WP_Query Object ( [query] => Array ( [post_type] => sounds [settori] => sound-art-museum [paged] => 15 [posts_per_page] => 10 ) [query_vars] => Array ( [post_type] => sounds [settori] => sound-art-museum [paged] => 15 [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 ( ) [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 [order] => DESC ) [tax_query] => WP_Tax_Query Object ( [queries] => Array ( [0] => Array ( [taxonomy] => settori [terms] => Array ( [0] => sound-art-museum ) [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 ) [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] => 562 [name] => SoundArtMuseum [slug] => sound-art-museum [term_group] => 0 [term_taxonomy_id] => 582 [taxonomy] => settori [description] => [parent] => 0 [count] => 980 [filter] => raw ) [queried_object_id] => 562 [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 (582) ) AND ((wp_posts.post_type = 'sounds' AND (wp_posts.post_status = 'publish'))) AND ( ( ( wpml_translations.language_code = 'it' 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 = 'it' ) = 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 = 'it' 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 140, 10 [posts] => Array ( [0] => WP_Post Object ( [ID] => 3036 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Venting (track 2) [post_excerpt] => I was born in 1964 in Moscow, Russia and immigrated to the US in 1980. My personal history, which bridges the East and West, is to a great deal responsible for the art I make. The experience of coming from a restrictive regime of Soviet Russia to a US democracy and its struggle with issues of human rights and justice is being played out in my work. I developed interests in archaeology and anthropology while studying at the University of Pennsylvania and the Pennsylvania Academy of Fine Arts in Philadelphia, Pennsylvania in the 1990’s. I currently reside in Connecticut where in the past several years I have been exploring traces of human existence in sites such as dwellings and institutions, which might have been abandoned or somehow forgotten. There is a certain tension and uncertainty that marginal spaces like ruins evoke in us. I like to think of my projects as an archeological exploration that leads to art. My work manifests itself in paintings, photographs, video, sculpture and installations. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => venting-track-2 [to_ping] => [pinged] => [post_modified] => 2019-08-08 12:47:56 [post_modified_gmt] => 2019-08-08 10:47:56 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3036 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 744 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 3101 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Cfr. n. Arch. 190.13 [post_title] => Wider [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] => wider [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:13 [post_modified_gmt] => 2014-09-25 10:36:13 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3101 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 810 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 3133 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => The Liverpool Song Lines. From F to H [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-f-to-h [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:16 [post_modified_gmt] => 2014-09-25 10:36:16 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3133 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 842 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 3165 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => CFR. n. Arch. 184.17 [post_title] => The spear and the boat [post_excerpt] => Roger Dean, Australian sound-artist,has composed about 70 works for chamber groups, and more than 30 are commercially recorded. He has performed in 30 countries, as bassist and keyboardist. His music has been broadcast in 50 countries. Currently he focuses on computer composition, and computer-interacive improvisation with the austraLYSIS Electroband. "I am involved with sound creation for the web and for computer-based installations, as well as for performance. I have particularly focused on creating real-time sound transformations which are run as a result of a screenerís participation. Increasingly, I work with generative materials as well, though from my perspective this approach for the time being remains subject to serious restrictions across the web. These restrictions are especially pertinent for my work with multiple streams of both audio and image, and for coordinated algorithmic approaches to their real-time production or manipulation. In performance, I achieve generative processes partly by writing in the coordinated software platform MAX/MSP/NATO. I am determined to use sound as a co-equal with other media, or as the dominant partner, unlike the situation with most web or installation works, in which image, or occasionally text, predominate. My purposes include establishing mutual interrogation between sound, image and text, often collaboratively with Hazel Smith (writer), Greg White (sound design, programming), and with several visual artists. The work is produced in the context of the creative ensemble, austraLYSIS, of which I am the founder and artistic director. austraLYSIS acknowledges grant support from the Australia Council for the Arts". [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => the-spear-and-the-boat [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:18 [post_modified_gmt] => 2014-09-25 10:36:18 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3165 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 875 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 3197 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Cfr. n. Arch. 185.33 [post_title] => Dochais = Hope [post_excerpt] => Danny McCarthy is a pioneer of sound art in Ireland and recently co-curated with David Toop "Sound Out" a major exhibition of outdoor sound art for Cork 2005. He is currently exhibiting alongside some of the leading sound artists in the world in the Arnolfini Gallery in Bristol in a major international exhibition entitled "Playing John Cage". He is the co-founder of Intermedia festival and a founder Diretor of both Triskel Arts centre and the National Sculpture Factory. His work has been broadcast on radio and television and has appeared on several CD's. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => dochais-hope [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:21 [post_modified_gmt] => 2014-09-25 10:36:21 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3197 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 907 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 3230 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Cfr. nn. Arch. 183.9, 185.9 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] => Footprint in Snow [post_excerpt] => John J. Campbell is an artist and musician whose work encompasses a number of disciplines including: site specific gallery installation, electronic soundworks and group performance. He has published work nationally and internationally under his own name and various group names including It’s Immaterial for over twenty-five years. He has produced gallery based installations such as: Baby 96 (1996) for the Live from the Vinyl Junkyard (1996-1997) group show at the Bluecoat Gallery Liverpool; and for Two Seconds Nine Months (1996) at the Bankside Gallery London. He has also contributed soundworks to the Audio Research Editions CDs: Hope (1998, ARE) as part of the ninth International Symposium on Electronic Art (ISEA98); Trace (1999, ARE) as part of the first Liverpool Biennial of Contemporary Art; and Zero (2000, ARE) as part of Video Positive 2000 festival. Mr. Campbell and mr. Whitehead, both residents in Liverpool, are long time collaborators. Over the years and under the monicker of, It's Immaterial, producing an eclectic body of audiovisual