Mostrando entradas con la etiqueta acústica. Mostrar todas las entradas
Mostrando entradas con la etiqueta acústica. Mostrar todas las entradas
nail violin i acústica de tiges i barres
nail violin
nail violin
srosh
Srosh Ensemble Metal Rods Tree
Srosh Ensemble Acoustic Laptop Duo
Srosh 43 tone metalophone
Briziliant
Array mbira and nail violin
nail violin
srosh
Srosh Ensemble Metal Rods Tree
Srosh Ensemble Acoustic Laptop Duo
Srosh 43 tone metalophone
Briziliant
Array mbira and nail violin
bart hopkin i la construcció d'instruments
estic llegintl'excel.lent llibre d'en Bart Hopkin "musical instrument desingn"
i l'he trobat sencer, penjat a internet !!!
http://books.google.com/books?
en Hopkin menciona 6 vengades els Baschet, (en François em va dir que són amics) però a banda d'això que sempre fa il.luisió, és un gran locu enciclopèdic de la construcció d'instruments...
estirant del fil he trobat aquesta megaweb.
http://windworld.com/
dins de la que hi ha la la superweb de Bart Hopkin
http://windworld.com/bart/
i us recomano espcialment l'apartat
http://windworld.com/bart/
on trobareu instruments inventats per ell i molts d'ells amb mostres de com sonen.
Encara no he buscat videos però només amb això n'hi ha per estona!
apa, bona nit!
i l'he trobat sencer, penjat a internet !!!
http://books.google.com/books?
en Hopkin menciona 6 vengades els Baschet, (en François em va dir que són amics) però a banda d'això que sempre fa il.luisió, és un gran locu enciclopèdic de la construcció d'instruments...
estirant del fil he trobat aquesta megaweb.
http://windworld.com/
dins de la que hi ha la la superweb de Bart Hopkin
http://windworld.com/bart/
i us recomano espcialment l'apartat
http://windworld.com/bart/
on trobareu instruments inventats per ell i molts d'ells amb mostres de com sonen.
Encara no he buscat videos però només amb això n'hi ha per estona!
apa, bona nit!
guitarra gegant
http://www.youtube.com/watch?v=pC-49GnjdTE&feature=related
aquest video no espot inserir a petició de l'autor, cal investigar més sobre el tema, és bestial!
així que per ara,
aquest video no espot inserir a petició de l'autor, cal investigar més sobre el tema, és bestial!
així que per ara,
Antonio De Luca / Mario Ciccioli
Imbutofono
Suonare luoghi /
Performance nella Cappella di San Vito / salento 2003
Imbutofono track 2 April 24, 2008Suonare luoghi
Antonio de luca / Mauro Tre
Frammento della performance alla Fondazione Pistoletto
Biella Settembre 2008
Frammento della performance alla Fondazione Pistoletto
Biella Settembre 2008
November 27, 2009
Video realizzato da RaiSat1 ARTE nel 1998.
Intervista a Mario Ciccioli nel suo studio a Tuscania condotta da Alessandra Crisanti dove l'artista spiega la genesi del proprio lavoro riguardo la costruzione e l'installazione di Arpe Eolie.
Installazione di tre Arpe Eolie, realizzata a Ginevra nel 1989 davanti al "Musee d'Histoire des Science" nel Parco "Perle du Lac".
September 04, 2009
Tabakalera présente plusieurs œuvres de douze artistes qui travaillent à partir du son. Par des installations sonores, des sculptures ou des travaux audiovisuels interactifs, l'exposition propose une nouvelle manière de découvrir Tabakalera par le son. Des œuvres spécifiquement créées pour l'exposition conversent avec d'autres qui se sont adaptées aux imposants espaces du bâtiment. C'est pourquoi, et dans ce but, nous avons créé un parcours guidé dans le son qui tout en composant une exposition consacrée à l'art sonore nous invite à connaître un bâtiment emblématique comme Tabakalera.
