] => Array ( [0] => wp_term_relationships ) [queried_terms] => Array ( [settori] => Array ( [terms] => Array ( [0] => sound-art-museum-en ) [field] => slug ) ) [primary_table] => wp_posts [primary_id_column] => ID ) [meta_query] => WP_Meta_Query Object ( [queries] => Array ( ) [relation] => [meta_table] => [meta_id_column] => [primary_table] => [primary_id_column] => [table_aliases:protected] => Array ( ) [clauses:protected] => Array ( ) [has_or_relation:protected] => ) [date_query] => [queried_object] => WP_Term Object ( [term_id] => 10 [name] => SoundArtMuseum en [slug] => sound-art-museum-en [term_group] => 0 [term_taxonomy_id] => 11 [taxonomy] => settori [description] => [parent] => 0 [count] => 1145 [filter] => raw ) [queried_object_id] => 10 [request] => SELECT SQL_CALC_FOUND_ROWS wp_posts.* FROM wp_posts LEFT JOIN wp_term_relationships ON (wp_posts.ID = wp_term_relationships.object_id) JOIN wp_icl_translations wpml_translations ON wp_posts.ID = wpml_translations.element_id AND wpml_translations.element_type = CONCAT('post_', wp_posts.post_type) WHERE 1=1 AND ( wp_term_relationships.term_taxonomy_id IN (11) ) AND ((wp_posts.post_type = 'sounds' AND (wp_posts.post_status = 'publish'))) AND ( ( ( wpml_translations.language_code = 'en' OR ( wpml_translations.language_code = 'it' AND wp_posts.post_type IN ( 'page' ) AND ( ( ( SELECT COUNT(element_id) FROM wp_icl_translations WHERE trid = wpml_translations.trid AND language_code = 'en' ) = 0 ) OR ( ( SELECT COUNT(element_id) FROM wp_icl_translations t2 JOIN wp_posts p ON p.id = t2.element_id WHERE t2.trid = wpml_translations.trid AND t2.language_code = 'en' AND ( p.post_status = 'publish' OR p.post_status = 'private' OR ( p.post_type='attachment' AND p.post_status = 'inherit' ) ) ) = 0 ) ) ) ) AND wp_posts.post_type IN ('post','page','attachment','wp_block','wp_template','wp_template_part','wp_navigation','mc4wp-form','projects','events','sounds' ) ) OR wp_posts.post_type NOT IN ('post','page','attachment','wp_block','wp_template','wp_template_part','wp_navigation','mc4wp-form','projects','events','sounds' ) ) GROUP BY wp_posts.ID ORDER BY wp_posts.post_date DESC LIMIT 890, 10 [posts] => Array ( [0] => WP_Post Object ( [ID] => 6956 [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. 183.20 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] => Sound [post_excerpt] => Alaric Sumner (1952-2000) was a writer and performer of distinction and astonishing invention, an artist, an editor, critic and educator. A one time Writer in Residence at the Tate Gallery, St Ives, latterly he had lectured in Performance Writing at Dartington College of Arts in UK, where he was also undertaking doctoral research. He was editor and co-founder of words worth (Journal of Language Arts) and founder and editor of words worth books. In addition, he edited the Writing and Performance section of PAJ = 61 which includes an interview with Reedy and work by Reedy, Upton, Cheek and Bergvall, was UK Associate Editor of Masthead Literary Arts Magazine (edited by Alison Croggan in Melbourne, Australia), and the Sound/Text section of the Fall 1999 Issue of Riding the Meridian. His performance work has been presented throughout Europe and North America. Of particular note, the prize-winning Voices (for 9) was performed at the Royal Court Theatre, London, in 1994. His collaboration with Joseph Hyde, Nekyia (for speaker, singer, electroacoustics and video) toured during 1999-2000. Its last scheduled performance took place at Nunnery Gallery in London, shortly after Sumner's death, with Joseph Hyde and Steve Halfyard (singer) and with Lawrence Upton taking the place of Sumner as speaker. Hyde presented a recorded version of Nekyia at the later as celebration at Dartington. The Unspeakable Rooms (a collaboration with Rory McDermott funded by the Arts Council of England) was described by Frank Green in the Cleveland Free Times as "one of the most powerful performances I've ever witnessed, and I've attended hundreds - a difficult masterpiece". His collaborations with sound artist John Levack Drever have been broadcast and performed in concerts around the world and published on CDs from ISEA and Doc(k)s. Joseph Hyde used Alaric's texts from Nekyia in his CDRom work for Performance Research. Dr John Levack Drever, Lecturer, studied Music at the University of Wales, Bangor, followed by a Master study in Electroacoustic Music Composition at the University of East Anglia. In 2001 he was awarded a PhD from Dartington College of Arts, titled 'Phonographies: Practical and Theoretical Explorations into Composing with Disembodied Sound'. Prior