ecopolis

life in transformation

Archive for the ‘Sound Art’ tag

Pavillon 21 (Foxy Sounds for a Mobile Opera House)

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A mobile opera house that can be pulled apart and fit into a shipping container was unveiled by the Bavarian State Opera. The €2.1 million Pavillion 21 - designed by architect Wolf Prix of the firm Coop Himmelb(l)au – seats 300 people and it will host its first performances during the Munich Opera Festival in the summer of 2010.

COOP HIMMELB(L)AU was founded by Wolf D. Prix, Helmut Swiczinsky and Michael Holzer in Vienna, Austria in 1968, and is active in architecture, urban planning, design, and art.

The Pavillon 21 building has perforated, sloping aluminium walls with a “crystalline outer skin” ; gleaming spikes on the outside the opera house were based on a computer space modelling of sound frequencies from Jimi Hendrix’s Purple Haze and Mozart’s opera “Don Giovanni”, overlayed and parametrically transferred into the pyramidal forms.

The inside is similarly angular and includes a lobby and a large stage. The main auditorium is free of clutter to house experimental performances. It is being built in collapsible modules that can be dismantled and fit in a shipping container: the philosophy behind the portable building is staging travelling shows. It will then return “home” every summer for the festival, but the rest of the year it will travel the world and can be hired out to other opera and theatre companies.

Written by Ilari Valbonesi

November 17th, 2009 at 6:25 pm

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RAM LIVE: Art is Radiophonic

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Dears,
after months, probably years, of rethinking intersubjectivity issues and remixing theory, I am very happy to annouce the birth of RAM LIVE under my direction.

RAM LIVE is a internet radio and place for the transmission of memories and experiences, providing an ethical listening before an aesthetic experience, open to a plurality of voices and the exchange of practices on an international level.

RAM LIVE is unique in its kind on the international scene, breaking away from genre and news radio stations.

RAM LIVE offers round-the-clock web streaming and (soon) monthly podcasts of: selections and remixes of sound works from SAM and RAM archives, interviews, historical recordings, popular music from the 1920s to today, field recordings, artist monographs, and new cultural programs, respecting the environments difference and languages.

Please feel welcome to send us sound materials, debates recording and to make purpose of collaborations.

The theme underlying the programming for October is the voice in a political view of an ethics of sound – from the first Beat revolution to the Black Panthers’ protest – featuring interviews to the protagonists of the cultural revolution in the USA (provided by filmmaker Ferdinando Vicentini Orgnani), and music of the time selected on the basis of a philological and emotional research.

The programming also gives room to multicultural reflection: the Mediterranean by Michelangelo Pistoletto; Carla Accardi and Gianna Nannini in Moscow; RAM travel diaries in Tunisia and China; FLUSSORAM sound geography; Manifesta sound landscapes; and other interior journeys through the voice of leading voices in contemporary culture.

Included in the schedule are also RAM LIVE’s regular programs: “Minima” (an hour of remixed material from the SoundArtMuseum archive), “Ready-Heard” (live broadcasts), and “Mono” (monographs on sound artists active on the international scene). The month of October will be dedicated to: Alvin Curran, Richard Crow, Jan Fabre, Michael J. Schumacher, Stephen Vitiello, and Luca Vitone.

Happy listening!

Ilari Valbonesi

Mail: live@radioartemobile.it
Skype: radioartemobileLIVE!
Web: http://live.radioartemobile.it/

Written by Ilari Valbonesi

October 7th, 2008 at 1:33 pm

Posted in Culture

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Soundtrack for a Mersey Tunnel – extended

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„Radio signals are limited under the river and the constant roar of the 433 makes easy listening difficult. iPods are turned up high and Metro sentences are read and re-read. The Tunnel is just a means of getting from A to B, which is what most users need.” ( Alan Dunn, „When two worlds collide”, http://www.alandunn67.co.uk/soundtrackforamerseytunnel.html )

Werner Moebius‘ radio piece “Soundtrack for a Mersey Tunnel – extended” refers to a project by Alan Dunn in Liverpool 2008. Artists were commissioned to create soundtracks for the bus route 433 New Brighton – Liverpool. This bus spends 2 minutes and 33 seconds underneath the River Mersey, transporting passengers from the peninsula Wirral to Liverpool City and back. These sound pieces, partly recorded inside the Tunnel or in its immediate environment, were compiled on a CD an edition of 433 pieces.

Werner Moebius modifies the concept of acoustic interventions in relation to the Mersey Tunnel by using specific sound qualities of the tunnel architecture. He sketches an audiovision of a new, extended, imaginary non-place.

