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He has studied sound art at Middlesex University in London. Schreiber works with sound and interventionist art and focuses on the relationship between architecture and social interaction. Apart from creating sound works Schreiber has worked as a musical curator. 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] => phantom [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=3380 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1092 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 3622 [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] => Sirio b (po tolo), Yogo Dogoro [post_excerpt] => sound project [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => sirio-b-po-tolo-yogo-dogoro [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=3622 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1327 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 4007 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => La settimana di E. [post_excerpt] => Gabriele Poso was born in Sardinia, heart of the mediterranean sea, on the 22th October 1978 but grew in Lecce, south of Italy. Since he was a child he established a deep relationship with music, being attracted by his father’s best jazz, soul, and afro-latin records. As time goes on, he studied a great variety of musical instruments, in particolar guitar with wich he gave birth to his best compositions before arriving in the charming world of percussion that a stoled his soul becoming his real reason of life. In 1998 he started his studies about afro-cuban rythms under the guidance of the most impotant representant of afro-cuban culture and percussion in Italy Roberto “ Mamey “ Evangelista, in “Timba” istitute of Rome. Afterwards, he makes an in-depth musical studies in the Escuela National De Arte of Havana Cuba and in the Universitad nteramericana De Puerto Rico of S.Juan Puerto Rico. After these important musical studies, he started playing in Europe and in the world toghter with famous artist such as Osunlade (Yoruba Records), Nicola Conte (Blue Note) , only to mention someone of them. In 2008 he released his first solo album titled "From The Genuine World"produced for the American label Yoruba Records and distributed all over the world and begins to play in Europe and the world as the Mod Club Theatre Toronto for The Canada Day Celebration, the MTV World Festival in Istanbul, the One Day Off Festival in Belgium, and nights in clubs like the Jazz Cafe 'Neighbarhood, Cargo, London, Paris Club Djoon. He Has just finish to realized the second solo album called “Roots Of Soul” wich will be released on spring 2012 by German Label INFRACom! and worldwide distributed the project boasts the participation of international guest standing such as Osunlade, Nailah Porter and Tanya Michelle. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => la-settimana-di-e [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=4007 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1878 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 4041 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Born in Palermo, Italy (1977). Lives and works in Berlin. Valerio Tricoli is a composer of electro acoustic music, radical improviser on analogue electronic instrument. Member of the avant-rock group “3/4HadBeenEliminated; promoter of concerts and collaboration; sound engineer; Tricoli is considered one of the most influential member of the Italian nouvelle vague. His compositions are situated in a space of encounter between the musique concrète forms and more conceptual ones (eg radical interest in the relationship between reality, virtuality,  memory in the acousmatic event): music, recorded sound or sounds elaborated synthetically, the sound remain in between the actuality of the event and the domain of the memory – far from here but at the same time present, as in the experience of deja-vu. He plays live electronic instruments mostly of which are analogue (reel recorders, tuner, speakers, microphones, …), but the structure of the device is mutating endless. Tricoli prefers a kind if approach that privileges a multiple relationships between the performer, the device and the space. That relation takes place during the event. He is founding member of the collective label “Bowindo! ( "arguably the best thing to come out of Italy since Luigi Nono" Dan Warburton, The Wire), and the group 3/4HadBeenEliminated (with Stefano Pilia and Claudio Rocchetti) . His composition "Did they? Did I?" was described by Andrew Cullera as "one of the more substantial musique concrète works I've heard in quite a while". In 2006 was published , after three years of intense work, his masterpiece "Metaprogramming From Within The Eye of The Storm." DISCOGRAPHY Valerio Tricoli - Giuseppe Ielasi: "Untitled Tape" (Freedom From, USA 2000) Valerio Tricoli: "Did They? Did I?" (Bowindo, Italia 2002) 3/4HadBeenEliminated : "s/t" (Bowindo, Italia 2003) 3/4HadBeenEliminated: "a year of the aural gauge operation" (Hapna, Svezia 2005) 3/4HadBeenEliminated: "DimethyAtonalCalcine" (a/p 2006) Valerio Tricoli: "Metaprogramming From Within The Eye of The Storm" (Bowindo, Italia 2006) Valerio Tricoli - John Duncan "The Garden" (Provincia di Torino / The Wire, UK, 2006) 3/4HadBeenEliminated: "Theology" (Soleilmoon, USA 2007) 3/4HadBeenEliminated: "The Religious Experience" (Soleilmoon, USA 2007) PHONORAMA "PHONORAMA" (XING/The Wire Magazine, UK, 2008) [post_title] => Angry [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => angry [to_ping] => [pinged] => [post_modified] => 2019-08-19 13:16:08 [post_modified_gmt] => 2019-08-19 11:16:08 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=4041 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1912 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 4086 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Words 10 [post_excerpt] => 9 cd da ascoltare contemporaneamente [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => words-10 [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=4086 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1960 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 2417 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Afternoon at the Portico Antico,Genoa [post_excerpt] => Steve Piccolo -Born 1954 New Hampshire USA. School and college in New York (Bard College, New York University). Now lives in Milan, Italy. After studies in New York (Roswell Rudd, Charlie Haden) he began his professional career in the early 1970s playing standup bass in jazz groups. Toward the end of the Seventies he founded, together with John and Evan Lurie, Arto Lindsay and Tony Fier, the group The Lounge Lizards. For five years or so the group performed all over the world, including international festivals and important venues. Their first LP (now CD, Virgin), published in 1981, continues to sell quite a few copies each year. In parallel with his activity as a jazz instrumentalist, Steve worked in the world of pop music, writing songs and lyrics. After having published two LPs under his name (Domestic Exile, Adaptation) in the early eighties (US, France, Italy, still available in Italy from Materiali Sonori) he began working with songwriters and producers on an international level. He began to spend more time in Italy, working with producers like Giancarlo Bigazzi, Caterina Caselli, the La Bionda brothers, Claudio Fabi, Toto Savio. He wrote songs for artists like Raf, I Righiera, Umberto Tozzi, Alberto Fortis and many others. The song “Self Control” written by Bigazzi-Riefoli-Piccolo (1984) with lyrics by Steve sold many millions of copies, reaching number one on charts all over the world. During the second half of the eighties he lived almost exclusively in New York, writing songs and music for theater. His favorite production from the time was “Ambition” by the company “Love Theater” (Peter Halasc, ex Squat Theater, the company with which Steve worked in the early 1980s), seen at the La Mama theater in New York. In the 1990s he moved to Milan and published two CDs with the collaboration of Italian and American musicians: “Hilarity Workshop” (Underground Records, Bologna, 1997) and “Bitter Pill”(Cox 18 Music, Milan, 1999-2000). His songs were included in compilations published by Sony and EMI, and a number of compilations in the United States). Starting in 1995 he returned to frequent live concert activity, playing festivals and theaters in Italy and around Europe with different line-ups, including Italian musicians (jazzmen Giancarlo Locatelli and Filippo Monico), members of new ‘rock’ groups (Massimo Volume, Afterhours, Rosso Maltese) and renowned artists from New York (Elliott Sharp, Zeena Parkins). For the record company Mescal (dist. Polygram) he produced the CD “Da Qui” by the group “Massimo Volume”. Work with the group continued in 2001 with a concert tour in which Steve also performed on voice, bass and rhodes. Since 1999-2000 his research has focused on the major project The Expedition, a narrative-musical work with many different parts, specifically developed for each city or venue in which it is performed, using the sounds of that city. In the early versions there were as many as 12 musicians on stage, theater sets were utilized, but without video images. After the debut at CS Leoncavallo in Milan and the version prepared for the festival Brescia MusicArte (both in 1999), the show was broken down into modules for separate development. Live work continued in duo with Luca Gemma with “The Secret Diaries of Bruce Chatwin”, at the festival Frontiere in