to coming to Goldsmiths he was a visiting lecturer in Visual Arts, Media Arts and Media Lab Arts at the University of Plymouth, lectured on Electroacoustic composition at Exeter University and tutored on a wide range of interdisciplinary courses at Dartington College of Arts. From 2000 to 2002 he was a Research Assistant for the Digital Crowd, University of Plymouth, co-ordinating Sounding Dartmoor, a public soundscape study of Dartmoor (www.sounding.org.uk). He is a co-founder and director of the UK and Ireland Soundscape Community (affiliated to the World Forum for Acoustic Ecology), for whom he chaired Sound Practice: the 1st UKISC Conference on sound, culture and environments, and is an elected director of Sonic Arts Network. From 2003-04 he was an ACE/AHRB Arts and Science Research Fellow with Centre for Computational Creativity, Department of Computing, City University, exploring electronic music performance interfaces that learn from their users. He regularly presents his work internationally in a wide range of contexts including concert hall, radio, Internet, cathedral, catwalk, ice cream van, classroom, fine art gallery, theatre, dance, video and for specific sites. Much of his work is collaborative working with Alice Oswald, Alaric Sumner, Lawrence Upton, Louise K. Wilson, Tony Lopez, Tony Whitehead and Blind Ditch, and has a special interest in human utterance and environmental sound. He has twice won a prize in the annual Musica Nova competition, Prague. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => sound [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:07:05 [post_modified_gmt] => 2015-01-09 16:07:05 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6956 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 951 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 6988 [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. 183.53 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] => Drum 'n' Brass [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. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => drum-n-brass [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:07:09 [post_modified_gmt] => 2015-01-09 16:07:09 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6988 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 983 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 7020 [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. 184.23 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] => Fat Zero [post_excerpt] => Nigel Helyer (a.k.a. Dr Sonique) is a Sydney based Sculptor and Sound Artist with an international reputation for his large scale sonic installations, environmental sculpture works and new media projects. His practice is actively inter-disciplinary linking creative practice with scientific Research and Development. Recent activities include; the development of a ‘Virtual Audio Reality’ system in collaboration with Lake Technology (Sydney) and the ongoing ‘AudioNomad’ research project in location sensitive Environmental Audio at the School of Computer Science and Engineering at the University of New South Wales. He is an honorary faculty member in Architectural Acoustics at the University of Sydney and maintains active research links with the “SymbioticA” bio-technology lab at the University of Western Australia. He has recently been a visiting Professor at Stanford University and an Artist in Residence at the Paul Scherrer Institut in Switzerland. Nigel is a co-founder and commissioner of the “SoundCulture” organisation; a recent fellow of the Australia Council for 2002/3, the winner of the Helen Lempriere National Sculpture Award 2002 and the curator of “Sonic-Differences” as part of the Biennale of Electronic Arts Perth 2004. Dr Nigel Helyer has a unique role in the development of Sound Art, both within Australia and at an International level. During the course of the past twenty years his contribution in the areas of practice, critical debate and advocacy have had a strong influence on the practice of Sound Art, helping it to emerge from a position of relative obscurantism to become a vital and internationally recognised form of cultural expression. Helyer has maintained a strong insistence upon the linkage between practice and theory, not only in his practice, but also in his role as a teacher (Head of Sculpture at Sydney College of the Arts, The University of Sydney 1985~1999). In a professional capacity he possesses a facility to operate between various sectors, frequently incorporating both Creative Arts and the Broadcast sector. More recently, he has formed a series of