Œuvre électroacoustique créée en 2019, Locu utilise des sons anecdotiques. Par ce procédé Luciano Maggiore poursuit une recherche sur le timbre et la relation entre les sons pris pour eux-mêmes.
Luciano Maggiore, born in Palermo, lives and works in London. Active musician in the field of electroacoustic music, in recent years he has developed a strong interest in the mechanisms of sound diffusion, using speakers and several analogue and digital devices (walkmans, CD players, tape recorders) as main instruments. His interest is focused on the architectural and psychoacoustic as well as on dynamic and directional values of sound with a strong emphasis on fixed sounds. With Louie Rice is part of NO-PA /PA-ON, a platform for regular but informal realisations of artist scores performed by Luciano Maggiore, Louie Rice and friends, recombining materials of Fluxus origin, expanded concretism and minimal behaviourism. His works are published by Balloon & Needle, Boring Machines, Consumer Waste, Dinzu Artefacts, Hideous Replica, Palustre, Senufo editions, 1000Füssler, Triscele Registrazioni and Tulip records.
Radio nunc: Opened window on the sound landscape surrounding us. Radio nunc is a web radio born in April 2019, in Marseille. It’s an independent and collective radio putting forward the contemporary sound practices, from field recordings to electroacoustic music, focusing on the sound for itself and the freedom of listening.
Eine Nacht im weltweit größten Erosionskrater der Wüste Negev, Israel.
Absolute Stille, außer den Geräuschen von Dingo´s die an unserem Zelt schnuppern nichts. Unwirkliche Träume und dann aufstehen.
Es ist 4:00 Uhr morgens, aufstehen um pünktlich zum Sonnenaufgang auf dem nächsten Berg zu sitzen und dem Spiel von Formation, Licht und Geräuschlosigkeit wie im Kino zu folgen.
Gibt es einen friedlicheren Ort? Selbst die Form des Kraters ist wie ein Herz…
Außer uns niemand so weit das Auge reicht. Keine Geräusche, kein Wind, nur Stille und ein Himmel voller unfaßbarer Farben.
Wir sitzen, ca. 20 Min und ich denke mir: „Das ist wohl der stillste Ort an dem ich je war“. Und als hätte ich es heraufbeschworen, plötzlich ein unwirkliches tiefes Dröhnen aus dem nichts. Was ist das? Erst, Verwunderung, ein bisschen Verunsicherung, dann: „Ach neee, es sind Düsenjäger. Düsenjäger die wohl Ihre nächsten Einsätze üben.
Ernüchterung macht sich breit, der Wurf zurück in die Realität. Wir sind gerade mal 350 km entfernt von Syrien. Sind das die abgesandten in den Krieg? Die Situation wird noch surrealer als sie schon war und das Aufnahmegerät was ich anfangs angeschaltet hatte um die Stille aufzunehmen, dokumentiert nun das Spiel von Schall und Krater in dem jedes Geräusch dass sich in ihm fängt in alle Richtungen zurückwirft. Eine unwirkliche Komposition aus Echoes aus allen Richtungen, erzeugt durch Düsenjets die, die Schallmauer durchbrechen.
Dieser Moment hat in mir sehr viele Fragen aufgeworfen und ich hatte das Gefühl es bedarf einer weiteren Ebene das erlebte Spürbar zu machen. Also beschlossen wir eine Art Hörspiel daraus zu machen und die Aufnahme als Grundlage für den Text zu nutzen.
So kam es dass ich meiner Freundin Alina um ihr Interesse fragte, welches Sie direkt hatte und die Aufnahme + ein paar Situationsbeschreibende Anekdoten zukommen lies und Sie darauf hin niederschrieb was in ihr passierte. Raus kam dieser Text.
Aufnahme, Produktion und Idee: Møn (Simon Clement)
Text und Stimme: Alina Sauernheimer
Mastering: Leon Seidl
Bild: Omri Shmulewitz
One night and one day in the world’s largest erosion crater in the Negev desert, Israel.
Absolute silence, only noises from Dingo’s sniffing our tent in search of something edible. Unreal dreams and then, get up.
It is 4:00 o’clock in the morning, time to get up to reach the hike to the top of the next mountain before sunrise and to follow the play of shapes, light and noiselessness.
Is there a more peaceful place? Even the shape of the crater looks like a heart …
No one except us as far as the eye can see. No noise, no wind, only silence and a sky full of incredible colors.