Milan in 1999. This show was later seen in festivals in Pisa and Livorno in summer 2000. DJ-composer Gak Sato (from Tokyo) joined the project in 2000, in the show “Songs about Danger”. For the first time video images were introduced in the concerts, by Armin Linke. This piece was presented at the festival Frontiere in Milan in 2000, and developed at CS Cox 18 Milan a few months later. The project then evolved into a new Expedition. The first results were heard in “Getting Ready for the Expedition” in Venice, for the concert series Off Risonanze, and in Catania at Mercati Generali. Two of the pieces developed for this show became part of the CD by Gak Sato, “Tangram”, published in 2001 by Temposphere Records. From 21 March (premiere at Radio Popolare in Milan) to 15 July 2001 the new version “Expedition/Dérive” was performed in museums, cultural centers and festivals (Milan, Sesto San Giovanni, Catania, Mestre, other cities). In summer 2001 the urban sounds archive assembled by Sato and Piccolo began to produce many new compositions. New videos were also added, working in collaboration with the visual artist Luca Pancrazzi. The work was presented in the context of the MilanoFilmFestival at Piccolo Teatro Studio in Milan, 22 Sept 2001, under the title “Effetto cinema: musica alla deriva”. The collaboration with Elliott Sharp has continued for many years now, including a performance at Teatro Fondamenta Nuova in Venice 26 November 2001, in a duo entitled “Songs from the Frozen Zone”. After a positive experience at the Milan Polytechnic in the summer of 2001, in which the students recorded the sounds of the city to construct a performance and an urban sound map, Piccolo-Sato-Gemma with special guest Elliott Sharp did a concert and workshop at the IUAV architecture institute in Venice on 30 November 2001. The concert “Expedition/Dérive” was included in the series “Suoni e Visioni” in Milan, 11 March 2002 at Teatro di Portaromana, in a complete version with set design, special guest Elliott Sharp and new videos by Janene Higgins, Armin Linke-Paola Di Bello and Luca Pancrazzi. Steve performed on guitar, bass and vocals in the tour for the CD Tangram by Gak Sato in 2001-2. Steve Piccolo and Gak Sato also work in the field of “sound art”, creating installations for galleries and museums. They collaborate with visual artists to realize the sound portions of more complex works. In 2002 the song Green City by Steve, arranged by Gak Sato, was published in over 250,000 copies of compilations in the US, England and Italy. Expedition/Dérive was also performed in the Central Station in Milan, 28 May 2002 (see press release in Italian). Steve and Gak prepared a sound installation and concert for the MilanoFilmFestival 2002, recording and processing the sounds of the square in front of the Piccolo Teatro (22 Sept 2002). Steve participated in the project of Auditorium Records and MMT “A Year for Cage”, a one-year series of initiatives on John Cage, with the first concert at Teatro OutOff in Milan 27 Sept 2002, later at Radio Popolare. This project has evolved into the group Full Metal Cage Collective. Steve co-wrote and sang the title track “Spontaneous” for the recent CD by DJ-composer Painé, for Temposphere Records Spring 2003. In May 2003 Spontaneous was in the German Top 30 club charts. Steve collaborates with the radio program Remix on Rai 3, by Istituto Barlumen. With the group DE-ABC (Steve Piccolo, Gak Sato, Luca Pancrazzi), design of an urban installation, seen in the Urban Furnishings Fair of Esterni and the Isola Art Project show, both in Milan (April 2003). Steve and Gak have composed, performed and recorded many soundtracks for films and videos, including recent projects (2003) with Gabriele Di Matteo and a video on the history of the Compasso d’Oro design award for ADI. The latest video sound works have been for Adrian Paci, Ivo Bonacorsi and A Constructed World. Participation in the Isola Art Project, an initiative of a group of artists and critics to save an abandoned factory surrounded by two parks in a cool neighborhood in Milan and make it into a contemporary art center, instead of the shopping center fashion promo speculation planned by the city. Steve and Gak have recorded a one-hour program for WPS1 Art Radio (NY), entitled "Expedition". Steve and Gak are back again on the faculty for 2004-5 (their third year) at Accademia Carrara of Bergamo, teaching a course on "sound design". Steve will also teach the Sound section of the university course on "new techniques of art". GAK SATO was born in Tokyo in 1969. In 1994 he created the band Diet Music in Tokyo. In 1999 he became Artistic Director of TEMPOSPHERE, the contemporary music label of Right Tempo Records in Milan. His debut album POST-ECHO (Temposphere, 1999) immediately led to contacts with