iXem Podcast

Angelo Conto & Igor Sciavolino

All the things we eat

NoLogic is a recent experiment started after February 2008 in Torino, Italia.

Angelo Conto is a piano player. Igor Sciavolino built a personal plug-ins multiprocessor set-up on his laptop for process in realtime the piano. 

This work uses digital processor on laptop to interact with acoustic piano and some samples. First of them is digitally captured from a Burundi traditional welcome chant; the second sample is acoustic, played on piano, taked from All the things you are song.

www.myspace.com/nologicduo

www.myspace.com/angeloconto

www.myspace.com/igorsciavolino

Angelo Conto & Igor Sciavolino

Sdrok

NoLogic is a recent experiment started after February 2008 in Torino, Italia.

This work uses digital processor on laptop to interact with acoustic piano. It was selected and played 11th of October 2008 in FrammentAzioni project at Contemporanea DuemilaOtto Festival in Udine, Italia.

http://www.taukay.it/it/archive/2008_11.html

Angelo Conto is a piano player. Igor Sciavolino built a personal plug-ins multiprocessor set-up on his laptop for process in realtime the piano.

For this work we must not exceed 60 seconds duration.

www.myspace.com/nologicduo

www.myspace.com/angeloconto

www.myspace.com/igorsciavolino

Angelo Conto & Igor Sciavolino

15 min 49 sec

http://rapidshare.com/files/168577900/15min49sec.mp3.html

NoLogic is a recent experiment started after february 2008 in Torino, Italia.

This work uses digital processor on laptop to interact with acoustic piano.

Angelo Conto is a piano player.

For this work at the beginning he improvised on strings inside piano, using several objects in several materials (plastic, wood, metal, glass) to generate alternative sounds.

In a second time he played on keyboard piano  in the traditional way.

In the third and last moment he played a toypiano inside the piano.

Igor Sciavolino is not a piano or keybord player.

He built a personal plug-ins multiprocessor set-up on his laptop.

For this work, at the beginning he was reacting to piano improvisations modifing its sound in real time.

In a second time he played on a second laptop an excerpt from Contrappunto dialettico alla mente by Luigi Nono, filtering it in real time and, at the same time, filtering the piano too.

In the last part of this total improvisation he played 2 looped fragments from Yumeji’s Theme by Shigeru Umebayashi (most known like score for the movie In The Mood For Love) without filtering them, but going on to process piano (now toypiano) in real time.

At the end, we tried to stimulate one to each other by 3 elements:

acoustic instruments (piano, piano strings and toypiano);

real time processing acoustic instruments;

prerecorded music.

Every material was created or elaborated in real time under improvisation logic.

Our effort was in any moment to be free to play anything,but at the same time to built a convincing composition.

www.myspace.com/nologicduo

www.myspace.com/angeloconto

www.myspace.com/igorsciavolino

Michele Spanghero
A Short-lived Fault In The System

«Oggi, il Rumore trionfa e domina sovrano sulla sensibilità degli uomini.» L. Russolo, L’arte dei rumori (1913)

Il progetto A Short-lived Fault In The System nasce da un percorso musicale ispirato a Luigi Russolo nella ricorrenza del sessantesimo anniversario dalla sua scomparsa.

Il materiale sonoro alla base del lavoro è un campionamento di un silenzio tratto da una sintesi futurista. Lo strepitio e l’usura del vinile della registrazione hanno trasformato questo silenzio di fatto in un rumore. Dalla constatazione di questa semplice ma paradossale evidenza, si è sviluppato il progetto A Short-lived Fault In The System: utilizzare ed anzi amplificare (sonoramente e concettualmente) questo ossimoro acustico in una composizione in cui rumore e suono fossero indistinguibili lavorando anche sul contrasto tra differenti media e tecnologie.

Il rumore delle distorsioni analogiche del supporto audio vinilico interagisce perciò con corrispondenti suoni derivati da alterazioni ed interferenze sonore digitali, i cosiddetti glitches (a cui si riferisce il titolo tratto dalla definizione che Wikipedia dà di glitch: “un errore di breve durata nel sistema”). Similmente il video deriva dall’analisi dello spettro sonoro attraverso un sistema analogico di disturbi, interruzioni ed errori nel segnale dell’immagine facendo così del difetto e dell’imperfezione il movente estetico e il tema dell’opera. Anche il televisore viene utilizzato – etimologicamente – come fonte sonora di glitches attraverso i suoni emessi dal tubo catodico mentre produce le distorsioni derivate dal suono: filtrando il segnale acustico dell’apparecchio si crea così una sorta di feedback visivo indotto dal suono della tv stessa.