We sit, about 20 minutes and I think to myself: “This is probably the quietest place I have ever been”. And as if I had conjured it up, suddenly an unreal deep roar from nowhere. What’s this? First, amazement, a little uncertainty, then: “Oh no, they’re jet fighters. Jet fighters who will probably practice their next missions.
Disillusionment spreads, the throw back to reality. We are only 350 km away from Syria. Are they the sent to war? The situation becomes even more surreal than it already was and the recording device that I had initially switched on to record the silence now documents the play of sound and crater in which every sound that gets stuck in it, is thrown back in all directions. A unreal compositions of Echoes from all directions made by Jetfighters breaking the sound barrier.
This moment raised a lot of questions in me and I had the feeling that another level was needed to make the experience felt. So we decided to make a kind of radio play out of it and to use the recording as the basis for the it´s text.
So it happened that I asked my friend Alina about her interest, she was immediately into it and I sent her the recording + a few situation anecdotes and she wrote down what happened to her during listening. In the end, this text came out.
Recording, production and idea: Møn (Simon Clement)
Text and voice: Alina Sauernheimer
Mastering: Leon Seidl
Picture: Omri Shmulewitz
As part of Une Marche Deux Parcourts, a soundart and words performance with Marilou Craft that took place at McGill University last November, below is the event description by the organizers.
“Le 6 décembre 1989, la tragédie de l’École Polytechnique de Montréal a plongé le Québec dans le désarroi, touchant les femmes et les communautés universitaires à travers le monde. 14 femmes ont été tuées parce qu’elles avaient choisi d’occuper un espace traditionnellement réservé aux hommes. L’événement commémoratif Une marche, deux parcours. À la mémoire des femmes de Polytechnique vise à souligner que leurs initiatives et leurs contributions, même interrompues, contribuent à l’histoire de Montréal”
Musical Improvisation for one live performer (2019)
Kevlar is an aramidic heat-resistant and strong synthetic fiber. Developed by Stephanie Kwolek at DuPont in 1965, this high-strength material was used first commercially in the early 1970s as a replacement for steel in racing tires.
Kevlar is not a composition but a process of “polarized” total improvisation, a sound performance where the model of kevlar allows a series of synthetic fibres and pulsations to born: a regular alternation between continuous distended textures and unrelenting rhythms. Kevlar has a structure that is constantly moving and iridescent, also thanks to the use of an analog radio device without presets.
By deriving from a series of collaborations with the Italian coreographer Simona Bertozzi, the project is the last step of a path that moves from the dance universe to a completely musical expressive autonomy.
The piece was live recorded in March 2019 at Cango-Cantieri Goldonetta (Florence)
Francesco Giomi (Florence, 1963)
Composer and performer of electronic music. He has collaborated with Luciano Berio and other relevant composers, musicians, choreographers and directors besides orchestras and ensembles from Italy and abroad. He has lead the live electronics staff of Tempo Reale in theatres and festivals all over the world. His works are regularly performed all over the world in festivals and concerts while his music is selected for and awarded by italian and foreign festivals. In the last five years he has started new creative projects for the investigation of the relations between electroacoustic music and improvisation, conducting collective music performances in Florence, Bologna, Bremen, Bruxelles, Manchester. He is professor of Electroacoustic Music Composition at the Music Conservatory in Bologna and director of Tempo Reale in Florence.
USMARADIO is a workplace of The School of Radio to develop an innovative radio pedagogy. Workshops, work sessions, meetings, presentations of live performance as sections of the project. usmaradio.org
Natacha Orestes aka #ProjetoHisteria is a lesbian mother artist who mixes her communication skills as a copywriter/creative planner/social media analyst and also her self-taught DJ abilities with the purpose of creating global awareness to the resistance of females in Latin America through art and technologies.
Her goals as a Brazilian activist is to withdraw a law (12.318/2010) based on Gardner’s pedophile theories and to abolish child marriage in Brazil.
In Brazil, official data clearly shows that the most dangerous place for a child is their home. More than 50% of reported rapes are against children, 80% of these children are abused in their houses and 50% by fathers/fathers in law. The other 50% are raped by other male family members.
Produced by Meira Asher (radioart106) for radia.fm
White House – Bird Seed // LIJEL – sub.ob.e.jct // Meira Asher – Good to Go (feat. Anita Jackson, Mahade Pako, Chris Conteh) // MC Carol – Não Foi Cabral // Pago Funk – Se Prepara, ananindeusa tambatajá
Elza Soares – Firmeza (MARGINAL MEN BADSISTA Official Remix).
