Archivio Sonoro: SoundArtMuseum en

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The recordings on these CDs give an idea of the music and the sound art presented in concerts at Het Apollohuis in the priod from 1980 through 1997. Out of a total of 500 performances I chose 38, from which exceprts of varying lenght have been included in this anthiology. These have been arranged in chronological order. The diversity of the selected pieces is characteristic of the programme of Het Apollohuis. Only limited number of composers and musicians who performed can be heard in brief fragments o these discs. Consequently a considerable number has been excluded. There simply was no way to include them all (this selection does not imply we value one above the other). The choice of the particular musicians has been my responsability (P: Panhuysen). liner notes: René van Peer sound selection: René Adriaans mastering: Frank Donkersgoed design: Tom Homburg, Marcel d'Anjou (Opera) [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => viola-ii [to_ping] => [pinged] => [post_modified] => 2019-08-02 13:16:53 [post_modified_gmt] => 2019-08-02 11:16:53 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6534 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 523 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 6566 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => All music composed by Alvin Curran, produced by Alvin Curran, executive producer John Zorn associate producer Kazunori Sugiyama mastered by Scott Hull at Hit Factory Mastering, NYC This CD is a compilation of first time releases including selected fragments of orchestral, choral, solo keyboard, electronic and installation works created beetween 1987-2003. I am known for this, that and the other-other, but behind my attempts to transform the earth's entire landscape into a concert hall, there is and always has been a steadfast composer of notes and bening anarchy. Lost Marbles is both an insider's guide and a crash-course intro to my music-music created mostly in prominent experimental back rooms for single occasions and never heard from again. So I decided do make my own musical sapler including fragments of significant musical events from the middle '80s to the present whichI felt would make coincise but essential exposé if not a self-portrait, bringing myself and my public up to date with musics that toured briefly with world-class dance companies or theater groups, or resided in complex and expensive installation that lasted the length of a festival. True, most of these pieces had durations spanning aminimum of thirty minutes to over five hours, but here the chosen snippets arepresented as the antipasti and the main course all in one. Excepting four electronic and improvised pieces, all the music is conventionally written on paper with pen and ink - Alvin Curran (Rome, January 15, 2004). [post_title] => Erat verbum John [post_excerpt] => Democratic, irreverent and traditionally experimental, Curran travels in a computerized covered wagon between the Golden Gate and the Tiber River, and makes music for every occasion with any sounding phenomena -- a volatile mix of lyricism and chaos, structure and indeterminacy, fog horns, fiddles and fiddle heads. He is dedicated to the restoration of dignity to the profession of making non-commercial music as part of a personal search for future social, political and spiritual forms. Curran's music-making embraces all the contradictions (composed/improvised, tonal/atonal, maximal/minimal...) in a serene dialectical encounter. His more than 100 works feature taped/sampled natural sounds, piano, synthesizers, computers, violin, percussion, shofar, ship horns, accordion and chorus. Whether in the intimate form of his well-known solo performances, or pure chamber music, experimental radio works or large-scale site-specific sound environments and installations, all forge a very personal language from all the languages through dedicated research and recombinant invention. THE MAIN STORY With a fortuitous bang, he begins his musical journey (1965 in Rome) as co-founder of the radical music collective MUSICA ELETTRONICA VIVA, as a solo performer, and as a composer for Rome's avantgarde theater scene. In the 70's, he creates a poetic series of solo works for synthesizer, voice, taped sounds and found objects. Seeking to develop new musical spaces, and now considered one of the leading figures in making music outside of the concert halls -- he develops a series of concerts for lakes, ports, parks, buildings, quarries and caves -- his natural laboratories. In the 1980's, he extends the ideas