highly effective relationships between Cultural and Technological/Scientific entities. His role as an advocate for these cross-disciplinary linkages has long been active. His work as co-founder and commissioner for the SoundCulture organisation, has contributed to the production of a series of seminal international festivals (Sydney 1991, Tokyo 1993, San Francisco 1996, Auckland 1999 and Phoenix 2002) and SoundCulture is a major partner in the current Biennale of Electronic Arts Perth 2004. During the last three years he has been committed to the development of policy and funding initiatives at the Australia Council that directly support Art and Science collaborations. He played an active role in the development of the “Synapse” Art and Science partnership scheme that has introduced joint funding by the Australia Council and the ARC, established a nation wide database and hosts Artists to work within Science organisation. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => fat-zero [to_ping] => [pinged] => [post_modified] => 2019-08-13 13:24:14 [post_modified_gmt] => 2019-08-13 11:24:14 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7020 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1016 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 7053 [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. 158.a.1,2,4,5; 183.59 [post_title] => pomona [post_excerpt] => Scanner - British artist Robin Rimbaud - traverses the experimental terrain between sound, space, image and form, creating absorbing, multi-layered sound pieces that twist technology in unconventional ways . From his early controversial work using found mobile phone conversations, through to his focus on trawling the hidden noise of the modern metropolis as the symbol of the place where hidden meanings and missed contacts emerge, his restless explorations of the experimental terrain have won him international admiration from amongst others, Bjork, Aphex Twin and Stockhausen. Scanner is committed to working with cutting edge practitioners and has collaborated with artists from every imaginable genre: musicians Bryan Ferry and Laurie Anderson, The Royal Ballet and Random Dance companies, composers Michael Nyman and Luc Ferrari, and artists Mike Kelley and Derek Jarman. As well as producing compositions and audio CDs, his diverse body of work includes soundtracks for films, performances, radio, and site-specific intermedia installations. He has performed and created works in many of the world's most prestigious spaces including SFMOMA USA, Hayward Gallery London, Pompidou Centre Paris, Kunsthalle Vienna, Bolshoi Theatre Moscow, Tate Modern London and the Royal Opera House London. Paul Farrington, AKA TONNE This prize-winning visual artist and designer has made visible the work of Scanner, Pole and Spring Heel Jack among others, linking sound with visuals that vary between elegantly simple lines to multiple layers of superimposed imagery. Tonne's interactive sound interfaces allow music to be produced as responses to the movement of graphics, and vice-versa. By manipulating sound utilities, Tonne builds toys, games, interactive environments and soundbanks. Developing and producing controlled systems for sound and image interaction, Tonne has performed live at Sonar (Barcelona 2000), FCMN (Montréal), Expanded Cinema (Milan), Lovebytes (Sheffield), and Steim (Amsterdam). Tonne was awarded Creative Review's Creative Futures Up-And-Coming Graphic Designer of 1999. Recently Tonne has been commissioned by the music label Meta to release recordings of his sound toys. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => pomona [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:11:20 [post_modified_gmt] => 2015-01-09 16:11:20 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7053 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1049 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 7085 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Still [post_excerpt] => Michael J. Schumacher is a composer, performer and installation artist from New York City. He works predominantly with electronic and digital media, specializing in computer generated sound environments which evolve continuously for long time periods. He imbues these self-creating structures with an abundance of sonic material, resulting in forms that flow through a wide range of moods, timbral combinations and textural densities. In their realization, Schumacher uses multiple speaker configurations which relate the sounds of the installation to the architecture of the exhibition space. Architectural and acoustical