Archivio Sonoro: SoundArtMuseum
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[post_excerpt] => Eske Nørholm is Danish and born in 1983. As a musician and sound artist he manipulates electronic components (i.e. by circuit bending), uses field recordings as well as more traditional instruments in his compositions. Eske Nørholm is part of the noise band Dødskuglen, and he has participated in international sound art and music festivals in Scandinavia. 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.
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[post_content] => made specially for the live broadcasting of RAM at Utopia Station, 50° Biennale di Venezia
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[post_content] => Arnold Brooks is American and was born in 1950. He has not only worked as a musician but also as a graphic artist. Brooks teaches art at several art institutions in New York and has done a large number of exhibitions in USA. The sketchy style, the obliterated and the expressiveness of the sound works are reflected in Brooks’ graphic prints and paintings.
[post_title] => ContraDiction
[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. "A cacophonic symphony’ is Arnold Brooks" description of his work ContraDiction. The work takes as its starting point New York’s population of more than 8 million people, and it is a collage that Brooks has mixed of sounds recorded in the streets of the city. There is a sense of loneliness, surveillance, voyeurism and paranoia in ContraDiction. Voices and sounds obliterate each other and become a backdrop that occasionally lets out fragments as clearly decipherable points. Rather than a conversation, the impression is that of a chaos of contradiction – a speech of voices against each other.
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Nuit Blanche Parigi 2013
(Q.i Q.i) LES OISEAUX
Play list
23-ManfreDu Schu (Austria, 1959) Body of Bird “Ogni notte indago il mio corpo attraverso sogni feroci. L’aria penetra il mio piumaggio bizzarro… L’aria mi avvolge nella sua corrente e mi fa volare. Questo è un momento per essere VERI.”
05 ottobre 2013 - 06 ottobre 2013
La Gaîté Lyrique 3bis Rue Papin
75003 Parigi, Francia
I nostri ringraziamenti vanno a Chiara Parisi e Julie Pellegrin, direttore artistico delle Notti Bianche, Jerome Delormas, direttore delle Gaite Lyrique e le loro rispettive squadre. Ringraziamo in particolare Picnic Radio (Berlino) per la loro collaborazione. 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Durante toda su trayectoria, ha combinado el aprendizaje con una continuada labor profesional como animadora socio-cultural (creación del centro social Comú d'Andorra la Vella, El Llamp 92-94) y directora ejecutiva en proyectos locales (Gràcia Territori Sonor, Festival Internacional de Música Experimental LEM 1996-2005: http://www.gracia-territori.com) y europeos (Programa Caleidoscope de la Unión Europea). Como artista sonora y creadora, desde finales de los 80 ha desarrollado un amplio espectro de experimentación artística, en esecial en los campos de la edición, la escultura y la pintura. 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She lives in Boston, MA where she attended ythe Museum School, and is currentlyan MFA candidate in the Sound/Music Departement at Bard College. 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As a musician and sound artist he manipulates electronic components (i.e. by circuit bending), uses field recordings as well as more traditional instruments in his compositions. Eske Nørholm is part of the noise band Dødskuglen, and he has participated in international sound art and music festivals in Scandinavia. 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. 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Nato a Karl-Marx-Stadt, Germania (1965). Vive e lavora a Berlino.
Carsten Nicolai ha studiato architettura urbanistica presso l’università di Berlino, dove inizia la propria ricerca artistica attorno alla meta' degli anni 80. Carsten Nicolai e' un artista poliedrico; lavora sia come pittore che come musicista. La sua ricerca analizza il rapporto che sussiste tra l'utilizzo delle tecnologie e l'identita' dell'uomo nel contesto urbano e mediatico odierno. La sua poetica si focalizza sui suoni/emissioni dalle nuove tecnologie; partendo dai suoni di fax, telefoni e modem e con un impostazione da landscape designer, immette nella sua musica una concezione geometrica del suono; il carattere duale dell'opera di Carsten Nicolai si esprime nella compresenza tra le caratteristiche fisiche dell'impatto sonoro, espresso nell'utilizzo di bassissime e altissime frequenze usate in modo potente e allo stesso tempo tagliente e il carattere chirurgico e microscopico delle strutture in cui questo impianto sonico si realizza. Tutto cio' vale anche per le opere visive nelle quali Nicolai utilizza cromatismi netti (i bianchi e i neri) all'interno di opere rigorose e delicate allo stesso tempo, ancora in un'ottica di forte polarita' tra gli elementi utilizzati. La sintesi dei suoi lavori la troviamo nelle installazioni dove si intersecano la ricerca visiva e quelle acustica. La sua ricerca prende inoltre spunto da fenomeni naturali come il suono (di cui studia il rapporto con lo spazio, il tempo e il movimento), la luce, i campi elettromagentici (e in particolare gli effetti delle polarita') ed elementi naturali come il latte o la neve. e proprio come i fiocchi di neve rendono possibile il generarsi di forme uniche e irripetibili, le opere di Nicolai partono da un suono che costituisce il nucleo attorno al quale si crea un sistema di eventi sonori a cui aggiunge l'elemento errore che provoca cambiamenti di suono e frequenza creando cosi' infiniti altri nuclei e infinite via di fuga. Nel 1999 assieme a Frank Bretschneider (Komet) e Olaf Bender (Byetone) fonda l'etichetta Raster-Noton (fondendo la Raster Music dei due con la sua Noton.archiv.fur.ton.und.nichtton). www.raster-noton.de -
Dopo la sua partecipazione a importanti mostre internazionali come Documenta X e la 49a e la 50a Biennale di Venezia, le opere di Nicolai sono state esposte in diverse occasioni tra cui; Schirn Kunsthalle di Francoforte, in Germania e alla Neue Nationalgalerie di Berlino, Germania (syn chron) in 2005.