Installation sonore interactive/Interactive sound installation
Voir plus/View more www.bechardhudon.com
Voir plus/View more www.bechardhudon.com
Antonio De Luca
May 13, 2009
Scultura sonora per ferro e ottone
Antonio De Luca e Mario Ciccioli
Installazione sonora permanente per acqua e aria
OSSERVATORIO NOMADE /SALENTO
Cappella di San Vito
Masseria torcito
MARZO 2003
Antonio De Luca e Mario Ciccioli
Cappella di San Vito, masseria Torcito ,
Salento - Marzo 2003
immagini di Giorgio D'ambrosio
Installazione sonora per ferro, piombo, acqua e cotone
- Palazzo Belmonte-Riso /
Palermo
Osservatorionomade
Antonio De Luca / Mario Ciccioli
Performance ed installazioni sonore nel Salento
Stanza dei suoni delle mani / Parte 2
Suzuki
Suzuki, Akio. akiosuzuki.com
http://www.arika.org.uk/resonant-spaces/akio-suzuki/
(escolta'l) i http://www.last.fm/music/Akio+Suzuki
Perhaps the most charming, engaging artist I’ve seen, Japanese musician and inventor, instrument builder and shaman Akio Suzuki is probably unknown to most of you. But we think his work is utterly captivating and crucial; it deserves a much bigger audience. Akio has been performing, teaching and building instruments for nearly 40 years. His music is simple and pure, and beautifully unworried by the rules of modern music. He explores nature and how its atmospheres and sounds can be harnessed and then set free, how you can lose yourself in the sound that surrounds us, and how musical creation and beauty exist in all things, in all moments.
“I think of Akio Suzuki as a kind of magician”
David Toop
“Hearing this music, I remember many things, including playing in a puddle as a tiny kid”
Yamatsuka Eye: Boredoms
Akio Suzuki is known as a pioneer of sound art, but the breadth of his activities and the form of his works far exceeds the normal boundaries of sound art. It is perhaps more as a "quester after sound and space" that he has received the most attention from artists in many fields.
Suzuki's journey as an artist began in 1963 with a performance at Nagoya station, in which he threw a bucket full of junk down a staircase. The inspiration behind this performance - the idea that if one were to hurl an object down a well-balanced stairway, a pleasant rhythm might be the result - took the desire to "listen" as its subject. That desire to hear, to listen has remained the one constant in Suzuki's stance as an artist.
During the sixties, Suzuki's sense of playfulness led him to undertake a series of Self-Study Events, where he explored the processes of "throwing" and "following", taking the natural world as his collaborator. The experiences he gained in these events led him in the seventies to invent an echo instrument he named Analapos. The instrument's structure resembles that of two mirrors facing each other, reflecting into infinity. As an extension of the principles underlying Analapos, Suzuki constructed the Hinatabokko no kukan (Space in the Sun) in 1988. This space consists of two huge parallel walls, in between which the artist can sit all day and purify his hearing by listening to the reflected sounds of nature. This space leads the artist to discover a new method of listening. Suzuki himself comments, "Sound, which had been conceptually imprisoned in various spaces, is freed to circle the world."
From the late seventies and through the eighties, Suzuki also developed a form of performance he refers to as Conceptual Soundwork. Applying a number of self-imposed, simple and austere rules, he uses objects close at hand in a mode of "intellectual play". While these events do on the one hand express a critique of meaningless improvised performance, at the same time Suzuki is constantly aware of the audience's process of listening and he attempts to create contemporaneous connections with the site of performance. It was around this time that Suzuki began to travel frequently to the US and Europe, and his performances at leading music festivals, Festival d'Automne (Paris, 1978) and Documenta 8 (Kassel, 1987) were rapturously received.
As sound art enjoyed a period of prosperity in the nineties, Suzuki was given the chance to create many installations, particularly in Berlin. Worthy of special note were his soundless installations, such as Otodate (Echo point, 1996) in Berlin, Enghien-les-Bains (since 1997, http://www.insitu-enghien.org/) and Strasbourg; Hana (Flower, 1997) at the Stadtgalarie Saarbrucken; and Pyramid (1999) which involved people excavating sounds. These soundless pieces were not designed to critique the old perceptual theories of music, rather they questioned the very location of music. Through their encounter with these works, the past experiences and memories of viewers were reconstructed as new experiences. This process was fundamental to the action of "listening" to the works.
In recent years, the insights he gained from the Turbridge (1999-2000) installation at the Daad Gallery in Berlin have opened up new avenues of development for his future work. By recording and creating sound sources himself, and by using electric amplification with Suzuki's own self-designed output devices, he was able to reconstruct sounds and experiment with listening to the "factors of place". These experiments were followed up by the sound-drawing Mowe (Seagull, 2002) for the Berlin radio station SFB, and Nagekake & Tadori (Throwing and Following, 2002) which included some suggestions towards the construction of place. Visitors to the latter were able to experience a "place established by the artist as a wholly different space and time axis."