considerations thereby become basic structural elements. For these compositions, Schumacher has worked with instrumentalists Tim Barnes, Anthony Burr, Charles Curtis, Jane Henry, Kato Hideki, Rebecca Moore, David Shively, Peter Zummo and others, recording and manipulating their sounds. Schumacher’s sound installations have been heard at Art in General, Apex Art, PS 1, The Kitchen, the Queens Museum and Sculpture-Center in New York City, CCNOA in Brussels, the Technical University and Podewil in Berlin, the Museum for Applied Arts in Frankfurt , the Museum of Modern Art in Lyon, Triskel Intermedia in Cork, Ireland, Transmissions Festival in Chicago, SFIFEM in Sante Fe, the Waveform Festival in Sydney, Via 7 Festival in Paris, and others. Schumacher has been a close associate of the ground breaking composer La Monte Young since 1989 and has worked as a producer of events at the Dream House, Young’s and Marian Zazeela’s installation space in Tribeca. In this capacity he has produced concerts of classical Indian music as well as sound installations and concerts of contemporary music by composers associated with Young, such as Terry Jennings and Richard Maxfield. He has also worked as technical director of the Dream House and as a recording engineer at Dream House events. Since 1996, Schumacher has pioneered, first at his downtown gallery Studio Five Beekman and, since 2000, at Diapason Gallery located in midtown, sound art in New York City, by giving over 100 artists the opportunity to present, in environments with high quality multi-channel sound systems and free of outside noise, cutting edge installations with sound as their focus. He has produced premieres by David Behrman, David First, Tetsu Inoue, Ron Kuivila, Steve Roden, Marina Rosenfeld and Stephen Vitiello, to name a few. A complete listing of past presentations and upcoming events is viewable online at www.diapasongallery.org. Schumacher is a frequent collaborator with the video artist Ursula Scherrer, with whom he founded Studio Five Beekman. Their works have appeared in many festivals, including Media Test Wall at MIT in Cambridge, the Dissonanze in Rome, the 9e Biennale de l’Image en Movement in Geneva, and the BAC 36 Int’l Film and Video Festival at the Brooklyn Museum of Art. Schumacher has published six solo CDs, a duo CD with Donald Miller, and an LP with Miller and Charles Curtis. He is on the Sub Rosa anthology of noise and electronic music and the lower case 2002 compilation, as well as on an LP of remixes of music by Oren Ambarchi on the Touch label. Schumacher’s CD "Room Pieces", on the XI label, was rated best of 2003 for “modern composition” by The Wire magazine. Schumacher has lectured at Bard College, The New School, The School for Visual Arts and Juilliard. He taught electronic music at the Center for Media Arts in New York City in the mid 1980s. He has taught piano, composition, theory and ear training privately since 1983. Schumacher was awarded the prestigious Foundation for Contemporary Performance Arts Grant in 2001. He has also received awards and residencies from NYFA, Harvestworks, Rennsellaer Polytechnic Institute, Meet the Composer and others. Schumacher has degrees in music composition from Indiana University, where he won the composition prize in 1982, and the Juilliard School, where he earned the doctorate in 1988. His teachers have been Stanley Applebaum, Seymour Bernstein, Bernhard Heiden, John Eaton, John Ogden, Shigeo Neriki, La Monte Young and Vincent Persichetti. Born in 1961 in Washington, DC, he has lived in New York since 1983. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => still-2 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:11:23 [post_modified_gmt] => 2015-01-09 16:11:23 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7085 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1081 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 7736 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => sdpqhuejsiaoeprisoxmnagfsteuqjamxlspwosmslxkrseebalionreuub(…) [post_excerpt] =>

Massimo Bartolini nasce a Cecina nel 1962, partecipa a numerose esposizioni italiane ed internazionali. Artista che, avvalendosi di varie tecniche come la fotografia, il video e l’installazione, è riuscito  a porre l’accento su come un determinato intervento su un luogo possa trasformare lo spazio iniziale, giocando sulle nostre ipotesi percettive. Ruolo fondamentale hanno non solo la luce, ma anche il suono capaci di creare percorsi reali o puramente mentali all’interno di luoghi che si lasciano riconoscere da piccoli frammenti appartenenti al quotidiano.

