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It contains works from six major pieces that explore environmental issues - The Amazon (from "The Amazon, The Mekong, The Missouri and The Nile"), an excerpt from "Aviary of the Lost" plus "Flame to Moth & Fish Gotta Swim" and "Ghost Dancers for Birdland" from "The Culture of Disappearance", the full-length "One World at a Time" set in outer space, inner space, and cyber sapce, and "Fluctuations of the Fields" based on the writings of physicist avid Bohm. It includes music from Bruce Fowler, Ruben Garcia, and Kira Vollman & Joseph Berardi, as well as Apple's sound compositions and vocals. A Cactus Foundation/ Chronic Interactive production [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => the-amazon [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:39 [post_modified_gmt] => 2014-09-25 10:35:39 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2955 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 662 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 2987 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Ulysses (excerpt) [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => ulysses-excerpt [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:42 [post_modified_gmt] => 2014-09-25 10:35:42 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2987 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 694 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 3029 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Drum Piece [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => drum-piece [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:35:46 [post_modified_gmt] => 2014-09-25 10:35:46 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3029 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 736 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 3095 [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] => Materialism [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] => materialism [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=3095 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 804 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 3127 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Conditioned [post_excerpt] => Kamran Sadeghi (Son of Rose) is a Multi instrumentalist musician, composer, and audio engineer based in Seattle Washington. Since 2000 he has been actively exploring the use of electronics and recording techniques in contemporary music, with an emphasis on computer synthesis as a live instrument. This approach gives the movements in Sadeghi's compositions a powerful, emotional, and graceful quality with a patient and gradual pacing. Over the past two years Sadeghi has performed his work at dozens of events including the Decibel Festival(Seattle) and Staalplaat Records (Berlin), and released three albums as Son of Rose including his self titled debut in 2005 and "Top Flight"(2006) on Dragon's Eye Recordings, both receiving critical acclaim. Sadeghi has been reviewed by The Wire, E/I Magazine, The Stranger, and Igloo Magazine. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => conditioned [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:15 [post_modified_gmt] => 2014-09-25 10:36:15 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3127 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 836 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 3159 [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. 184.12, 184.56, 185.9 [post_title] => Ship of hope ( a kind of shipping forecast for the soul) [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. Liverpool-based Henry Priestman has sold three million albums with his band The Christians. Besides TV, film, games and advertising work he writes with stars like former Spice Girl Mel C and upcoming artists like Marli Buck (whose album is due out on Sony in 2005).Equally at home on the heady waters of the mainstream (The Christians, TV soundtracks, song-writing and producing) as the murky depths of more experimental forms (audio installation"Baby96", "Hope" CD, releases by MoR and The serpents) ultimately henry Priestman is a multi-tasker and proprietor of the Gossamer Dome. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => ship-of-hope-a-kind-of-shipping-forecast-for-the-soul [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=3159 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 869 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 3191 [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. 184.44, 185.28 [post_title] => IN SPE [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] => in-spe [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:20 [post_modified_gmt] => 2014-09-25 10:36:20 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3191 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 901 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 3224 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Transit (Trace Mix) [post_excerpt] => Beat Theater is a live multimedia concert that features integrated movement, graphics and sound; distance performers via the web and a healthy element of audience participation - all wrapped up in a jet black bon-bon of cutting edge dance music, sinister guitars and visceral v-drumming. 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] => transit-trace-mix [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=3224 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 935 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 3256 [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. 183.33 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] => Without a trace [post_excerpt] => Detroit-based audio project Hearing Trumpet (yes, they take their name from the Leonora Carrington book) are enthusiastic Surrealists who produce Surrealist audio works of uncompromising intensity. They also have an excellent radio program called "Misanthropy 961" which is broadcast every Sunday night from midnight to 2am on CJAM 91.5 FM Windsor, Ontario (the show is also available on the WWW via real audio at the same time, check that out at http://www.uwindsor.ca/cjam/live.htm, and it appears monthly on Radio Marabu in Belm, Germany and 13 other European stations, direct your browsers to http://www.mediaDD.de/radiomarabu for more info on that). [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => without-a-trace [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=3256 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 967 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 3288 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Sound of a hand [post_excerpt] => Sonia Sheridan, Professor Emerita School of the ArtInstitute of Chicago is International Co-editor of LEONARDO. Guggenheim Fellow, National Endowment for the Arts grantee, foundes of Generative Systems at the (SAIC) Art Institue of Chicago. Her work has been exhibited internationally and is in the permanent collection of major museums. 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] => sound-of-a-hand [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:36:50 [post_modified_gmt] => 2014-09-25 10:36:50 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=3288 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 999 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 2955 [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 Amazon [post_excerpt] => "ghost.dances/ on the event horizon": following up her retrospective anthology "Thank You For Flying American", visual, performance, and media artist, and audio-composer/producer Jacki Apple's second CD release is a sonic evocation of the clash between nature and culture in the modern world. It contains works from six major pieces that explore environmental issues - The Amazon (from "The Amazon, The Mekong, The Missouri and The Nile"), an excerpt from "Aviary of the Lost" plus "Flame to Moth & Fish Gotta Swim" and "Ghost Dancers for Birdland" from "The Culture of Disappearance", the full-length "One World at a Time" set in outer space, inner space, and cyber sapce, and "Fluctuations of the Fields" based on the writings of physicist avid Bohm. It includes music from Bruce Fowler, Ruben Garcia, and Kira Vollman & Joseph Berardi, as well as Apple's sound compositions and vocals. 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