of musical geography by creating simultaneous radio concerts for three, then six large ensembles performing together from many European Capitals. By connecting digital samplers to MIDI Grands (Diskklavier) and computers, since 1987, he produces an enriched body of work -- an ideal synthesis between the concert hall and all sounding phenomena in the world. In 1990, he begins a visually striking series of sound installations, in collaboration with Melissa Gould. Throughout these years he continues to write a significant amount of music for acoustic instruments. TEACHING From 1975-80 taught vocal improvisation at the Accademia Nazionale d'Arte Drammatica (Rome) and since 1991 has been the Milhaud Professor of Composition at Mills College in Oakland, California. FORMATIVE YEARS Born December 13, 1938, Providence, Rhode Island. From five years: piano lessons, trombone, marching bands, Synagogue chants, Jazz, and his father's dance bands. Becomes an artist at age 13 in an apple tree at the house of his lifelong friend, poet Clark Coolidge. Hears Spike Jones, the Rhode Island Philharmonic, Satchmo, The Boston Symphony Orcherstra, Art Tatum, Charlie Parker, The Band of America, Thelonius Monk, Gerry Mulligan, Miles Davis, Coltrane, Bartok and Christian Wolff. Studies composition with Ron Nelson (B.A. Brown University 1960) and with Elliott Carter and Mel Powell( M.Mus., Yale School of Music l963). During summer vacations, plays European crossings with the "Brunotes" on the Holland American Line, in a Greek Dance Band in the Catskills, and in the Dunes Hotel in Las Vegas. Continues studies and friendship with Carter in Berlin (1964 Ford Foundation Grant), meets Stravinsky, Xenakis, Berio, Yuji Takahashi, Andriessen, Remo Remotti, and above all Rzewski. Goes to Darmstadt, hangs with Babbitt and Earl Brown, hears Stockhausen and Ligeti. Goes to Rome with Joel Chadabe and plays piano in bars on via Veneto, meets Franco Evangelisti and Cornelius Cardew. In the MUSICA ELETTRONICA VIVA years (1966 -1971 in Rome), performs in over 200 concerts in Europe and the USA with Teitelbaum and Rzewski, Carol Plantamura, Ivan Vandor, Alan Bryant and Jon Phetteplace; and makes significant artistic encounters with: Giuseppe Chiari, Edith Schloss, AMM, Cardew, Steve Lacy, Michelangelo Pistoletto, Steve ben Israel, Anthony Braxton, Simone Forti, Steve Reich, Joan LaBarbara, Michael Nyman, La Monte Young, Trisha Brown, Ashley, Behrman, Gordon Mumma, Alvin Lucier, Larry Austin, Bill Smith, Ketoff, Robert Moog, Nuova Consonanza, MEV2, Meme Perlini, Mario Ricci, Maria Monti, Prima Materia, Ron Bunzl, Phil Glass, Charlemagne Palestine, Terry Riley, George Lewis, Evan Parker, Gregory Reeves, Serge Tcherepnin, Kosugi, Pulsa, Maryanne Amacher, John Cage, David Tudor, Morton Feldman. Scelsi becomes his friend and mentor. PRIZES AND AWARDS Bearns Prize, BMI award, National Endowment for the Arts (twice), DAAD (Berlin residencies 1963-4 and 1986-7), Ars Acoustica International (WDR), Prix Italia (special award l988), Premio Novecento (city of Pisa), Fromm Foundation (Harvard University), Hass Family Award (San Francisco), Meet the Composer (assistance to many concerts), Leonardo Award for Excellence (1995), Guggenheim Foundation (2004). [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => erat-verbum-john [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:03:25 [post_modified_gmt] => 2015-01-09 16:03:25 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6566 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 556 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 6598 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Repeat [post_excerpt] => Gianluca Codeghini Nato a Milano il 02.09.1968 Diplomato all’Accademia di Brera Milano al corso di Pittura. Frequenta i corsi di Musica Elettronica e di Semiotica a Bologna e Milano. Le sue prime esperienze artistiche indagano nell’ambito della ricerca sonora e di una modalità per archivia-re e rigenerare il rumore a queste affianca performance e installazioni in ambiti urbani e in spazi espositivi, nel 1992 fonda laciecamateria edizioni. Alcune linee teoriche del suo lavoro vertono temi come il rumore, la luce e la cecità, la polvere, il gioco, l’intervallo, i sottofondi, svariate sono le collaborazioni. Espone in Italia e all’estero dal 1990 in spazi pubblici, musei, gallerie e spazi vir-tuali, in questo ultimo anno: “Lo sguardo ostinato” a cura di E. Grazioli, MAN Museo d’Arte Provincia di Nuoro; prosegue la ricerca sul suono e presenta “Noi se” a Milano presso A+M Bookstore e a Roma all’interno del progetto “InsideOUT”, a cura di M. Allicata e F. Ventrella presso la Red Bull Music Accademy; realizza la colonna sonora del video “Ada Negri” di Dario Bellini; è pubblicato in “La polvere nell’Arte” a cura di E. Grazioli, Bruno Mondadori; “Il gioco epistemico” conversazione con P. Braione in “La cultura politecnica” a cura di M. Bartoldini, Bruno Mondadori; prende forma il progetto “Warburghiana”. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => repeat [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:03:29 [post_modified_gmt] => 2015-01-09 16:03:29 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6598 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 588 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 6630 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Need [post_excerpt] => I am a modernist but mostly I am an audiophile - albeit with peculiar and often eccentric taste. Consequently, in my artistic practice I am interested in examining, locating or commemorating collective culturl experiences in historic moments of creative transition. I attemp a marriage of art history and black history within the realm of the abstract languages they constructed. This notion is manifested through multi-disciplinary pieces that incorporate sound, works on paper, and site based projects all focusing on music, specifically the aage of modern music-the more avant-garde or Be Bopera, aperiosd with intense social and cultural implications. Complimenting today's deluge of hip hop culture as defining black culture, the audio pieces transform the gallery space into concert hall via speakers or private listening zones vie headsets. Assembling fresh pieces by means of jazz concepts like "call and response", tempo chanes, "stop-time" and counter melody, I build variations on the original compositions themselves, not unlike a musician riffing on a "standars" tune. Future project ideas range from the transcription of sheet music (scores) into large-scale drawings, collaborating with musicians to then "play" those works - to site related projects in and around Harlem. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => need [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:05:23 [post_modified_gmt] => 2015-01-09 16:05:23 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6630 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 621 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 6662 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => ENTR'ACTE (Fear of having you/ Fear of losing you) [post_excerpt] => "Thank for flying american" is a richly diverse anthology of audio art compositions by media, performance and visual artist, write audio composer, producer, and internationally broadcast radio art innovator Jaci Apple. Travelling a thematic path, this 17 cut compilation, selected from six of her major performance, installation, video and radio works from 1980-1991, is a journey accross the American landscape spanning three decades. Filled with a pervasive sense of loss, this series of aural snapshots gazes bacward into the past from different vantage points as it speeds forward into a precarious and sometimes ominous future. 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And previous pieces: Little Music .. - 1999, Little Litany - 2002, Little Chronicles - 2005. [post_title] => Accusation against Diva [post_excerpt] => ZBIGNIEW PENHERSKI, composer, born January 26, 1935 in Warsaw, Poland. Studied composition with B. Poradowski at the State Academy of Music [PWSM] in Poznan (1955-56), followed by studies with Tadeusz Szeligowski in Warsaw (1956-59). Penherski has also studied conducting under Bohdan Wodiczko (1960-63). Holder of a Dutch government scholarship, studied at the Institute of Sonology in Utrecht (1969). Prize winner of composition competition such as: Grzegorz Fitelberg Competition (1964) for Musica humana; Artur Malawski Competition (1976) for Masurian Chronicles [Kroniki Mazurskie]; Composing Competition in Gdansk (1992) for Cantus; Polish Radio Competition (1995) for Genesis. Honorary citizen of Kragujevac in Yugoslavia, Russe in Bulgaria, and Ho-Chi-Minh in Vietnam. Awarded the Silver Cross of Merit (1975) and the Award of the Prime Minister of Poland, for works for children and youth (1982). Member of Stage Artist and Composers' Association [ZAIKS] since 1961, Polish Composers' Union [ZKP] since 1963, Polish Contemporary Music Association [PTMW], Warsaw Music Society [WTM]. Honorary member of the Scottish Society of Composers (1987). Penherski's music has been performed in Poland and abroad, including Austria, Belgium, Denmark, France, Germany, Great Britain, Italy, Korea, Mexico, the Netherlands, Norway, the