"Music is the cup that holds the wine of silence. Sound is that cup, but empty. Noise is that cup, but broken.”

Robert Fripp


20/11/2017

Circles (2)







all these pictures are "astrology digital art" pieces created by David Mrugala
ansd issued from a study of planets and NASA informations.

&

"Sound of Uranus" is made with code (Processing) based on the recording of the Voyager 1 and 2 spacecraft that passed near different planetary and moon bodies within our solar system. Voyager 1 and 2 were launched in 1977 by NASA.

18/11/2017

Syv Cirkler



Else Marie Pade (2 December 1924 – 18 January 2016) was a Danish composer. After classical music studies at the Royal Academy of Music in Copenhagen, her life changed and her mind was turned in 1952 when she listened a Pierre Schaeffer's piece on a radio broadcast.


https://d14wch1fpzoq5q.cloudfront.net/npl/2014/11/sFaust-Else_Marie_Pade1.jpg
score of Faust 

"Syv Cirkler" (seven circles) is an electronic sound constellation consisting of layers of sine tones in an age that knew neither the computer nor the sampler.

“My work "7 Circles" was inspired directly by my trip to the World Exhibition in Brussels in 1958 (…) I was sitting in a planetarium and saw their programme, which consisted of various compositions, accompanied by light and movement in the planetarium dome...
There was one composition that completely captured me because it represented the stars, how they walk across the sky and their relation to each other. I remember that feeling that I was being lifted into the room, as if I was part of the movement – afterwards I almost felt a little seasick. It all continued to tumble around in my head for quite some time, and when I got back home, I knew that I would write a piece that would be called 7 Circles“
Else Marie Pade - Life in a Glass Bead Game (2005)
   

To read: a 2014's conversation between Jacob Kirkegaard and Else Marie Pade here

& to listen to: "Syv Cirkler", claimed as the first danish electronic music in Danemark

13/11/2017

Partita for violin

https://en.wikipedia.org/wiki/Witold_Lutos%C5%82awski

"Partita for violin and orchestra"  was composed by Witold Lutoslawski in 1988.
The first performance took place on January 10, 1990 in Munich. Anne-Sophie Mutter was accompanied by the Munich Philharmonic Orchestra, conducted by Lutosławski himself.

 Witold Lutosławski played the violin till the age of nineteen and continued to perform as a concert pianist after the war (...) 
The Partita is one of the compositions in which Lutosławski attempts a synthesis of his previous strings works, turning to, among other things, the sound gestures from the period before "Funeral Music".  


"I composed Partita for violin and piano in the autumn of 1984 at the request of St Paul Chamber Orchestra for Pinchas Zukerman and Marc Neikrug.
The work consists for five movements. Of these the main movements are the first (allegro guisto), the third (largo) and the fifth (presto). The second and fourth are but short interludes to be played ad libitum. A short ad libitum section also appears before the end of the last movement..." 

Witold Lutoslawski


Yulia Iglinova (vl.)
Horacio Lavandera (pno.)
Spanish Radio and Television Orchestra conducted by Adrian Leaper.
Recorded live in 2007 at the Teatro Monumental, Madrid.



***** 
& don't miss the "13 solo strings" conducted by Witold Lutoslawski himself

08/11/2017

For Cornelius


"For Cornelius" is a piece composed by Alvin Curran in 1981. It was Curran's first release of fully composed music performed by other people, his earlier LPs containing semi-improvised solo electroacoustic works performed by Curran himself.

It was written shortly after the death of Cornelius Cardew in 1981, the great british composer and political firebrand. Curran has some additional notes about the piece at his website: <<<>>>

"For Cornelius" is performed here by Ursula Oppens.

 ********************************************************

& about Cornelius Cardew these last months:

"Scratch Cottage and Nature Study Notes", with Carole Finer and Stefan Szczelkun, original "Scratch Orchestra" members, who did activate an intervention, curated by Pierre Bal-Blanc, as part of the last "Documenta 14" in the basement of the Athens conservatory.
It was an experimental framework for exploring the methodologies, technics, and spirit of the "Scratch Orchestra", originaly founded in July 1969 by Cornelius Cardew, growing out of a series of music composition classes held at Morley College London that were attended by avant-garde musicians as well as artists interested in exploring sound. 
This three-day public workshop involving more than 20 students proposed a journey through two important works of the orchestra: Nature Study Notes (1969) and Scratch Cottage (1971)



03/11/2017

Sismographie des luttes




"Sismographie des luttes"
vers une histoire globale des revues critiques et culturelles.