other producers such as Amon Tobin, Kid Loco and United Future Organization for artistic collaborations. Gak has participated on various remix projects (Easy Tempo Experience) with the Easy Tempo label (which reissues and remixes Italian soundtracks of the 60s and 70s). Successes include remixes of compositions by some of the greatest Italian masters of film music such as Piero Umiliani, Armando Trovajoli, Piero Piccioni and Lesiman (Motore a Ioni, Mah Nà Mah Nà, Lady Magnolia, all composed by Umiliani, Masquerade by Trovajoli). In these projects he has worked alongside the likes of Rainer Truby, Kid Loco, DJ Vadim, Cinematic Orchestra, Raphael Sebbag (UFO), Beanfield and Galliano (Underhead). In 1999 Gak Sato released a new single featuring Hip Wagging-Foot Shuffling remixed by Amin Tobin (Ninja Tune) along with a version of the great Metti una sera a cena by Ennio Morricone performed together with Alessandro Alessandroni on vocals. In 2001 Gak released his second album TANGRAM (Temposphere). On this record he makes less use of samples, getting some of the best Italian jazz musicians involved in compositions that blend the techniques of contemporary production with the talent of great improvisers. The title track Tangram has been issued in a remix by the producer Yukihiro Fukutomi and features the trumpet artistry of Nargo (from Tokyo Ska Paradise Orchestra). The track Green City is Gak’s version of a song by Lounge Lizards co-founder Steve Piccolo, with guest vocals by Piccolo himself. This track has been featured on many compilations in the US and Europe. Gak Sato’s live performances include the Tangram Tour with Steve Piccolo and Pepe Ragonese joining him in a live trio with video (2002 in Portugal, London, Monte Carlo, Italy) and evenings together with turntable masters like Gilles Peterson, Rainer Trüby, Pizzicato Five, Kid Loco and many others. He also performs in Steve Piccolo’s Expedition concerts on programming, keyboards, theremin and percussion, and is co-producer of the new Expedition CD. He has worked with Steve Piccolo on sound art installations in collaboration with leading visual artists and photographers. Since 2002 he is professor of Techniques of Sound in Art at the Accademia Carrara fine arts academy of Bergamo. He is participating in the John Cage tribute “A Year from Cage”, a one-year series of events and performances organized by MMT and Auditorium. Recent collaborations include projects in New York and France, gallery performances, radio shows. Cfr. nn. Arch. 133.a, 190.2 Il Cd si compone di 5 tracks e si intitola "Urban Soundworks", recorded and produced by Gak Sato and Steve Piccolo [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=2417 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 118 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 2449 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => s_quashed [post_excerpt] => Naoko Takahashi was born in Nigata, Japan and lives and works in London. She studied MFA Fine Art in Media at Slade School of Fine Art, UCL, London and Fine Art at Chelsea College of Art & Design, London. Takahashi’s work incorporates video, sound, installation, text and live art. Awards and residencies include: Artist in Residence, Pavilion, Lancashire; Organiser’s Prize, Out Video, International Video-Art Festival in Public Spaces, Ekaterinburg, Russia; Artist in Residence, Vizura Aperta/Momiano, Momian, Croatia; Video and Performance Award, Vizura Aperta/Momiano, Momian, Croatia; Artist in Residence, Sharjah Art Museum, Sharjah, UAE. Recent exhibitions and live performances include: Framing the Frame on MM Wall, MM Centre, Ordinacija, Zagreb, Croatia; An Image In The Past, Gallerija CS, Ordinacija, Zagreb, Croatia; s_quashed, RAM – RadioArteMobile, Rome, Italy; Relocated, TIP2, Lazareti and Slade School of Fine Art, Dubrovnik-London, Croatia-UK; Surabaya Hackney, collaboration with Fabrizio Manco, 291 Gallery and Hoxton Hall, London; Singing In The Sun, Ladyfest, Vienna, Austria; Combing, Out Video, Ekaterinburg, Russia; TIP Radio, collaborative sound work, Zagreb, Croatia; and In & Out, Sharjah Art Musium, Sharjah, UAE. Naoko Takahashi has a forthcoming solo exhibition, Offline Chat, at 340 Old Street Gallery, London in May 2005. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => s_quashed [to_ping] => [pinged] => [post_modified] => 2019-07-04 11:54:22 [post_modified_gmt] => 2019-07-04 09:54:22 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2449 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 150 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 2481 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Death after life [post_excerpt] => Jason Forrest used to make music under the moniker 'Donna Summer' (but now is just Jason Forrest). He has released records in the US, the UK, and Japan. He has been featured in periodicals such as Spin, Blender, German Rolling Stone, Muzik Express, The Wire, XLR8R, Urb, Crash, Muzik, Trax, The Village Voice, Style and The Family Tunes, Go Mag, Gonzo Circus, Grooves, De:Bug, and Vice. His music is a combination of many, many styles of music, all edited into a sort of new rock music. His live shows have garnered him a huge international audience, and involve much bad dancing, some blood, and a few shattered laptops. His latest album "The Unrelenting Songs Of The 1979 Post Disco Crash" was released in the US and EU by Sonig records of Koln Germany in April of 2004. It received overwhelming positive support internationally in many periodicals, newspapers and even the occasional TV program. He is hard at work on his new album, which will again be released by Sonig in August 2005, and an Ep for the late spring. A concert and video DVD is also in the works for later in 2005. [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=2481 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 182 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 2513 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Dépaysements è una serie di lavori per strumento solo e per voce e pianoforte dedicati ad incontri tra la musica contemporanea e le tradizioni extra-europee. TT: 69' 42". Dépaysements è un lavoro di sfioramenti, marginalità e sconfinamenti. La traccia em,ozionale che lo attraversa è una permanente condizione di deriva o naufragio di un paesaggio nelll'altro. Si gioca l'inserimento di suggestioni geografiche in un sistema centrifugo dove, scivolando semanticamente, ognuna di questa si sottrae all atrappola della definizione o non definizione di sé. L'"artificio delle temporalità" tra musica colta occidentale e il dato extraeuropeo, con la sua diversa percezione della storia, ispira l'intero ciclo per un convivere di identità stimolate al movimento non solo dalla trama delle storie del passato ma anche e soprattutto da sempre più compromettenti e politiche ipotesi di futuro. Il CD "Dépaysements" si compone di 10 tracce: 1: Maftir (2003) per viola da gamba sola, 6' 46", viola Hille Perl; 2: Mizmor (1999) per pianoforte solo, 4' 48", pianoforte Cristina Barbuti; 3- 6: Le divan oriental-occidental (2002) Quatre chansons pour voix et piano, soprano Linda Campanella, pianoforte Cristina Barbuti 3: Ad'h'â at--tanâ'i (testo di Ibn Zaydun), 7' 14"; 4: Gestern mittags (testo di R. M. Rilke), 4' 59"; 5: Gingo biloba (testo di J. W. Von Goethe), 6' 07"; 6: L'âme que l'amour ne connaît (testo di Rûmi), 4' 49"; 7: Dhil (2004) per contrabasso solo, 7' 59", contrabasso Willy Merz; 8: Pardes (2003) per percussione sola, 13' 34", percussioni Thierry Miroglio; 9 Dung (1998) per faagotto solo, 5' 33", fagotto Diego Chenna; 10: Reng (2003) per viola sola, 7' 48", viola Danilo Rossi. [post_title] => Gestern mittags [post_excerpt] => Willy Merz è compositore, direttore d'orchestra e contrabbassista. Diplomatosi in Contrabasso e in Composizione presso il Conservatorio di Torino e in Direzione d'Orchestra presso il Conservatorio di Milano, si è perfezionato all'Accademia Chigiana di Siena con Franco Donatoni, all'IRCAM di Parigi e con Fernand Leitner in Direzione d'Orchestra. Nel 2003 è stato preiato dal "Councours international de Composition" di Friburgo. Sue composizioni sono abitualmente eseguite in importanti Festivals europei e diffuse su France Culture, Suedwest Rundfunk e RAITRE. Nel 2003 la sua opera "Ulysses" è stata eseguita presso il Teatro Colòn di Buenos Aires. [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=2513 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 216 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 2639 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => Track 1 del CD "Canoni Pitagorici"; T. T.: 49' 41" [post_title] => Canone pitagorico øø [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => canone-pitagorico-oo [to_ping] => [pinged] => [post_modified] => 2014-09-25 12:34:20 [post_modified_gmt] => 2014-09-25 10:34:20 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=2639 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 344 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 3380 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 10:38:39 [post_content] => [post_title] => Phantom [post_excerpt] => Mark Schreiber is South African, born in 1970 and currently living in London. He has studied sound art at Middlesex University in London. Schreiber works with sound and interventionist art and focuses on the relationship between architecture and social interaction. Apart from creating sound works Schreiber has worked as a musical curator. 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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