[post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => sdpqhuejsiaoeprisoxmnagfsteuqjamxlspwosmslxkrseebalionreuub-2 [to_ping] => [pinged] => [post_modified] => 2019-08-17 15:26:09 [post_modified_gmt] => 2019-08-17 13:26:09 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7736 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1891 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 6464 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Yellow Inferno - part 2 [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => yellow-inferno-part-2 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:03:15 [post_modified_gmt] => 2015-01-09 16:03:15 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6464 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 453 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 6044 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Paris_ Metro_ Music [post_excerpt] => GIOVANNI BAI (Milano, 1952). Sociologo e videopittore, si occupa dei problemi della comunicazione sia tradizionale che elettronica, della manipolazione dell'immagine e della possibilità/impossibilità di comunicare. Nel 1990 ha fondato con TeoTelloli MUSEO TEO, un museo senza sede e senza opere, una istituzione atipica per la diffusione dell'arte contemporanea fuori dagli spazi consueti, che organizza mostre di un solo giorno e pubblica MUSEO TEO ARTFANZINE, la rivista dei fans dell'arte, una pubblicazione aperiodica alternativa, giunta ormai al venticinquesimo numero. Ha sempre inteso la pratica artistica come momento di riflessione sull'arte e sui problemi della società, ….http://utenti.lycos.it/MUSEO_TEO/studioventicinque_archivio.html MUSEO TEO - associazione "non profit" per la diffusione dell'arte contemporanea fondata e diretta da Giovanni Bai e Maurizio Telloli nel 1990 - riunisce il lavoro collettivo di vari artisti come una sorta di grande opera d'arte in continua evoluzione, che racchiude in sé una riflessione sullo stato attuale dell'arte, ma è nello stesso tempo luogo del gioco e dell'ironia. Museo senza sede e senza opere, MUSEO TEO è proprio il contrario di un normale museo, ) http://utenti.lycos.it/MUSEO_TEO/studioventicinque_archivio.html [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => paris_-metro_-music [to_ping] => [pinged] => [post_modified] => 2019-07-15 16:34:28 [post_modified_gmt] => 2019-07-15 14:34:28 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6044 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 28 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 7857 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Something new is happening in Rotterdam and i's a world premiere GRRR JAMMING SQUEAK is opening for a whole year.
What is it? it's a fully equipped music recording studio, attended by sound engineers. Available to everyone, for free, to play music along with the sound of animals. -

GRRR JAMMING SQUEAK is a public art work by PAOLA PIVI

 www.paolapivi.com

David Cunningham is a record producer and musician who has worked with with an eclectic range of people and music which has included The Flying Lizards, Palais Schaumburg and Michael Nyman amongst many others. His installation works in art galleries magnify the sound of a room, a music delineated by the architectural characteristics of the space and modulated by the transient nature of people passing through. David Cunningham will play guitar live with a selection of animal sounds. The guitar is treated through a delay system which allows notes played to recycle infinitely, overlapping in different rhythms. Chronological rather than metronome time. The intention is to create a parallel structure alongside the aural ecologies taher than simply an exotic decoration. All the guitar sounds are originated live in the performance, the only pre-recorded material will be Grrr Jamming Squeak multispecies sound library.