Soviet Union and USA. LITERATURE: - Polish Opera and Ballet of the Twentieth Century, PWM, Kraków 1986 - Who is Who in Poland, Interpress, Warszawa 1989 - Chomiński Józef The Music of Polish People’s Republic [Muzyka Polski Ludowej], PWN, Warszawa 1968 - Hanuszewska Mieczysława, Schaeffer Bogusław Almanac of Present Polish Composers [Almanach polskich kompozytorów współczesnych], PWM, Kraków 1982 [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => accusation-against-diva [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:05:36 [post_modified_gmt] => 2015-01-09 16:05:36 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6765 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 757 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 6819 [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. 190.13 [post_title] => Idol [post_excerpt] => PlasticViolence Formati da Paolillo Fabrizio e Materazzi Francesca nel 1996, con l’idea di realizzare un progetto musicale con sonorità sperimentali e di chiara impostazione ed argomentazione politica di denuncia. Iniziato come progetto aperto all’ngresso eventuale di altri componenti, il duo si stabilizza definitivamente tale, data la forte affinità e la carenza di musicisti che aderissero ad un simile contesto. Con il primo CD “ufficiale” IMMATERIAL il sound è radicalmente cambiato passando a suoni minimalisti senza cantati, gelidi glitch e dai titoli dei brani che letti di seguito(inizia con “Ideal” e finisce con “Idol”) formano un percorso che mischia la contestazione della materia come forma di prodotto e quella nei confronti dell’arte istituzionalizzata. Per quanto riguarda le rare esibizioni live, i PV fanno da sottofondo con il loro contributo musicale a happening o sets multimediali claustrofobici, aiutati anche da altri collaboratori occasionali. Formed by Paolillo Fabrizio and Materazzi Francesca in 1996, with the idea to realize an experimental resonance musical project with a clear political argument of denunciation. Begun like open project for an eventual entrance of other components, the duet it is stabilized definitive such, given the strong affinity and the deficiency of musicians that adhered things like that context.With the first “official” CD IMMATERIAL the sound is radically changed to minimalist without sung, ice-cold glitches and the titles of the track that read to continue (begins with “Ideal” and ends with “Idol”) form a route that mixes the dispute of the matter like form of product and by comparisons with the istitutionalized art.As far as the rare exhibitions live-sets concerned, the PV does form a background with their musical contribution to happening or claustrophic multimedia sets, helped also by other occasional collaborators. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => idol [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:06:51 [post_modified_gmt] => 2015-01-09 16:06:51 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6819 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 812 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 6851 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => The Liverpool Song Lines. From O to R [post_excerpt] => Benjamin (Ben) Patterson (born 1934 in Pittsburgh, PA.) graduated 1956, University of Michigan, Bachelor of Music. According to an old biography he was "proficient on the double-bass, knowledgeable in music theory and history and acquainted with the crafts of composition and conducting." After a brief career as a double-bassist with symphony orchestras in Canada he settled in Cologne in 1960. There, he was active in the contemporary music scene, performing in festivals in Cologne, Paris, Venice, Vienna and elsewhere. During this pre-Fluxus period he created and performed some of his early seminal works: - "Paper Piece", "Lemons" and "Variations for Double-Bass". Late in 1961 Patterson moved to Paris, where he collaborated with Robert Filliou ("puzzle poems") and where he published his "Methods and Processes". Commuting between Paris and West Germany, Patterson assisted George Maciunas in organizing the historic 1962 Fluxus Festival in Wiesbaden. His interview with Emmett Williams - for the opening of this festival - became the first article ever about Fluxus. Similarly, the first film documentation of Fluxus - news coverage by German Television - featured Patterson's performance of his "Variations for Double-Bass." After Wiesbaden Patterson and his works continued to be an important presence at Fluxus events around the world. In 1963 Patterson moved to New York, where he participated in Fluxus manifestations until the late 