Archivio Sonoro: SoundArtMuseum
WP_Query Object
(
[query] => Array
(
[post_type] => sounds
[settori] => sound-art-museum
[paged] => 5
[posts_per_page] => 10
)
[query_vars] => Array
(
[post_type] => sounds
[settori] => sound-art-museum
[paged] => 5
[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 40, 10
[posts] => Array
(
[0] => WP_Post Object
(
[ID] => 3281
[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. 183.61, 185.42 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 the Source
[post_excerpt] => Dallas has performed at the London College of Music a couple of years ago with composer Chris Thorpe, in York with Chris Thorpe and Linda Merrick (2000); in Glasgow in 1999 as part of the Drift environmental sound art / acoustic ecology project, with Max Eastley and Helmut Lemke at Creswell Craggs several of years ago. His work has been selected, against an open world field, for inclusion in every themed sound art compilation for the past three years curated by Colin Fellows of the John Moores Liverpool University (Hope, Trace and Zero). Dallas' tracks have been released through Time Recording's EMIT series (abha - EMIT 2296, waterpump - EMIT 1197). He was included as a composer in the regrettably one-off "Music for Spaces" series on BBC Radio 3 some four years ago. In December 2000, Anya Bernstein, a Russian social anthropologist made a short video of his work at Lambley Dumble and in various locations around Nottingham City Centre at night (available on request). Dallas has written a more in-depth article: The Art of Location Binaural Performance, which was first published in the UK Journal of Free Improvisation: Rubberneck. It was subsequently reproduced on the US website for free improvisation The Improvisor. Dallas Simpson has over 50 hours of unreleased and unbroadcast live location binaural performance recordings. Dallas Simpson has spent over 10 years involved with recording and performing binaural soundworks. The subject of each recording varies from natural surroundings, to artificial environments. In addition to recording these soundscapes, Dallas Simpson has also performed live. A number of samples of his work are available for download from this site. Dallas is a professional CD Mastering Engineer trading under the name dallas MASTERS. About Binaural Sound Art Binaural sound art is both a particular style of recording and a particular approach. By inserting very high quality sub-miniature microphones into his ears, Dallas is able to sample his own human hearing and record what is known as "binaural sound" to conventional 2-channel stereo, with all the potency of a three dimensional surround sound experience when replayed on headphones. The approach is to engage the listener, through his own ears, in a guided experience of soundscape awareness and intuitive interaction with found and introduced objects. Movement through a location allows creative spatial choreography - the compositional arrangement of moving sounds in three dimensional space - with additional opportunities to create an unfolding narrative in time. For further reading, Dallas has also written a more in-depth article. These binaural soundworks are not always "quiet", some works contain periods of natural silence but there are also a few surprises and in some cases the sound is quite intense, but all the sounds are "real", not the product of electronic synthesis, sampling or manipulation. I often refer to them as "meditations" and my meaning is that we should think and listen, for in thinking we may pause to reflect on both what we may be missing in terms of an enriched aural experiencing our continual daily lives, and how, in the attainment of this richness, we may have to modify our own behaviour to access it. Consequently, these works are not an end in themselves that glorify the artist, but are an open invitation for each of us to establish a new and sensitive relationship with our environment, for it is only when we fully appreciate its worth that we will strive at all costs to preserve it.
