Archivio Sonoro: SoundArtMuseum
WP_Query Object
(
[query] => Array
(
[post_type] => sounds
[settori] => sound-art-museum
[paged] => 22
[posts_per_page] => 10
)
[query_vars] => Array
(
[post_type] => sounds
[settori] => sound-art-museum
[paged] => 22
[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 210, 10
[posts] => Array
(
[0] => WP_Post Object
(
[ID] => 3238
[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. 183.18, 185.15 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] => trace n
[post_excerpt] => Mostly Diledafish are working as a duo. They explore new music and sounds by playing like kids who are playing with wooden cubes. First recording in 1984 - dadagraphy includes 3 cassettes, 1 LP, 32 CD's and participating in - or leading of - a lot of international projects (like "ReR Quarterly", "Pointof yucca", "Hope" CD, "Enhanced Gravity",…and many others).
[post_status] => publish
[comment_status] => closed
[ping_status] => open
[post_password] =>
[post_name] => trace-n
[to_ping] =>
[pinged] =>
[post_modified] => 2014-09-25 12:36:46
[post_modified_gmt] => 2014-09-25 10:36:46
[post_content_filtered] =>
[post_parent] => 0
[guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3238
[menu_order] => 0
[post_type] => sounds
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
[old_id] => 949
[post_it] => 10
)
[1] => WP_Post Object
(
[ID] => 3270
[post_author] => 1
[post_date] => 2014-08-22 10:38:39
[post_date_gmt] => 2014-08-22 10:38:39
[post_content] =>
[post_title] => Trace '99
[post_excerpt] => Yoko Ono began making films in the 1960's and made substantial contributions to the avant garde genre of film. When Yoko Ono began this part of her life, she was already an established artist playing an active role in the world of music, most well known by her "primal scream" or high pitched wails. In the early 1960's, Ono became part of a group known as Fluxus, whose artists were "dedicated to challenging conventional definitions in the fine arts, and conventional relationships between artwork and viewer." The artwork that Yoko made in the early 1960's required the viewer to complete the process. "Painting to See a Room Through," made in 1961, was a canvas with an almost invisible hole through which the viewer could see the room. "Painting to Hammer a Nail In," also made in 1961, was a white wood panel that the audience hammered a nail into with an attached hammer. In the mid 1960's Yoko began to write mini film scripts. She contributed three films to the Fluxfilm Program in 1966. Two of these films, Eyeblink and Match, are one shot films shot at 2000 frames per second. She also included No. 4, or Bottoms, in her contribution. Yoko continued to make films through the early 1970's, many of which she collaborated with her husband, John Lennon. Her films can be divided into themes. The first of which, like bottoms, consists of close examination of the naked human body. The second category are theoretical films. They have a theme of movement and change. The last category are documentaries. Bed-In made in 1969, is the filming of the peace event Ono and Lennon staged on their honeymoon. Yoko Ono can be viewed as a radical artist, someone who requires an open mind in order to have her work appreciated. She stretches the limits of what society views as acceptable and never ceases to create an opportunity for the viewer to step back and reflect. TRACE is a limited edition collection of two-minute pieces by international sound artists, experimental composers, noise makers and other audio creators. Each artist has produced an original recording of two-minute duration for the CD on the theme of TRACE. TRACE greated an opportunity for a selection of international sound artists to work thematically, as well as providing listeners with further insight into the artists work. By bringing together this calibre and range of contributions, TRACE aims to stimulate further interest in the practice, debate and dialogue surrounding sound art. The artista on TRACE range from well known world figures, to individuals and groups making their first wirks in this field. TRACE was published thanks to a research award from the Centre for Art International Research (CAIR).
[post_status] => publish
[comment_status] => closed
[ping_status] => open
[post_password] =>
[post_name] => trace-99
[to_ping] =>
[pinged] =>
[post_modified] => 2014-09-25 12:36:49
[post_modified_gmt] => 2014-09-25 10:36:49
[post_content_filtered] =>
[post_parent] => 0
[guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3270
[menu_order] => 0
[post_type] => sounds
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
[old_id] => 981
[post_it] => 10
)
[2] => WP_Post Object
(
[ID] => 3302
[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. 184.19 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] => Self Erasing Archive
[post_excerpt] => Tim Mark Didymus has been using generative software to realise audio/media works since 1993 completing his first album of generative audio works 'Float' released in 1996. He is interested in a discontinuation of interference in the arrangement of form. TMD is Principal Musician for Sseyo, Bafta award winning multimedia/software technologists.