1960's - when he returned to pursue "an ordinary life". During the next two decades he successfully pursued a career in arts administration - managing a variety of music, theater and dance companies and serving as administrator or consultant to municipal, state and federal arts funding agencies. Although he remained outside the Fluxus scene during this period, he did occasionally surface with performances and new works for such events as the 20th Anniversary Fluxus Festival in Wiesbaden in 1982 and the 1983 Bienal de Sao Paulo, Brazil, and has been well represented in the various exhibitions throughout the USA of the Silverman Collection. In September 1988 Patterson returned from retirement with a solo exhibition of new assemblages and constructions at the Emily Harvey Gallery in New York. Since then, he has exhibited or performed widely in major or minor venues from Brisbane, Australia, to Prague, Czechoslovakia and from Winnipeg, Canada to Tusa, Sicily. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => the-liverpool-song-lines-from-o-to-r [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:06:54 [post_modified_gmt] => 2015-01-09 16:06:54 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6851 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 844 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 6883 [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. 2.a; 184.18 [post_title] => I hope you get well [post_excerpt] => Paul Devens works as a visual artist who is concerned with social and architectural environments and the preoccupations and expectations of the spectator or public. He also makes soundworks without a direct visual elemnt. Various sources are used as material in the compositions: sound taken from his installations, from people in railway, stations or post offices, sounds from engines or traffic. Acoustic, electric and electronic instruments, sometimes home-made are also used. b. 1965. Lives and works in Maastricht, Netherlands 1984-1989 ABK Maastricht 1989-1991 Jan van Eyck Akademie (post-graduate) Maastricht 1994 Pepinieres Europeennes pour Jeunes Artistes, Grenoble. Soloexhibitions 2002 *Experimental Intermedia, Gent, B. *DSM, Sittard, NL 2000 *"On Hold", Marres, Maastricht. *"Oblique Nights", Le Lieu Unique, association crdc, Nantes, France. *"TAG" Luxus artfoundation, Den Haag. 1999 *Bonnefantenmuseum Maastricht. Casimir BV, Arnhem NL. 1998 *Lokaal 01, Breda, NL. 1996 *De Bank, artfoundation, Enschede, NL. 1995 *Bonnefantenmuseum, Maastricht. 1994 *Magasin, cnac, Grenoble, F. 1993 Apollohuis, Eindhoven, Nl 1992 *"Euregionale 1992", Provinciaal Museum, Hasselt,B. Group exhibitions 2004 “Switched on”, Klein Art works, Chicago 2003 “ctrl-alt-del”, Marres, Maastricht, Nl/ Babylon, Istanbul, TR. *“Bread and Circus”, Lokaal 01, Breda nl *Neuer Aachener Kunstverein, Aachen, D. 2002 *Film- and videofestival, Dulcinea Contemporary Art Gallery and Institut Francais, Istanbul. *"Mobile Phonics", Z33, Hasselt, B. *Videoscreening, SOX 36, Berlin. *Film- and videofestival, Hedah artfoundation, Maastricht 2001 *"Who Says Seeing Only Happens With The Eyes?", Galleri F15, Moss, Norway. *"Fricties" Museum van Bommel van Dam, Venlo, NL. *"Le detour vers la simplicite: experiences de l'absurde" Le Confort Moderne, Poitiers, FR. *Arti et Amicitiae, Amsterdam. 2000 *"Our House" festival, Genk, B. Videoscreening. *"Global Attic Festival", Rotterdam. 1999 *"De toekomst die ons toekomt", Fonds BKVB, Amsterdam. 1998 *Villa Oud Amelisweerd, Utrecht, NL. Stadsgalerij Heerlen, NL. *"The Eye and The Ear", Duende artfoundation, Rotterdam. 1997 *W139, Amsterdam. 1995 *Technical University, Architecturedept., Einhoven, NL. 1994 *Proton ICA, Amsterdam. *"Toucheprijs 1994" Arti et Amicitiae, Amsterdam. *"Nuldrieenveertig" Landbouwbelang, Maastricht. 1993 *"Sound and Vision" ICA, Amsterdam. Public Commissions 2002 *"Food 2" Amstenraderveld, Brunssum, NL. 2000 *"Moped" Universiteit Maastricht. 1997 *"Cone 8" Business and Sciencepark, Enschede, NL. Solo Concerts and Events 2003 * “Ctrl-alt-del” at Babylon, Istanbul 2002 *"Food 2" *"Mobile Phonics" Museum Z33, Hasselt. *"Blue Loft" Lokaal 01, Breda, NL. 2001 *"We'll See" (music for the choreography of Kosmas Kosmopoulos). *Neuer Aachener Kunstverein, D *MEX, Dortmund, D. *Release, Hedah Art Foundation, Maastricht. * "wssohwte", Galleri F15, Norway. * "Fricties", Museum van Bommel van Dam, Venlo. *Stedelijk Museum Amsterdam, concert and broadcast on national radio (VPRO) *Le Confort Moderne, Poitiers, F. 2000 *"Oblique Nights", Le Lieu Unique, Nantes. *"Le dejeuner sur l'herbe", Gothaer Kunstforum, Koln, D. *"Our House" festival, Winterslag, Genk, B. * "Global Attic Festival" Rotterdam. 