[post_status] => publish
[comment_status] => closed
[ping_status] => open
[post_password] =>
[post_name] => trace-the-source
[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=3281
[menu_order] => 0
[post_type] => sounds
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
[old_id] => 992
[post_it] => 10
)
[1] => WP_Post Object
(
[ID] => 3313
[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. 183.29, 184.34 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] => Musak
[post_excerpt] => Greyworld are a collective of London based artists who are interested in public-activated art, sculpture and interactive installations. Although often varied in their approach, their work is typically subtle, environmentally reflective and requests special attention. Although they have built up a rich history of acclaimed works since their formation in 1993, their most celebrated piece, so far, is probably The Source a permanent installation for the new London Stock Exchange: A cube of 9x9x9 (729 in total) spherical balls are suspended on cables that run the full 32 metres height of the main atrium of the newly designed building. These spheres, controlled by a computer running Python scripts, can move themselves independently of each other, forming dynamic shapes, characters and fluid-like motions that reflects the nature of the stock market itself. The sculpture opens the market each morning at 8am, with the spheres breaking free from their default cube arrangement to form elegant patterns and shapes. Throughout the day the sculpture responds to reputable news feed and displays snapshots of the current headlines, written in full height of the atrium. At the end of each day’s trading the spheres return to their cubed arrangement, resting on the sculpture’s base, and blue lights inside each sphere are illuminated to show the stock market’s closing price with an arrow to indicate how the market performed on that particular day. Her Majesty Queen Elizabeth II unveiled the sculpture on the 27 July 2004 and the opening was broadcast to a global audience. The installation is broadcast every morning on television to an estimated global audience of 80 million people. Their first interactive public work of art was a series of temporary installations, Railings (1996), first created in Paris and widely copied. In each case the artists took a set of ordinary street railings and tuned them so that when you run a stick or an umbrella along them, rather than making the 'clack-clack-clack' sound as expected, they played The Girl from Ipanema. Bridge 2 by Greyworld, on the Millennium Bridge, DublinMost of their early installations were sound based. In 2000, they took the Millennium Bridge which spans the Liffey River in Dublin, Ireland, and installed a bright blue carpet across its length. Embedded into the carpet were hundreds of tiny sensors that translated the motion of people crossing the bridge into a vibrant soundscape. One moment it sounded as if people were walking through crunchy snow, the next that they were sploshing through water, or walking across fallen leaves. This installation, entitled Bridge 2, drew on ideas that Greyworld had explored in a previous work of art Playground, installed in the Yorkshire Sculpture Park in the U.K. Visitors to the sculpture park stumbled across what looked like a deserted playground with faded markings for mysterious games and benches for spectators. All the elements of the installation, the floor of the playground and the accompanying benches, were sensitised with tiny sensors so that as people crossed the floor they triggered the sound of people playing a game whilst as others sitting on the bench found themselves immersed in the sound of spectators cheering and clapping. The installation is a permanent feature of the sculpture park. Trace by Greyworld, at Hampton Court Palace, EnglandTrace (2005) is a work created for the Maze at Hampton Court Palace, UK. Drawing on its history and on the idea of the maze as a place of furtive conversation and flirtation, Greyworld have created a gentle soundwork that affects the visitors’ experience of their journey from entrance to the centre and back again. As visitors pass through the many green corridors of the maze, they are tempted to follow tantalising sounds - a fragment of music, a snatch of laughter, the seductive rustle of fine silks or the whispers of an illicit conversation as it disappears around a corner and into a dead-end. Slowly the sounds weave together in the visitors mind to create a rich tapestry of the other people who have passed through the maze over the centuries and lost themselves in the seductive privacy of its secluded corners. Later that year they also created Bins and Benches a permanent installation for a public square in Cambridge, U.K. – a group of animated street-furniture that roams free, like buffalo in the urban savannah of their square. When it rains the benches seek shelter under the nearby trees, inviting people to sit on them. As the temperature drops the bins start to shiver and when the sun shines the bins and benches break into song, singing in tight barbershop harmonies. Above all the bins and benches are still functional pieces of street furniture waiting for people to come and sit on them or deposit rubbish in their lids. Worldbench by Greyworld, in various sites around the worldWorldbench (2005) is their most recent installation that uses a park bench to link up locations across the world. It takes an ordinary wooden bench and places up against a screen, placed on a wall, in the school’s playground. Reflected on the screen is the mirror image of the bench, disappearing into the distance; but whilst one side of the bench is in South London the other is in the far north of the country in Sunderland.
