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Arch. 184.65, 185.44 [post_title] => Hopeless Diamond [post_excerpt] => Stylus is the pseudonym of the reclusive experimentalist Dafydd Morgan. In April 1997 he released the track "Kinski" (a tribute to Klaus Kinski) on a 10" split record with the band Longstone. "A lengthy, multi-layered piece of electronica, taking in vintage Cluster and 90's digi-dub", as The Wire found out. In 1998 he was part of The Serpents, a collaboration of artists on Ochre Records and Cradiff based Ankst Records (including David Wrench, Skyray, Will Sergeant of Echo & The Bunnymen, Ectogram, Longstone, Rheinhallt H. Rowlands, The Anglesey Ambient Experiment, Zoe Skoulding and Môr) which released their debut 7" single No Mask, No Cloak, Dim Gobaith on 18 May 1998. On 24 June 1998 his track "Paradise Ranch" was broadcast on "The John Peel Show". About "Glass Dream 1", released in November 1998 on the first INFRASONIC WAVES-EP-sampler, the Record Collector wrote: "Stylus put Baudelaire to a throbbing psychedelic backdrop"... Stylus now has forthcoming tracks appearing on Liquefaction Empire, Oggum and Space Age compilations. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => hopeless-diamond [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:44 [post_modified_gmt] => 2014-09-25 10:36:44 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3214 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 925 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 3246 [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. 183.24 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] => A Fragment History [post_excerpt] => Paul Fretwell (b.1972) is a composer and sonic adventurer who walks along the edge of our musical experiences, endowing the everyday, the mundane, the noisy, the quiet, and the unheard with a new musical value. He has produced pieces for traditional instruments from full orchestra to small ensemble, as well as works which use computer technology to transform and develop sound. His music is dramatic, sensuous and evocative, using drones, textures, grating timbres and luscious harmony to create a beguiling sonic vocabulary that bewitches the listener. Many of his works have been performed in festivals and concerts around the world. Two of his electroacoustic pieces have been released on CD, Doors Close and A Fragmented History, both on Audio Research Editions (Hope and Trace). His musical education began early, and as a child he was awarded a place at Chetham’s School of Music, where he studied trombone, piano and composition. Later he attended the University of Birmingham, where he gained a first class honours degree specialising in composition. More recently, he has completed a Masters and PhD at City University, London. He has taught composition in a wide variety of institutions including the Royal Academy of Music, University of Hertfordshire, Bath Spa University, and in September 2005 was appointed to a position at the newly-founded Centre for Music Technology at the University of Kent, where he is contributing to the development of a range of degrees and research programmes. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => a-fragment-history [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:47 [post_modified_gmt] => 2014-09-25 10:36:47 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3246 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 957 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 3278 [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. 183.38, 183.26, 185.39 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] => Tonedual [post_excerpt] => Ruth Jarman and Joseph Gerhardt are artists working and living in Brighton. They work togheter as Semiconductor engineering multi-media events, producing electronic music and most recently working on sound films, using techiniques od direct translation from sound to image. Much of the work deals with a sonic/retinal relationship, not just in terms of synchronisation but in the actual code, both in digital and analog. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => tonedual [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=3278 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 989 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 3310 [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.184.30 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] => Timeless [post_excerpt] => Born in 1944. Lives and works in London. William Furlong belongs to the generation of British artists who developed a new concept of sculpture in the 1970's and 80's (Gilbert & George, Bruce McLean, Paul Richards etc.). Furlong's special contribution has been in the area of "Sound" and, with the founding of Audio Arts (together with Michael Archer) in 1973, he began a project of mapping the territory of contemporary art in a series of cassette editions. The Audio Arts project is not only a massive archive of interviews with artists but also contains documents of important exhibitions, symposia and festivals plus many original acustic works by artists. William Furlong is professor at the Wimbelton School of Art in London. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => timeless [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=3310 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1022 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 3342 [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. 158.a.1,2,4,5; 183.59 [post_title] => charter [post_excerpt] => Scanner - British artist Robin Rimbaud - traverses the experimental terrain between sound, space, image and form, creating absorbing, multi-layered sound pieces that twist technology in unconventional ways . From his early controversial work using found mobile phone conversations, through to his focus on trawling the hidden noise of the modern metropolis as the symbol of the place where hidden meanings and missed contacts emerge, his restless explorations of the experimental terrain have won him international admiration from amongst others, Bjork, Aphex Twin and Stockhausen. Scanner is committed to working with cutting edge practitioners and has collaborated with artists from every imaginable genre: musicians Bryan Ferry and Laurie Anderson, The Royal Ballet and Random Dance companies, composers Michael Nyman and Luc Ferrari, and artists Mike Kelley and Derek Jarman. As well as producing compositions and audio CDs, his diverse body of work includes soundtracks for