[post_status] => publish
[comment_status] => closed
[ping_status] => open
[post_password] =>
[post_name] => self-erasing-archive
[to_ping] =>
[pinged] =>
[post_modified] => 2014-09-25 12:36:52
[post_modified_gmt] => 2014-09-25 10:36:52
[post_content_filtered] =>
[post_parent] => 0
[guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3302
[menu_order] => 0
[post_type] => sounds
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
[old_id] => 1014
[post_it] => 10
)
[3] => WP_Post Object
(
[ID] => 3334
[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. 183.66, 184.67 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] => Zero
[post_excerpt] => Riou Tomita started to make music in 1994 and released recordings on KK (Belgium) and Silver (Belgium). Tomita lives in Japan, making music with sampler and computers. She is member of SoundChannel (Japanese record label).
[post_status] => publish
[comment_status] => closed
[ping_status] => open
[post_password] =>
[post_name] => zero-2
[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=3334
[menu_order] => 0
[post_type] => sounds
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
[old_id] => 1046
[post_it] => 10
)
[4] => WP_Post Object
(
[ID] => 3377
[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 Auxiliary Accident
[post_excerpt] => Wäldchengarten is a Danish duo from 1999, consisting of the brothers Lars and Dennis Hansen. The duo’s experimental musical work takes as its starting point the intense, hard core and minimal sounds that are not often used for music production: noise and ambient. Their music rises up like a wall of noise yet incorporates a sense of fragility amidst the chaos. Wäldchengarten has a number of records out and has played several concerts in Denmark and abroad. www.waldchengarten.dk Technical Breakdown is an international sound art exhibition, which took place uin the public space of Cophenagen, denmark in November 2005 - January 2006. The exhibition consists of 5 different listening posts presenting 30 sound works by artists from 10 different countries.The sound art exhibition Technical Breakdown takes as its starting point the chaotic and unpredictable field of communication in which misunderstanding and the unspeakable take on a life of their own. The exhibition encourages "a grant of self conduct" practice, setting loose sounds and feedback from all spheres making it possible for them to diffuse and mingle into the sound-scapes we inhabit.The exhibition consists of 5 different listening posts, eahc presenting its own perpective pn the error. The listening posts introduce the audience to a numebr of unique sound worlds, using the technical breakdown itself as a strategy to give voice and body to that which would not otherwise surfece. Through circuit bending, cut-ups and samples, the sound art reaches into the environment and breaches the continuity of our rational experience of the world. The art works show us unconcious moods and phenomena, and connects circuits not designed to be connected. The surroundings are animated by sound which again enhance our sense of space. The sound works mark the installation sites by interfering and underlining, amplifying or unermining the surroundings. In this way the sites themselves take part in creating cross-references between the many different layers of sound that one is likely to be tuned in on simoultaneously, though at different levels of intensity. The listening post Panic Room turns up the paranoia and surveillance atmosphere in the shopping centre Field's. The intimidating refuge criticises as well as imitates consumer culture buffoon and chaos with sample of sound from media and the collapse of discourses. At The Culture House KIB, The Cones couples the harbour front with the another dimension. The sounds function as a portal linking the site to be underground and the mystical. At The Royal Library The Black Diamond, The Glass breaks the borders between inside and outside - between private and public - with its fragile, crisp sounds and forces itself on the visitor's itnimate sphere. At the cinema and film institute, Cinemateket, Sonographic Stele translates picture itno sound and sound intopicture. One language talks on behalf of the oher an dinitiates acomplicated dialogue on the verge of nonsense. In the web-basedc listening post, City on the Net everything is inter-twined cacophony - no sound is limited to its original context, while virtual cities are recreated as soundscapes. The artists participating in Technical Breakdown all contemplate events and notions that are out of our reach - and out of control. In the exhibition sound layers ranging from the fictive ti the real, from the cognitive to the evocative come together and form a sonic web around us.