On the one hand Moebius uses his own sounds recorded in the City of Liverpool and the neighbouring Merseyside / Wirral region in the Northwest of England, and on the other hand he uses samples from the contributions of a.P.A.t.T., Büchler & Wand, Caroline Kraabel & Phil Hargreaves, Claire Potter, Gintas K, James Chinneck, Mark Pilkington, Ocean Viva Silver, Patricia Walsh, Pete Wylie & Jeff Young, Roger Cliffe-Thompson, unclejim und Wibke Hott & The Tunnel Choir, that were published on CD.

Werner Moebius enters an acoustic space which is real yet imaginary, a paradox constellation between concrete and abstraction. He sketches an audiograph of the European Cultural Capital of Europe 2008 Liverpool and its environment in the form of a fragmentary cut up collage.

(Text: Werner Moebius, May 2008; translation: Anna Soucek)

Written by Luca

May 21st, 2008 at 5:18 pm

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Tom Waits Press Conference

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Written by Ilari Valbonesi

May 9th, 2008 at 12:53 pm

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Damien Hirst – Breath

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Damien Hirst – Breath 2000

Written by Ilari Valbonesi

April 25th, 2008 at 7:18 pm

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Antonio Meucci is the original inventor of the “telettrofono” – electrical telephone (1808-2008)

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Antonio Santi Giuseppe Meucci was born in San Frediano, low-class area of the city of Florence, on April 13, 1808, while the city is under Napoleon rule. His family is poor and, even if he is admitted to the Art School [Accademia di Belle Arti], he cannot end his studies as he needs to start working very young. He changes many jobs, from custom employee propman for the “Pergola” theater in Florence. Here he builds an acoustic telephone: that is a telephone in which sound is conducted inside tubes. In the “Pergola” he meets Ester Mochi, a costumer, which he will marry.

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Antonio Meucci gets interested in animal and physiological electricity while he was young. He is active in politics too, and he gets into the revolutionary movements aimed at the Unification of Italy which took place in 1831. Being him a liberal and a repubblican he is be arrested and remains three months in jail, sharing the cell with Francesco Domenico Guerrazzi. He is then pushed to leave the Great Duchy of Tuscany and will finally sail to Cuba. He settles in Havana as propman for the Tacòn Theatre. While in Cuba, while he was trying to cure rheumatisms of a patient via elettotherapy he manages to hear more clearly than he expected the cry of his patient, from the neighbouring room, as the current arrives to him. Meucci’s words were “I thought I heard this sound more distinctly than natural. I then put this copper of my instrument to my ear, and heard the sound of his voice through the wire. This was my first impression, and the origin of my idea of the transmission of the human voice by electricity”. He continues his experiment untill, in 1850, he settles inj the United States, and in the city of New York.

In New Yorh Meucci establishes a candle factory. Here he mets Giuseppe Garibaldi, which will work with Meucci; the two shares a long lasting important friendship. The collaboration between these two famous italians is proved in the New York museum “Garibaldi – Meucci”.

In 1854, Meucci’s wife Ester gets a crippling rheumatical arthritis which will oblige her to bed for the rest of her life, which will occur in 1884. Meucci realizes then the first true telephone link connecting his lab, nearby his cottage, with his wife’s bedroom. In a note dated 1857 Meucci describes his telephone: “it consists in a vibrating diaphragm and in a magnet electrified by a wire wounded around it. When the diaphragm vibrates the magnet modifies the wire curren. These modifications, once they reach the other end of the wire, impresses similar vibrations to the receiving diaphragm, which reproduces the words.”

Meucci ideas are clear, but he lacks the economic means to sustain his research. The candle factory goes bankrupt and Meucci seeks funding with rich italians but without luck. Soon he lacks also mony for his own living and he will survive thanks to his friends’ help.

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(Western Electric Model 1317)

Meucci holds on and, in 1871 establishes e company and files in for a paptent, he names his invention “telettrofono”. The “Telettrophone Company,” has, as main scope, as the contract states, that of “carrying on all the necessary experiments to realize the ‘Telettrofono,’ that is the transmission of words (human voice) along electrical wires, as invented by Antonio Meucci”. There is still a money problem: with his $20 Meucci cannot afford to pay the cost of a patent, which sums up to $250 for a complete patent. As an alternative he files in for a “temporary” patent, or caveat, which lasts one year and can be renewed, the cost for each year being $10 dollari. Meucci will be able to pay this sum only up to year 1873.