[post_status] => publish
[comment_status] => closed
[ping_status] => open
[post_password] =>
[post_name] => musak
[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=3313
[menu_order] => 0
[post_type] => sounds
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
[old_id] => 1025
[post_it] => 10
)
[2] => WP_Post Object
(
[ID] => 3345
[post_author] => 1
[post_date] => 2014-08-22 10:38:39
[post_date_gmt] => 2014-08-22 10:38:39
[post_content] =>
[post_title] => For Ian Curtis
[post_excerpt] => BURKHARD BEINS (percussion) *1964, lives in Berlin. Since the late 1980's international festivals, concerts and tours with experimental music throughout Europe and overseas. He is a member of several ensembles like Perlonex, Activity Center, Polwechsel, The Sealed Knot, Misiiki, Phosphor, Trio Sowari and also works with Keith Rowe, Sven-Åke Johansson, Orm Finnendahl, Charlemagne Palestine and many others. More than 30 CDs and LPs released on labels like 2:13 Music, Zarek, Absinth, Erstwhile, Potlatch, Hat Hut, Confront, and Rossbin. After some early experiments with tape collages (involving field recordings, tape loops, percussion, found objects, and a piano stringboard) and some occasional rock sessions I started playing my first live concerts of experimental music in the late 1980´s together with guitarist Michael Renkel. Initially also trying to involve tapes and tape loops in the live context, I was more and more exclusively concentrating on an entirely acoustic set-up. Bowing a cymbal and turning a knob are activities which require two kinds of attention, too different from each other not to get in each others way, - while a couple of drums in combination with assorted bells and cymbals turned out to be a rich enough assembly of sound sources perfectly matching my sonic intentions. Not being a trained drummer of any sorts the 1990´s saw me struggling for an individual approach to percussion, but I slowly began developing my own language. Participating in one of Günter Christmann´s VARIO projects, working on Cornelius Cardew´s TREATISE with Keith Rowe and on graphic scores/conducted improvisation with Fred Frith definitely had an impact on me. Moving to London for a short while in 1995 brought me closer to the British improvised music scene. But while my early group FRAKTALES or the quartet NUNC (2:13 Music CD, 1996) could more or less be regarded as traditional improv, and the trio YARBLES (Hat Hut CD, 1997) was even flirting with Free Jazz, a new aesthetic focus was slowly emerging during the second half of the decade, - after I had moved to Berlin in 1996. Together with my long-term collaborator Michael Renkel I began organising a series of concerts and several festivals under the label 2:13 Club, a Berlin version of John Bisset´s 2:13 Club in London. And from 1997 to 1999 our venue Vollrad´s Tonsaal in Berlin-Mitte became an important meeting point for musicians like Axel Dörner, Andrea Neumann, Annette Krebs, or Robin Hayward (who had just moved from London to Berlin) with Londoners like Phil Durrant, Rhodri Davies, John Butcher, or Mark Wastell. Together with Krebs and Hayward I was investigating the musical potential of extremely long silences and very reduced sound material in DAS KREISEN for a short but intense period in 1998, while my duo ACTIVITY CENTER with Renkel also reached a certain point of refined sparseness around that time, although maybe in a less conceptually rigorous way (2:13 Music DoCD: Möwen & Moos, 1999). In the SOWARI QUARTET with Durrant, Davies, Renkel and Beins, some new musical tendencies from London and Berlin found an ideal place to coalesce for a while. But it was also in 1998 when Ignaz Schick was forming PERLONEX, with electric guitarist Jörg Maria Zeger and me, a post-industrial noise trio exploring rather different musical territories. Amongst other things one subject became an issue of constantly growing importance over the last years. Next to acoustic groups like THE SEALED KNOT, ACTIVITY CENTER or MISIIKI and besides my work with PERLONEX I´m finding myself in an increasing number of ensembles and projects incorporating acoustic as well as electronic instruments like PHOSPHOR or TRIO SOWARI, in electro-acoustic duo collaborations with Keith Rowe and Andrea Neumann , or a trio with live-electronics players Boris Baltschun and Serge Baghdassarians, and I´m participating in interactive computer program pieces with Orm Finnendahl and POLWECHSEL. Refusing to attach piezo contact-microphones on my instruments, not to loose the richness of the acoustic sound source, or to get electronic instruments involved myself, working in electro-acoustic or electronic music contexts nevertheless forces me to keep on searching for acoustic material of almost electronic sound qualities and to further my development of new playing techniques far beyond traditional drumming.
[post_status] => publish
[comment_status] => closed
[ping_status] => open
[post_password] =>
[post_name] => for-ian-curtis
[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=3345
[menu_order] => 0
[post_type] => sounds
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
[old_id] => 1057
[post_it] => 10
)
[3] => 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
)
[4] => 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
)
[5] => 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 ) [6] => 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 ) [6] => 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
Esordio di Antigone
Mela Boev