15 April 2011

COOLSINGEL 63
ROTTERDAM [post_title] => DAVID CUNNINGHAM @ GRRR JAMMING SQUEAK [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => david-cunningham-grrr-jamming-squeak-2 [to_ping] => [pinged] => [post_modified] => 2015-01-08 13:09:43 [post_modified_gmt] => 2015-01-08 12:09:43 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7857 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 2015 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 6247 [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 "Ann"; T.T. 68' 34". Copyright: Kaffe Matthews 1997 R.G.: Kaffe Matthews “CD Ann” – archivio SAM n. 123/a 17 tracce, compl. 68’36” Musica elettroacustica di taglio ambient/minimal, sperimentale ma abbastanza “ascoltabile”. Suoni e rumori concreti, sostanzialmente rari e rarefatti. Musica predominante: con tastiere, campionamenti vari, archi, percussioni. Non male, nel complesso: però molto lungo, piuttosto omogeneo (leggi monotono) e in definitiva un po’ “già sentito”. [post_title] => To Manson 13 (track 12) [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] => to-manson-13-track-12 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:00:51 [post_modified_gmt] => 2015-01-09 16:00:51 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6247 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 234 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 6956 [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. 183.20 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] => Sound [post_excerpt] => Alaric Sumner (1952-2000) was a writer and performer of distinction and astonishing invention, an artist, an editor, critic and educator. A one time Writer in Residence at the Tate Gallery, St Ives, latterly he had lectured in Performance Writing at Dartington College of Arts in UK, where he was also undertaking doctoral research. He was editor and co-founder of words worth (Journal of Language Arts) and founder and editor of words worth books. In addition, he edited the Writing and Performance section of PAJ = 61 which includes an interview with Reedy and work by Reedy, Upton, Cheek and Bergvall, was UK Associate Editor of Masthead Literary Arts Magazine (edited by Alison Croggan in Melbourne, Australia), and the Sound/Text section of the Fall 1999 Issue of Riding the Meridian. His performance work has been presented throughout Europe and North America. Of particular note, the prize-winning Voices (for 9) was performed at the Royal Court Theatre, London, in 1994. His collaboration with Joseph Hyde, Nekyia (for speaker, singer, electroacoustics and video) toured during 1999-2000. Its last scheduled performance took place at Nunnery Gallery in London, shortly after Sumner's death, with Joseph Hyde and Steve Halfyard (singer) and with Lawrence Upton taking the place of Sumner as speaker. Hyde presented a recorded version of Nekyia at the later as celebration at Dartington. The Unspeakable Rooms (a collaboration with Rory McDermott funded by the Arts Council of England) was described by Frank Green in the Cleveland Free Times as "one of the most powerful performances I've ever witnessed, and I've attended hundreds - a difficult masterpiece". His collaborations with sound artist John Levack Drever have been broadcast and performed in concerts around the world and published on CDs from ISEA and Doc(k)s. Joseph Hyde used Alaric's texts from Nekyia in his CDRom work for Performance Research. Dr John Levack Drever, Lecturer, studied Music at the University of Wales, Bangor, followed by a Master study in Electroacoustic Music Composition at the University of East Anglia. In 2001 he was awarded a PhD from Dartington College of Arts, titled 'Phonographies: Practical and Theoretical Explorations into Composing with Disembodied Sound'. Prior to coming to Goldsmiths he was a visiting lecturer in Visual Arts, Media Arts and Media Lab Arts at the University of Plymouth, lectured on Electroacoustic composition at Exeter University and tutored on a wide range of interdisciplinary courses at Dartington College of Arts. From 2000 to 2002 he was a Research Assistant for the Digital Crowd, University of Plymouth, co-ordinating Sounding Dartmoor, a public soundscape study of Dartmoor (www.sounding.org.uk). He is a co-founder and director of the UK and Ireland Soundscape Community (affiliated to the World Forum for Acoustic Ecology), for whom he chaired Sound Practice: the 1st UKISC Conference on sound, culture and environments, and is an elected director of Sonic Arts Network. From 2003-04 he was an ACE/AHRB Arts and Science Research Fellow with Centre for Computational Creativity, Department of Computing, City University, exploring electronic music performance interfaces that learn from their users. He regularly presents his work internationally in a wide range of contexts including concert hall, radio, Internet, cathedral, catwalk, ice cream van, classroom, fine art gallery, theatre, dance, video and for specific sites. Much of his work is collaborative working with Alice Oswald, Alaric Sumner, Lawrence Upton, Louise K. Wilson, Tony Lopez, Tony Whitehead and Blind Ditch, and has a special interest in human utterance and environmental sound. He has twice won a prize in the annual Musica Nova competition, Prague. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => sound [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:07:05 [post_modified_gmt] => 2015-01-09 16:07:05 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6956 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 951 [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] => 28fe6a9ec3533baf5c3f16ba0a910cbc [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 ) )