To run simultaneously with these experiments, Suzuki has started the Mogari series since 2002 at the Brunei Gallery at the School of Oriental & African Studies in London. This series centres around unbelievably powerful performances on iwabue - ancient and naturally-sculpted stone flutes which have been handed down in Suzuki's family. Using these ancient instruments Suzuki sculpts time and place, and through their music he searches for his own end.
http://www.arika.org.uk/resonant-spaces/akio-suzuki/
(escolta'l) i http://www.last.fm/music/Akio+Suzuki
Perhaps the most charming, engaging artist I’ve seen, Japanese musician and inventor, instrument builder and shaman Akio Suzuki is probably unknown to most of you. But we think his work is utterly captivating and crucial; it deserves a much bigger audience. Akio has been performing, teaching and building instruments for nearly 40 years. His music is simple and pure, and beautifully unworried by the rules of modern music. He explores nature and how its atmospheres and sounds can be harnessed and then set free, how you can lose yourself in the sound that surrounds us, and how musical creation and beauty exist in all things, in all moments.
“I think of Akio Suzuki as a kind of magician”
David Toop
“Hearing this music, I remember many things, including playing in a puddle as a tiny kid”
Yamatsuka Eye: Boredoms
Listen here
| http://www.arika.org.uk/resonant-spaces/x_flash/stone-flute.htm | |||||||||
| http://www.arika.org.uk/resonant-spaces/x_flash/analopos.htm |
PROFILE
Akio Suzuki is known as a pioneer of sound art, but the breadth of his activities and the form of his works far exceeds the normal boundaries of sound art. It is perhaps more as a "quester after sound and space" that he has received the most attention from artists in many fields. Suzuki's journey as an artist began in 1963 with a performance at Nagoya station, in which he threw a bucket full of junk down a staircase. The inspiration behind this performance - the idea that if one were to hurl an object down a well-balanced stairway, a pleasant rhythm might be the result - took the desire to "listen" as its subject. That desire to hear, to listen has remained the one constant in Suzuki's stance as an artist.
During the sixties, Suzuki's sense of playfulness led him to undertake a series of Self-Study Events, where he explored the processes of "throwing" and "following", taking the natural world as his collaborator. The experiences he gained in these events led him in the seventies to invent an echo instrument he named Analapos. The instrument's structure resembles that of two mirrors facing each other, reflecting into infinity. As an extension of the principles underlying Analapos, Suzuki constructed the Hinatabokko no kukan (Space in the Sun) in 1988. This space consists of two huge parallel walls, in between which the artist can sit all day and purify his hearing by listening to the reflected sounds of nature. This space leads the artist to discover a new method of listening. Suzuki himself comments, "Sound, which had been conceptually imprisoned in various spaces, is freed to circle the world."
From the late seventies and through the eighties, Suzuki also developed a form of performance he refers to as Conceptual Soundwork. Applying a number of self-imposed, simple and austere rules, he uses objects close at hand in a mode of "intellectual play". While these events do on the one hand express a critique of meaningless improvised performance, at the same time Suzuki is constantly aware of the audience's process of listening and he attempts to create contemporaneous connections with the site of performance. It was around this time that Suzuki began to travel frequently to the US and Europe, and his performances at leading music festivals, Festival d'Automne (Paris, 1978) and Documenta 8 (Kassel, 1987) were rapturously received. As sound art enjoyed a period of prosperity in the nineties, Suzuki was given the chance to create many installations, particularly in Berlin. Worthy of special note were his soundless installations, such as Otodate (Echo point, 1996) in Berlin, Enghien-les-Bains (since 1997, http://www.insitu-enghien.org/) and Strasbourg; Hana (Flower, 1997) at the Stadtgalarie Saarbrucken; and Pyramid (1999) which involved people excavating sounds. These soundless pieces were not designed to critique the old perceptual theories of music, rather they questioned the very location of music. Through their encounter with these works, the past experiences and memories of viewers were reconstructed as new experiences. This process was fundamental to the action of "listening" to the works.
In recent years, the insights he gained from the Turbridge (1999-2000) installation at the Daad Gallery in Berlin have opened up new avenues of development for his future work. By recording and creating sound sources himself, and by using electric amplification with Suzuki's own self-designed output devices, he was able to reconstruct sounds and experiment with listening to the "factors of place". These experiments were followed up by the sound-drawing Mowe (Seagull, 2002) for the Berlin radio station SFB, and Nagekake & Tadori (Throwing and Following, 2002) which included some suggestions towards the construction of place. Visitors to the latter were able to experience a "place established by the artist as a wholly different space and time axis." To run simultaneously with these experiments, Suzuki has started the Mogari series since 2002 at the Brunei Gallery at the School of Oriental & African Studies in London. This series centres around unbelievably powerful performances on iwabue - ancient and naturally-sculpted stone flutes which have been handed down in Suzuki's family. Using these ancient instruments Suzuki sculpts time and place, and through their music he searches for his own end.