Du 10 novembre 2017 au 20 janvier 2018 - 14H30 / 19H30
du mardi au samedi

Galerie Colbert, salle Roberto Longhi -
INHA - Institut national d’histoire de l’art
2, rue Vivienne ou 6 rue des Petits Champs - 75002 Paris

entrée libre

INFOS

& colloque les 16 et 17 novembre 2017


Commissariat : Zahia Rahmani (INHA)
Assistantes de l'exposition et chargées de la recherche
                         Florence-Duchemin Pelletier (INHA) & Aline Pighin (INHA)
Graphiste : Thierry Crombet - RelativDesign
Composition musicale originale : Jean-Jacques Palix

▬▬▬▬

Une installation vidéo projette une généalogie des revues dans le monde.  
L'image des revues dans le monde de la fin du 18e siècle à nos jours, présente dans une juste articulation avec les contextes historiques et territoriaux, les revues, leurs couvertures, mais aussi des contenus historiques, textes manifestes, portraits…
La revue culturelle est un objet essentiellement moderne. Elle est le lieu de l'expérience scripturale et graphique, mais c’est avant tout un support critique, visuel et littéraire qui fait constamment irruption dans l'accompagnement des luttes que les femmes et les hommes ont mené dans le monde pour leur émancipation.

En ce sens et en raison du recouvrement mondial qu'a été le colonialisme moderne, l'on peut dire que la revue culturelle est par essence, par son hybridité, sa mobilité et son existence précaire, souvent née dans l'urgence et la nécessité, un pur objet de l'expérience coloniale : et ce faisant un laboratoire de la modernité. C'est à l'intérieur de ces espaces contraints et divisés, qu'émerge la revue telle qu'on l'entend : un espace critique et politique en quête d'autonomie. L’histoire des revues et leurs contenus ne cesse de rendre compte de ce long continuum.


La doyenne des revues culturelles de langue française serait peut-être née à Haïti, à Port au Prince, l'Abeille Haytienne en date du 7 juillet 1817. La revue ne cesse de dire une ambition d'indépendance contrariée parce-que faite à la fois nécessairement de voix singulières, d'auteurs volontaires, tentés par des perspectives politiques et culturelles renouvelées.

























Présentant plus de mille revues, l'exposition ne prétend pas à l'exhaustivité mais témoigne qu'une recherche collective, multilingue et décentrée, telle qu'elle a été menée à l'INHA, conforte une histoire globale de l'art. Elle permet de réévaluer et surtout faire exister la vie intellectuelle politique, artistique et critique qui s’est exercée au cœur des empires coloniaux.



dossier de presse



 

30/10/2017

The Force of Things

 

"The force of things" is an opera for objects.

Composed by Ashley Fure, with the complicity of his brother architect, Adam Fure, this piece was first performed in 2016 at the Darmstadt Summer Courses for New Music.

Ashley Fure compose acoustic and electroacoustic music as well she build multimedia installation art. Her work explores the kinetic source of sound, bringing focus to the muscular act of music making and the chaotic behaviors of raw acoustic matter.  

 
"The force of things" is an immersive work of music theater that wrestles with the animate vitality of matter and the mounting hum of ecological anxiety around us. 
Audience members are invited into a field of sculpted matter circled by a ring of subwoofer speakers projecting subaudible frequencies. Though the sounds they emit are too low for humans to hear, the vibrations these subwoofers push into the air cause disturbances to ripple through the material infrastructure of the piece.  Players slide the flesh of their palms and the surface of objects against these speaker cones while they shake, drawing them into the realm of audibility through touch. Two singers snake side-by-side throughout the space, shouting a warning that sounds like a whisper in a language no one can understand.  


25/10/2017

San Francisco

 
"San Francisco" (1968) is a movie directed by the experimental film-maker Anthony Stern, born in Cambridge, England in 1944.
To be seen as a psychedelic explosion of iconic imagery seen from the perspective of this English director, at the time of Flower Power, anti-Vietnam protest and counterculture.

As Syd Barrett was a friend of Anthony Stern, the soundtrack is an amazing unreleased version of Pink Floyd’s "Interstellar Overdrive" .

"Anthony Stern était l’un des secrets les mieux gardés de la cinématographie anglaise. La Cinémathèque française lui offre sa première rétrospective. Camarade de classe de Syd Barrett et de David Gilmour, assistant de Peter Whitehead, Anthony Stern a réalisé certains des plus beaux poèmes documentaires des années 60 et 70, à la fois sensuels, endiablés et railleurs. Son sens du rythme hors du commun continue de dynamiser ses films récents, montage des rushes tournés en 16mm dans l’Afghanistan de 1971, ou festival de Jazz à Cuba. Aujourd’hui célèbre en tant que maître-verrier, Anthony Stern nous offre aussi des images totalement inédites de Mick Jagger et autres icônes musicales."
in program of a retrospective in 2008  by French Cinemathéque in Paris