films, performances, radio, and site-specific intermedia installations. He has performed and created works in many of the world's most prestigious spaces including SFMOMA USA, Hayward Gallery London, Pompidou Centre Paris, Kunsthalle Vienna, Bolshoi Theatre Moscow, Tate Modern London and the Royal Opera House London. Paul Farrington, AKA TONNE This prize-winning visual artist and designer has made visible the work of Scanner, Pole and Spring Heel Jack among others, linking sound with visuals that vary between elegantly simple lines to multiple layers of superimposed imagery. Tonne's interactive sound interfaces allow music to be produced as responses to the movement of graphics, and vice-versa. By manipulating sound utilities, Tonne builds toys, games, interactive environments and soundbanks. Developing and producing controlled systems for sound and image interaction, Tonne has performed live at Sonar (Barcelona 2000), FCMN (Montréal), Expanded Cinema (Milan), Lovebytes (Sheffield), and Steim (Amsterdam). Tonne was awarded Creative Review's Creative Futures Up-And-Coming Graphic Designer of 1999. Recently Tonne has been commissioned by the music label Meta to release recordings of his sound toys. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => charter [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:55 [post_modified_gmt] => 2014-09-25 10:36:55 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3342 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1054 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 3374 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Panic Attack [post_excerpt] => Astrid Lomholt and Tanja Schlander are both Danish and born in 1974. Lomholt finished from Det Fynske Kunstakademi in 2005. Schlander is currently studying at Det Jyske Kunstakademi and has already participated in a number of sound installations, performances, exhibitions and concerts in Denmark and abroad. Together they have collaborated since 2004, especially doing live shows. Their material is usually based on field recordings. 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] => panic-attack [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:37:15 [post_modified_gmt] => 2014-09-25 10:37:15 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3374 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1086 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 3615 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => selected by the artist for the live broadcasting of RAM at Utopia Station, 50° Biennale di Venezia [post_title] => Harmony [post_excerpt] => sound project [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => harmony [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:38:12 [post_modified_gmt] => 2014-09-25 10:38:12 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3615 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1320 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 4000 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => 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_title] => Slegato [post_excerpt] => Matteo Pittoni is Italian and born in 1976. He has a background in rock music but has worked his way through many different musical genres. At present he is especially concerned with ethnic music, and he produces sound for the theater. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => slegato [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=4000 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1871 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 4033 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Giovanna Bianco born in Latronico (PZ) IT 1962, Pino Valente born in Napoli (IT) 1967. We meet in Napoli in the late 1993, our first artworks are from 1994, we live in Napoli. [post_title] => Breathless [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => breathless [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:39:55 [post_modified_gmt] => 2014-09-25 10:39:55 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=4033 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1904 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 4080 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Globalgroove nasce alla fine degli anni novanta da un’idea di Michele Andreoni e Fabio Toffolo. Inizialmente l’interesse si rivolge al web con il sito www.globalgroove.it , una pubblicazione on-line al limite tra arte e advertising. In seguito il progetto ha ampliato il suo raggio d'azione con pittura, fotografia, collage, campionamenti audio e progetti editoriali. [post_title] => Bill In Whitfield Touch [post_excerpt] => Spectrograms è un diario noir in formato microfilm. Dalla marcetta meccanica di Altenberg Maschinen al funk psichedelico di Bill In Whitfield Touch, vengono attraversati in modo obliquo generi e stili musicali come ambient, art rock, elettronica, torch song, hip hop. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => bill-in-whitfield-touch [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:40:00 [post_modified_gmt] => 2014-09-25 10:40:00 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=4080 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1954 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 3214 [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. 184.65, 185.44 [post_title] => Hopeless Diamond [post_excerpt] => Stylus is the pseudonym of the reclusive experimentalist Dafydd Morgan. In April 1997 he released the track "Kinski" (a tribute to Klaus Kinski) on a 10" split record with the band Longstone. "A lengthy, multi-layered piece of electronica, taking in vintage Cluster and 90's digi-dub", as The Wire found out. In 1998 he was part of The Serpents, a collaboration of artists on Ochre Records and Cradiff based Ankst Records (including David Wrench, Skyray, Will Sergeant of Echo & The Bunnymen, Ectogram, Longstone, Rheinhallt H. Rowlands, The Anglesey Ambient Experiment, Zoe Skoulding and Môr) which released their debut 7" single No Mask, No Cloak, Dim Gobaith on 18 May 1998. On 24 June 1998 his track "Paradise Ranch" was broadcast on "The John Peel Show". About "Glass Dream 1", released in November 1998 on the first INFRASONIC WAVES-EP-sampler, the Record Collector wrote: "Stylus put Baudelaire to a throbbing psychedelic backdrop"... Stylus now has forthcoming tracks appearing on Liquefaction Empire, Oggum and Space Age compilations. 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Harmony

Douglas Ross

Harmony

Utopia Station

2001