The acoustical Society of America
A Survey of The acoustical Society of America
http://www.acoustics.org
http://www.acoustics.org
Harry Partch
A documentary about the composer Harry Partch who invented his own compositional method using a 43-tone scale and many instruments that he built by hand.
(documental de la BBC en 6 parts)
Per escoltar a Spotify:
Harry Partch – Revelation In The Courthouse Park
Harry Partch – 17 Lyrics Of Li Po
The great American composer and maverick iconoclast Harry Partch is better known for making musical instruments in ancient tuning systems than for rose petal jam, yet here he is in 1969 doing just that. Find out more on the www.innova.mu series Enclosures: Harry Partch
(documental de la BBC en 6 parts)
Per escoltar a Spotify:
Harry Partch – Revelation In The Courthouse Park
Harry Partch – 17 Lyrics Of Li Po
The great American composer and maverick iconoclast Harry Partch is better known for making musical instruments in ancient tuning systems than for rose petal jam, yet here he is in 1969 doing just that. Find out more on the www.innova.mu series Enclosures: Harry Partch
per ordenar
Sculture Sonore - scultura sonora - Stormo Sonoro di Lucia Balzano -Olbia-
www.luciabalzano.com
Symphony for 54 Shoes (Distant Echoes) - Ingrid Bachmann
| November 12, 2007
Ingrid Bachmann's kinetic art installation was first presented in Regina, Saskatchewan, Canada. For Bachmann the piece is an exploration of tender or pathetic technology, for ends that are not necessarily considered productive.
Latest version was shown November 13 to December 14, 2008, at La Galerie des arts visuels, Université Laval, Quebec City.
Video: Wojtek Gwiazda
Websites:
http://www.arv.ulaval.ca/galerie/ingr...
http://www.molior.ca
http://www.ingridbachmann.com
From the Galerie des arts visuels website:
"L'œuvre habite ainsi l'espace tant par sa présence physique que sonore et évoque certes une présence humaine, personnages évoqués, anonymes qui nous proposent leur chorégraphie étrange et antispectaculaire."
Direction de la Galerie - Lisanne Nadeau
From Bachmann's website:
"This project continues my exploration of non-screen based computer technology to create works that interact with, confront and/or incorporate the physical world. I try to bring the complexity of the real world and experience into the digital experience, to complicate the relations between the virtual and material realms, to create works that situate themselves in the world in rich sensory, tactile and sonic ways."
Andrea Carson "View on Canadian Art" October 30, 2007:
http://viewoncanadianart.com/2007/10/...
"Symphony for 54 Shoes (Distant Echoes) ... echoes a tradition of 'ghost' works by artists including sculptor Rachel Whiteread, Christian Boltanski and Polish theatre & installation artist Jozef Szajna."
Other websites:
Bachmann's hermit website: http://www.digitalhermit.ca/
Turbulence project - New Radio and Performing Arts, Inc. website: http://transition.turbulence.org/netw...
Centre for Contemporary Canadian Art website:
http://www.ccca.ca/artists/artist_inf...
Latest version was shown November 13 to December 14, 2008, at La Galerie des arts visuels, Université Laval, Quebec City.
Video: Wojtek Gwiazda
Websites:
http://www.arv.ulaval.ca/galerie/ingr...
http://www.molior.ca
http://www.ingridbachmann.com
From the Galerie des arts visuels website:
"L'œuvre habite ainsi l'espace tant par sa présence physique que sonore et évoque certes une présence humaine, personnages évoqués, anonymes qui nous proposent leur chorégraphie étrange et antispectaculaire."
Direction de la Galerie - Lisanne Nadeau
From Bachmann's website:
"This project continues my exploration of non-screen based computer technology to create works that interact with, confront and/or incorporate the physical world. I try to bring the complexity of the real world and experience into the digital experience, to complicate the relations between the virtual and material realms, to create works that situate themselves in the world in rich sensory, tactile and sonic ways."
Andrea Carson "View on Canadian Art" October 30, 2007:
http://viewoncanadianart.com/2007/10/...
"Symphony for 54 Shoes (Distant Echoes) ... echoes a tradition of 'ghost' works by artists including sculptor Rachel Whiteread, Christian Boltanski and Polish theatre & installation artist Jozef Szajna."
Other websites:
Bachmann's hermit website: http://www.digitalhermit.ca/
Turbulence project - New Radio and Performing Arts, Inc. website: http://transition.turbulence.org/netw...
Centre for Contemporary Canadian Art website:
http://www.ccca.ca/artists/artist_inf...
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