http://www.myspace.com/unsoundzero
artista: Michele Spanghero
titolo: A Short-lived Fault In The System

breve biografia:Michele Spanghero (Gorizia, 1979) è un artista sonoro e visivo. Ha esposto e si è esibito in vari contesti tra cui Teatro Miela, Festival All Frontiers, Stazione di Topolò, Area Sismica, XM24, Metelkova, Init, Sajeta, DobiArtEventi, WAT, Orchestrazioni e ShipyArt Gallery. Ha pubblicato per l’etichetta dedalus records i dischi Mimesys, Aqvarian, Unsound Zero e Desmodrones.
dettagli tecnici: la performance A Short-lived Fault In The System utilizza due o più televisori, computer (2 out), mixer e 1 microfono.
contact:
michele.spanghero@gmail.com
www.shipyart.it
www.myspace.com/unsoundzero
pubblicando questo post ne autorizzo l'utilizzo di brevi estratti per la pubblicazione su tv e radio e accetto che i materiali inviati vengano inseriti negli archivi del festival e di antitesi.

BIOGRAFY

ALESSANDRO OLLA

Prolific and multi-faceted artist, Alessandro Olla has invested a major part of his creative effort in transgressing musical formalities and academicism. His skills forged in classical studies that included piano, composition and electronics, he was soon tempted by the possibilities of the freest slopes of sonic creation, entering into the turbulent but exciting fields of improvisation, experimentation and risk-taking electronics. In the course of those trips he has been able to count on the collaboration of major figures of the most uncompromising musical activism: Tim Hodgkinson, David Shea, David Toop, Marc Ribot, Jean Marc Montera, Llorenc Barber, Elio Martusciello, Victor Nubla, Z’EV .As a result of this fertile curiosity and of his aim of dissolving the prison walls surrounding different disciplines, the work of Alessandro Olla started spreading, as of a decade ago, in multiple directions. Those directions have led to his involvement in projects that incorporate visual and scenic factors such as speakers (creations for films and theatre and dance shows, performances), to express the poetical and sonorous possibilities of objects and matter, or to rediscover certain physical phenomena (gravitation, oscillation, inertia) through the eye of a bold conjurer. The result of this investigation is a work that extracts from risk and experimentation a range of experiences, bright and immediate, that make out of the ‘every-day’ something continuously rediscoverable.

Signorafranca short bioagraphy:

Signorafranca is a duo born by the meeting of MicheleCasanova and Marcello Cualbu, both from cagliari and coming from different experiences in audio and video environments.
Their union materializes different audio video livesets and brings to life signorafranca.com netlabel. The attenction of the two performers first focuses on the interaction between concrete music and video mixing, passing through different styles of electronic music and video
performances. The guys starts up different solo projects published on their netlabel together with the ones of other producers; signorafranca.com shows up now 37 releases by italian,
lituan and swedish producers that make different kind of electronic music.
More recently, they collaborate with Alessandro Olla, with whom they make video performances interacting with the musician’s theatrical audio installations.

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Invisible lands is a performance of experimental electronic music and live videoart ideated and played by Alessandro Olla (composer and musician) and “signorafranca” (videoartistes).
Original composition are played live on different kind of musical instruments: electronic, traditional and electroacustic ones, laptop, sound object.

Both audio and video, starts with primary elements.Meanwhile the audio uses selfmade
mechanical instruments,the videos starts with elements as basic as the audio ones,
move to environments more and more anthropized, passing throught architectonics modules 
and new abitative structures recalls.

The performance has its roots in the wide and varied field of original expressive codes, wich deliberately avoid the logical of cultural consumerism as well as from stock genre connotations, with the intention to explore unusual ways of organizing different languages and to critically involve the spectators.

Technical needs

3 video projector (3000 ANSI LUMEN minimo)
3 video screen or 3 wall where to project the video
2 tables 2m X 1m(circa)
1 analogic mixer –minimum 12 ch - 4 aux 4 sub (same mackie)
2 audio cables (cannon o Jack) from mixer out to P.A. system
2 video monitor
P.A. system with subwoofer separately
3 monitor audio
n.1 Mixer: 12 channel line in - 4 aux- 4 sub
cables from perfomance area to mixer

pubblicando questo post ne autorizzo l'utilizzo di brevi estratti per la pubblicazione su TV e radio e accetto che i materiali inviati vengano inseriti negli archivi del festival e di antitesi.

But Nefelodhis (in Greek, ‘cloudiness’) seeks to be an injection of moderate positiveness and a propagation of concrete optimism, to dispel the clouds of anguish and obsession." (Maurizio Bianchi)

[Artwork: Marikappa]

Etichette: unidentified sound object graphicalsound