[post_status] => publish
[comment_status] => closed
[ping_status] => open
[post_password] =>
[post_name] => the-auxiliary-accident
[to_ping] =>
[pinged] =>
[post_modified] => 2014-09-25 12:37:16
[post_modified_gmt] => 2014-09-25 10:37:16
[post_content_filtered] =>
[post_parent] => 0
[guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3377
[menu_order] => 0
[post_type] => sounds
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
[old_id] => 1089
[post_it] => 10
)
[5] => WP_Post Object
(
[ID] => 3618
[post_author] => 1
[post_date] => 2014-08-22 10:38:39
[post_date_gmt] => 2014-08-22 10:38:39
[post_content] => made specially for the live broadcasting of RAM at Utopia Station, 50° Biennale di Venezia
[post_title] => Maggio
[post_excerpt] => sound project
[post_status] => publish
[comment_status] => closed
[ping_status] => open
[post_password] =>
[post_name] => maggio
[to_ping] =>
[pinged] =>
[post_modified] => 2014-09-25 12:38:13
[post_modified_gmt] => 2014-09-25 10:38:13
[post_content_filtered] =>
[post_parent] => 0
[guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3618
[menu_order] => 0
[post_type] => sounds
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
[old_id] => 1323
[post_it] => 10
)
[6] => WP_Post Object
(
[ID] => 4003
[post_author] => 1
[post_date] => 2014-08-22 10:38:39
[post_date_gmt] => 2014-08-22 10:38:39
[post_content] => Superstereo is a sound design company started by Jacob Kreutzfeldt. Kreutzfeldt is Danish and was born in 1973. In his work, he takes a theoretical approach toward sound, holding an MA in Modern Culture and working with radio and sound design. At present, Kreutzfeldt conducts research in soundscapes in Japan.
[post_title] => Transitrum, Osaka
[post_excerpt] => City on the Net
The listening posts of Technical Breakdown install sound art in the city, and mix it with everyday soundscapes. In the listening post City on the Net, the exhibition moves on to other cultures, other cities and countries. The cities are brought into private homes. The most comprehensive studies and far-reaching sound art projects are presented in City on the Net. All of them with long playing times and all of them exploring the social as a main theme. The unwanted, accidental, intrusive and violent sounds – the noises of the densely populated city became an art object in itself as early as 1913, with Luigi Russolo’s futuristic manifest L’arte dei Rumori (The Art of Noise). Since then, the effort to integrate real life sounds into sound art has developed in many different directions. The common denominator for this listening post is the collage form, the zapping and the cacophonic.
Japanese designer loud speakers make up Superstereo’s Transitrum, Osaka. The work is made on the basis of sound recordings from monorail stations, streets and squares in the city Osaka. The sense of disorientation and alienation shines through, not only because the language is unintelligible but also because the overlaps between sound impressions make the communication indecipherable. The information is reduced to a musical expression. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => transitrum-osaka [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:39:53 [post_modified_gmt] => 2014-09-25 10:39:53 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=4003 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1874 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 4037 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Il lupo d’insperato [post_excerpt] => Nato a Roma, Italia (1934). Vive e lavora a Roma.
The listening posts of Technical Breakdown install sound art in the city, and mix it with everyday soundscapes. In the listening post City on the Net, the exhibition moves on to other cultures, other cities and countries. The cities are brought into private homes. The most comprehensive studies and far-reaching sound art projects are presented in City on the Net. All of them with long playing times and all of them exploring the social as a main theme. The unwanted, accidental, intrusive and violent sounds – the noises of the densely populated city became an art object in itself as early as 1913, with Luigi Russolo’s futuristic manifest L’arte dei Rumori (The Art of Noise). Since then, the effort to integrate real life sounds into sound art has developed in many different directions. The common denominator for this listening post is the collage form, the zapping and the cacophonic.
Japanese designer loud speakers make up Superstereo’s Transitrum, Osaka. The work is made on the basis of sound recordings from monorail stations, streets and squares in the city Osaka. The sense of disorientation and alienation shines through, not only because the language is unintelligible but also because the overlaps between sound impressions make the communication indecipherable. The information is reduced to a musical expression. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => transitrum-osaka [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:39:53 [post_modified_gmt] => 2014-09-25 10:39:53 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=4003 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1874 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 4037 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Il lupo d’insperato [post_excerpt] => Nato a Roma, Italia (1934). Vive e lavora a Roma.
L’artista si esprime in campo visivo e letterario. Da anni promuove un concettualismo visivo e letterario totalizzante ed esistenziale (fare o subire la propria vita). Dalla fotografia al libro (e il suono) espressivo e teorico all’installazione, il suo lavoro è contrario all’idealismo meccanicistico vigente; nel suo lavoro, la dimensione creativa dialettizza con quella scientifica e psicologica, in un’apertura est-etica”, leggibile e offerta a tutti (conoscere è un grande piacere, ma ancora più grande è essere con te).
Ha tenuto numerose mostre personali ed antologiche in Italia e all’Estero e le sue opere si trovano in noti musei (da Bruxelles a Antwerpen, da Parigi a Amsterdam e Roma) oltre ad aver pubblicato numerosi libri. Il catalogo più recente è “Patella ressemble à Patella.
Andrea Rossetti, Michael Nyman, Rosamaria Caputi