work. Notedly the CD's "Life's Hard" and "Song". [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => footprint-in-snow [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:45 [post_modified_gmt] => 2014-09-25 10:36:45 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3230 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 941 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 3262 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => CFR. nn. Arch. 183.41, 185.28 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] => False Step [post_excerpt] => Petri Kuljuntausta is a composer, performer and sound artist. He is famous for music composed of sounds both natural and extraordinary. In close collaboration with natural scientists, he has composed an underwater installation from underwater materials and made music out of whale calls and the sounds of the northern lights. In many ways Kuljuntausta's art is based on good knowledge of tradition; environmental sounds, live-electronics, improvisation and collaborations with media artists has influenced him as a composer. His recent composition project Northern Lights LIVE, based on soundscapes of the northern lights and feedback sounds, was performed at the ISEA2004 festival, 12th Symposium on Electronic Arts. The work was a vivid collaboration between art and science, recycling original field recordings of the phenomena as well as processing aurora borealis sounds. A forty-five minute long continuous audio-visual dialogue between nature's own soundscapes and their digitally altered, urban noise-art substitutes were created on stage. Kuljuntausta has composed digital music for experimental films, visual art and dance projects, and made media and sound installations in museums, galleries and concert halls. His works has been performed in many European countries, Australia and the USA, and he has made recordings for various labels in Australia, England, Finland, France, Germany and the USA. Kuljuntausta has collaborated with the experimental film director Sami van Ingen, urban architecture group Ocean-North, composers Morton Subotnick and Atau Tanaka, sound artist Richard Lerman and musician/philosopher David Rothenberg. He is the author of an 800 page History of Finnish Electronic Music, On/Off, and in 2006 he published his second book, Äänen eXtreme ('eXtreme Sound', info), on his own approach to music. Recently he won an award, The Finnish State Prize for Art, from the Finnish government as a distinguished national artist for 2005. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => false-step [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:48 [post_modified_gmt] => 2014-09-25 10:36:48 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3262 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 973 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 3294 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Cfr. nn. Arch. 183.7, 184.8 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] => A Moment@Zero Degrees [post_excerpt] => Steve Bradley's art practice involves sound performance, time-based media and material culture. He explores the boundaries of urban and suburban culture by collecting debris, sound and images from the consumed and littered landscape. In June 2001, he was awarded a rivercommission at Hull Time Based Arts, Hull, England where he will be an artist-in-residence for two months in spring 2002. His project, Reading the River, will focus on the environmental aspects of the River Hull Corridor. Since 1998 he has curated art@radio, a net.radio broadcast of sound art and experimental music. In June 2001, he spent two weeks participating in an artist residency, Communication Front in Plovdiv, Bulgaria, where he explored the city with a digital camera documenting street and material culture. Summer 2000, Bradley directed and organized Polar Circuit III, a 6-week international media arts residency for over 50 artists located at the University of Lapland, Rovanimei, Finland. Bradley has performed live at Transmission 003.3 sound art festival in Chicago, Sonic Circuits VII, International Festival Electronic Music and Art in St. Paul, Minnesota, and the Red Room, Baltimore, Maryland. Bradley received his B.F.A. from the University of South Florida in drawing and painting and a Masters of Fine Arts from Florida State University in painting and electronic media. He is an Associate Professor, Visual Arts at the University of Maryland Baltimore County. He teaches courses in foundations, digital cinema, video art and sound. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => a-momentzero-degrees [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:51 [post_modified_gmt] => 2014-09-25 10:36:51 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3294 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1005 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 3326 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Cfr. N. Arch. 184.58 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] => sunya [post_excerpt] => Steve Roden is a visual and sound artist from Los Angeles. His paintings, drawings, films/ videos, sound recordings and installations have been seen, heard and performed in galleries, museums, theatres and art spaces internatonally. With Brandon LaBelle, he co-edited the book "Site of Sound" dealing with sound and architecture. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => sunya [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:54 [post_modified_gmt] => 2014-09-25 10:36:54 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3326 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1038 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 3358 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Hisatsinom, über das Verschwinden is the first oart of a triology. The secon dpart "Nasca, on perspective" (FC.188) had its premiere 2006. [post_title] => Kachina [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] => kachina [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:56 [post_modified_gmt] => 2014-09-25 10:36:56 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3358 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1070 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 3036 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Venting (track 2) [post_excerpt] => I was born in 1964 in Moscow, Russia and immigrated to the US in 1980. My personal history, which bridges the East and West, is to a great deal responsible for the art I make. The experience of coming from a restrictive regime of Soviet Russia to a US democracy and its struggle with issues of human rights and justice is being played out in my work. I developed interests in archaeology and anthropology while studying at the University of Pennsylvania and the Pennsylvania Academy of Fine Arts in Philadelphia, Pennsylvania in the 1990’s. I currently reside in Connecticut where in the past several years I have been exploring traces of human existence in sites such as dwellings and institutions, which might have been abandoned or somehow forgotten. There is a certain tension and uncertainty that marginal spaces like ruins evoke in us. I like to think of my projects as an archeological exploration that leads to art. My work manifests itself in paintings, photographs, video, sculpture and installations. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => venting-track-2 [to_ping] => [pinged] => [post_modified] => 2019-08-08 12:47:56 [post_modified_gmt] => 2019-08-08 10:47:56 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3036 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 744 [post_it] => 10 ) [comment_count] => 0 [current_comment] => -1 [found_posts] => 980 [max_num_pages] => 98 [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] => 03db886cc9d00e58c9b39d05f4234217 [query_vars_changed:WP_Query:private] => [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 ) )