Barangaroo by Sebastian Sequoiah-Grayson Several years ago I took a field recorder to several constructions sites around Sydney Australia. I transcribed the audio recordings I made into graphic notation. I then used the resulting graphic charts as improvisation platforms. This piece is from the Barangaroo construction site. I have been saving it and I have never improvised from it before (although I did transcribe it some time ago).
Sebastian Sequoiah-Grayson is a fingerstyle noise guitarist from Sydney.
Composed, played, arranged and produced by Satch Hoyt. for reboot.fm for the radia.fm network of free cultural radios.
Satch Hoyt is a visual artist and musician living in Berlin. His projects are related to the transnational African diaspora and revolve around the cultural and political role of sonicity. By combining music, art and historical narrative, he has developed a complex of works that explore what he calls the “migration of the eternal African sonic signifier.”
He began his research for Afro-Sonic Mapping in 2016 and documents them on the blog of the same name: www.afrosonicmapping.com
The area crossed by the Alpe Adria Trail has always been a region of borders from ice age to cold war, but also of connecting paths of different kinds: military, animal, railway ones. Through some research and walking, we investigated elements of dis / connection on the Alpe Adria Trail, collecting traces, documentation and creating some spontaneous interventions on the path. We are two Italian and one Austrian artists from different backgrounds such as music, fine arts, game development, engineering and philosophy. This is a flow of sounds recorded during the last walk in August 2019 along the Italian – Slovenian – Austrian borders. Eleonora Sovrani, visual artist, and Juliette Qualizza, musician walked from Robidišče to Tarvisio, passing through Prossenicco, Montemaggiore, Monteaperta, Gran Monte, Uccea, Saga, Bovec, Kranjska Gora, Canin, Sella Nevea, Cave del Predil, Coccau, Feistrits Alm, Feistritz an del Gail Arnoldstein. We spent the last days in a green house close to the Italian-Austrian border (Thorl Maglern) with Sarah Schalk, philospher and artist from Graz. Sound suggestions speak of nature, mass tourism, intersections between people, prejudices, tradition, hospitality, isolation. This was part of the project Interventions on the Alpe Adria Trail in 2019, supported by Österreichisches Bundeskanzleramt für Kunst und Kultur as well as Land Kärnten Kultur and Uti Canal del Ferro Val Canale
Credits: recording in August 2019 by Juliette Qualizza; voices: Eleonora Sovrani, Sarah Schalk, Matija Sirk, Juliette Qualizza; composing and editing in December 2019 by Juliette Qualizza
He writes, “Phonography has been sometimes been defined as “creative field recording,” taking and placing microphones out into the world in unusual ways and unexpected places. In this program phonographer Christopher DeLaurenti presents several specimens of subaudible phonography – field recordings from outside the realm of human hearing.
This program features four examples. “Below the written pitches of Brian Ferneyhough’s ‘Superscriptio’ for solo piccolo” spectrally extracts sound beneath the written pitches of Brian Ferneyhough’s “Superscriptio” to reveal recording anomalies, latent undertones, and mechanical noises. It’s akin to hearing the piece through a hydrophone.
In “Silences normalized from the complete organ works of Olivier Messiaen (part 1)” I amplified room tone to reveal the inner workings of an organ and its environment, including residual tones, traffic, stray speech, and tiny electrical anomalies.
The third example is an odd specimen of radio transmission—a rarity for its length and depth of activity: “Open Carrier, Citywide One Manhattan.”
In the United States, an “open carrier” is police parlance for a radio that has been inadvertently left on in Talk/Transmit mode. An open carrier stalls and paralyses broadcast traffic, leaving so-called “dead air” to reveal sudden gaps, smudges of hiss, gently swaying drones, beeping alerts, fragmented words, quick phrases, recessed conversations, and other unexpected artifacts. It’s like butt-dialing everyone who is listening to the radio. I recorded this example by accident in 2004 during the protest against then-president George W. Bush and the Republican National Convention in New York.
The final example is an excerpt from “of silences intemporally sung: Luigi Nono’s Fragmente-Stille, an Diotima.” Here, I have inverted Nono’s only string quartet by muting the audible passages played by a string quartet. Then I elevated room tone, discreet ambiance, and other assumed silences above the threshold of audibility. You will hear on-the-fly tunings, annunciatory gasps, hurried breaths, sul ponticello bowings, and creaking chairs; these eruptions and outcries fuse with flickers of ambient sound. You might also hear artifacts of the recording process, especially digital glitches and artificial echo. Visit delaurenti.net for more about Christopher DeLaurenti and subaudible phonography.”