In this same period, carrying with him much documentation on his researches, Meucci resorts to the powerfull American District Telegraph Company in New York, asking permission to use their lines for his experiments. The Company does not foresee the implication of the project and dismisses Meucci, causing him yet another failure.

In 1876 Alexander Graham Bell files in for a patent for his telephone. The following years will be spent by Meucci in an endless trial to obtain recognition of the paternity of the invention. Meucci is sponsored by the Globe Company, which suits Bell Company.
The lawsuit ends on July 19, 1887 with a decision which, even if it recognizes som merits to Antonio Meucci, is positive for Bell. “Nothing shows – says the decision – that Meucci really obtained any practical results, besides that of conducting, mechanically, the word along a cable. He surely used a mechanical conductor and he supposed that, by electrifying the conductor, he could have obtained better results”. In a nutshell the sentence states that Meucci had invented the telephone, but not the electrical one.

Antonio Meucci dies, aged 81, on Octover 18, 1889, shortly before that the Globe Company appeals against the sentence. After long lawsuits the Supreme Court of the United States will archive the case.

For more than a century, except in Italy, Bell has been considered the inventor of the telephone. On June 11, 2002, the Congress of the United States finally recognized officially that Antonio Meucci is the original inventor of the electrical telephone.

http://meucci.ing.unifi.it/

Written by Ilari Valbonesi

April 13th, 2008 at 12:02 pm

Posted in INTERFACE

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Overheated Symphony (Calling all women everywhere)

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Overheated Symphony is all-women directed interactive mobile phone film. This cinematic symphony of women’s voices from around the world is part of the Birds Eye View film festival taking place in London next month which showcases the work of female film-makers.

Women across the world are being asked to make a short film -a “quick flick” – between 40 seconds and four minutes long on a mobile phone and then send it via the internet to a London-based film director who will edit all together.

“If it’s hot, we’d like to see it,” the project’s Web site declares: “Ladies, wherever you are, whoever you are, we want you to join in.”

The inspiration for “Overheated Symphony” was the 1927 film by German filmmaker Walter Ruttmann called “Berlin – Symphony of a Great City,” which used a montage of still pictures from many sources to document city life.

Rachel Millward, director of the Birds Eye View festival, which is now in its third year, says via Reuters the film is as much about new technology as it is about women and heat … Making a film from all these female voices around the world is quite a beautiful thing, but also it’s about shooting down the idea that women are not up to date with technology.”

Contributors are being asked on www.birds-eye-view.co.uk to upload their cinematic efforts onto the festival’s own YouTube channel to be edited.

LIVE EDIT

On Sunday March 9th, between 12noon and 5pm, celebrated artist and film director Sarah Turner (see also her feature screening of Ecology at the festival) and sound designer Annabelle Pangborn will use the structure of a symphony to edit your work. Films submitted by women from around the world will be sampled into one fiery flick, LIVE in London, in the ICA bar, and later published on this website and on youtube.

DEADLINE

Films must be submitted by Sunday 2nd March.

UPLOAD

Once you’ve completed your phone-film please follow instructions (here) and upload it to www.youtube.com with the tag: OVERHEATED SYMPHONY, being sure to put your name and contact information in the descriptions box so that we can credit you and keep in touch.

Written by Ilari Valbonesi

February 15th, 2008 at 9:03 am

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Generative Cinema

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Oleg Marakov Islands
+
Mario Klingemann Flickeur
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Islands of Consciousness

The result of this fusion – Islands of Consciousness – is not a simple combination of the two concepts but a great advancement. Sound and Images enter a very close relationship in which the randomly arranged musical phrases are taking direct influence on the visual outcome. So when you look at this piece keep in mind that all the visuals are assembled in realtime using photos downloaded from Flickr.com. All the transitions and effects are entirely random and only happening on you screen. Other people will see a movie and hear a soundtrack that is totally different from yours.

The infinite soundtrack is built upon Oleg Marakov’s idea to run multiple mp3 players parallel in shuffle mode just like musicians playing different instruments. In this case the instruments are not only pianos or synths but also natural atmospheres and sound effects. Islands of Consciousness consists of four parallel layers: Layer one plays synth background pads, layer two is the piano track, layer three holds ambient atmospheres and layer four contains all kinds of different sounds and effects. Just like in a regular composition the sounds vary in length and in fidelity and a very important part is also the space in between the notes – the pauses of different duration.

Written by Luca

January 31st, 2008 at 7:01 am

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