Da diversi anni ormai Carsten Nicolai sperimenta con il suono sotto lo pseudonimo di Alva Noto.
Come Alva Noto si è esibito tra l’altro al Solomon R. Guggenheim Museum in New York, al San Francisco Museum of Modern Art, al Centre Pompidou a Paris, al Kunsthaus Graz e alla Tate Modern di Londra. Inoltre ha avviato diversi progetto con artisti Ryoji Ikeda (cyclo.), Mika Vainio e Thomas Knak (opto); recentemente si è esibito in Europa, Australia ed Asia con Ryuichi Sakamoto.
Nuit Blanche Parigi 2013
(Q.i Q.i) LES OISEAUX
Play list
23-ManfreDu Schu (Austria, 1959) Body of Bird “Ogni notte indago il mio corpo attraverso sogni feroci. L’aria penetra il mio piumaggio bizzarro… L’aria mi avvolge nella sua corrente e mi fa volare. Questo è un momento per essere VERI.”
05 ottobre 2013 - 06 ottobre 2013
La Gaîté Lyrique 3bis Rue Papin
75003 Parigi, Francia
I nostri ringraziamenti vanno a Chiara Parisi e Julie Pellegrin, direttore artistico delle Notti Bianche, Jerome Delormas, direttore delle Gaite Lyrique e le loro rispettive squadre. Ringraziamo in particolare Picnic Radio (Berlino) per la loro collaborazione. [post_title] => LES OISEAUX [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => les-oiseaux [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:40:22 [post_modified_gmt] => 2014-09-25 10:40:22 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=4166 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 2040 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 2444 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => (Slow Eye Movements)3 [post_excerpt] => cd name: Alcune Composizioni by e.g.o 2001-2004 [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => [to_ping] => [pinged] => [post_modified] => 2014-08-22 10:38:39 [post_modified_gmt] => 2014-08-22 10:38:39 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2444 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 145 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 2476 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => 95a-b-c sono sullo stesso cd [post_title] => Kastanialle [post_excerpt] => Tras una inicial experiencia formativa diversa en los años 90, en materias relacionadas con el arte, la creación, la música y la escucha tanto en entidades privadas de Barcelona como en proyectos formativos en el Comú de Andorra, Generalitat de Catalunya, escuelas de arte y conservatorio (realización de cine, improvisación, producción, aracterizacion, solfeo, pintura, grabado, edición de audio, realización de video y televisión, ilustración, tecnología y arte, voz), dio los primeros pasos en el campo de la Animación Sociocultural, profundizando progresivamente en la gestión de empresas culturales y la direccion y coordinación de trabajo en red, en proyectos locales y transnacionales. Durante toda su trayectoria, ha combinado el aprendizaje con una continuada labor profesional como animadora socio-cultural (creación del centro social Comú d'Andorra la Vella, El Llamp 92-94) y directora ejecutiva en proyectos locales (Gràcia Territori Sonor, Festival Internacional de Música Experimental LEM 1996-2005: http://www.gracia-territori.com) y europeos (Programa Caleidoscope de la Unión Europea). Como artista sonora y creadora, desde finales de los 80 ha desarrollado un amplio espectro de experimentación artística, en esecial en los campos de la edición, la escultura y la pintura. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => [to_ping] => [pinged] => [post_modified] => 2014-08-22 10:38:39 [post_modified_gmt] => 2014-08-22 10:38:39 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2476 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 177 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 2508 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Pennies for Charlemagne [post_excerpt] => Georgina Lewis uses sound, sculpture, and drawing, to address the overlap between language, nature, and the scientific method as reinterpreted by a precocious eight year old. Her work has been presented at the University of Toledo, the Visual Study Workshop, "Pulsefield" at Georgia State Univerisity, and the 2004 CEAIT festival. She lives in Boston, MA where she attended ythe Museum School, and is currentlyan MFA candidate in the Sound/Music Departement at Bard College. 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As a musician and sound artist he manipulates electronic components (i.e. by circuit bending), uses field recordings as well as more traditional instruments in his compositions. Eske Nørholm is part of the noise band Dødskuglen, and he has participated in international sound art and music festivals in Scandinavia. 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. 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