1999 *"Blue Nail" concerseries in CBK Maastricht, De Parel, Amsterdam, Doornroosje, Nijmegen, Baudelopark, Gent, Boulevard, Den Bosch and Winterslag, Genk. Web 2003 *www.project-ctrl-alt-del.com 2001 *"Who Says Seeing Only Happens With The Eyes?" www.wssohwte.net 2000 *cooperation with Bert van den Bosch, private site Paul Devens: www.niew.nl/pauldevens *Release web-cd "-Fuck -It": www.mp3.com/pauldevens *"TAG" projectsite. Already off-line. www.luxus8days.nl *"Osaka Remix Project": www.fotonrecords.com *Various sites of museums and artfoundations like www.lelieuunique.fr www.confort-moderne.fr www.experimentalintermedia.be www.limburg.be/ z33 etc. Releases 2003 *production and soundpiece for CD “ctrl-alt-del”. 2002 *Contribution to compilation-cd "Music for difficult people" by Mangenerated, Moortsel, B. 2001 *Solo audio cd/ cd-rom "DJ Lait Russe", private release. 2000 "Dralt" audio cd. Cooperation with Los DQ. *Contribution to "Trace", an audio cd by the John Moore University, Liverpool.1999 *Contribution to "Hope", an audio cd by Scanner and the John Moore University, Liverpool.1998 *"Hedah 500 rpm", audio cd. production, participation and curation. *"Model (book)" fc book and audio cd. private release with texts from Mique Eggermont, Ranti Tjan, Frans Budé and Anna Hakkens.1996 *"Models" audiocassette, release by De Bank, Enschede. 1994 *"Belt 3" Folder and audio cd. release by the city of Grenoble, le Magasin and l'Ecole des Beaux Arts, Grenoble 1992 *"Signs Signals Tunes", audio cd. Released by the Jan van Eyck Akademie, Maastricht Side activities 2002 * ”Soundlab” artstudents ABK Maastricht working in public on soundart at Museum Het Domein, Sittard with lectures of Natasa Petersin, Jay Allen Yim and Marlena Novak, Jens Brand, Guy van Belle. * "Leefbaar Hedah" workshop with artstudents ABK Maastricht at the Hedah foundation. 2001 *Projectteacher at the ABK Maastricht (Akademy for fine arts) up to now. Committeemember of the foundation for Fine Art, Design and Architecture, Amsterdam. *Lecture "Cafe Sonore" CEM foundation Amsterdam. *Lecture "Cafe Sonore", CEM. Location: Den Bosch. *"H5" book and cd-rom release by Hedah. Cooperation in concept and design. 2000 *Design cd rom "Parkstad prijs 2000" in cooperation with Bert van den Bosch. 1999 *Lecture and workshop ABK Maastricht. 1996 *Lecture ABK Maastricht.1995 *co-foundation and co-programming Hedah foundation. Up to 1998. 1994 *Lecture at the Ecole des Beaux Arts, Grenoble. 1993 *Lecture at the AKI, Fine Arts Academy, Enschede. Benga! Went outside and started to turn things around. Bikes, benches, tins and all sorts of trash, street furniture, everything was turned around. He believed he could keep the soul of those things inside. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => i-hope-you-get-well [to_ping] => [pinged] => [post_modified] => 2019-08-13 11:43:45 [post_modified_gmt] => 2019-08-13 09:43:45 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6883 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 877 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 6534 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Viola II [post_excerpt] => This double CD-set is the companion to the final book reporting on the activities of Het Apollohuis. The recordings on these CDs give an idea of the music and the sound art presented in concerts at Het Apollohuis in the priod from 1980 through 1997. Out of a total of 500 performances I chose 38, from which exceprts of varying lenght have been included in this anthiology. These have been arranged in chronological order. The diversity of the selected pieces is characteristic of the programme of Het Apollohuis. Only limited number of composers and musicians who performed can be heard in brief fragments o these discs. Consequently a considerable number has been excluded. There simply was no way to include them all (this selection does not imply we value one above the other). The choice of the particular musicians has been my responsability (P: Panhuysen). liner notes: René van Peer sound selection: René Adriaans mastering: Frank Donkersgoed design: Tom Homburg, Marcel d'Anjou (Opera) [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => viola-ii [to_ping] => [pinged] => [post_modified] => 2019-08-02 13:16:53 [post_modified_gmt] => 2019-08-02 11:16:53 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6534 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 523 [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] => 2bc8ed60d85175fcaf674b1dd0a9ce68 [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 ) )