Regen: sound design

5 10 2018

Studio per sonorizzazione

Regen

Nell’ambito del progetto SoundLAB a cura della redazione di Nomos Alpha Contemporary, sto ultimando la sonorizzazione del film Regen di Joris Ivens (1929). Il progetto prevede due versioni, video e interactive. Durante le ricerche mi sono stati di grande aiuto gli articoli pubblicati sul film di Ivens, in particolar modo lo studio di Ian Mundell pubblicato sulla rivista di cinema canadese Sense of cinema.

“At the visual level it is an abstract exploration of water falling on water: rain on the wet streets of Amsterdam, on the canals, on the bonnets of cars, and so on (including, it seems, on the skylight above Ivens’ bed). As with The Bridge, the film was shot over many months, although this time the subject was not the same every time Ivens went back. Is it therefore a greater leap to construct from this material, as Ivens did, a film that tells the story of one rainstorm over Amsterdam? Perhaps, if the sole aim is abstract analysis. But if your aim is documentary, to represent the lived experience of a rainstorm, the leap is essential” (Ian Mundell, Sense of cinema).





All variations of incomplete music

2 11 2010

The piece I present is inspired by Sol LeWitt ‘s visual work All variations of incomplete open cubes, 1974, which portrays the decomposition of a cube of which only some sides are shown sequentially to the public. In my composition, these “schematic” figures are replaced by musical phrases that remain “open” to all possible combinations, creating a circular and permutable effect when listening.

Unlike John Cage, who most often relied on criteria derived from random or mystical approaches (for ex. I Ching), LeWitt’s work is strictly geometrical and does not leave many opportunities for psychological or religious considerations. I have tried to recreate the feeling of space inside and around the “cube”, as if this were a room, each time considering the possible links between harmonic figures.

Sol_LeWitt

Il brano che presento trae la sua origine da un’opera visiva di Sol LeWitt basata sulla scomposizione di un cubo (All variations of incomplete open cubes, 1974) di cui venivano forniti, in sequenza, soltanto alcuni lati della figura. Questi “schemi” nella musica sono sostituiti con le frasi musicali che restano “aperte” ad ogni combinazione possibile, creando all’ascolto un effetto circolare e permutativo.

A differenza di John Cage che si affidava spesso e volentieri a criteri casuali o di derivazione mistica (I Ching), l’opera di LeWitt è rigorosamente geometrica e non lascia molto spazio a considerazioni psicologiche o religiose. Nella mia musica ho cercato di rendere la sensazione dello spazio sia dentro che attorno al “cubo”, come se questo fosse una stanza, considerando ogni volta i possibili legami armonici tra le figure.

(presentazione per la mostra del gruppo We are making digital art)

All variations of incomplete music (1′:50”):





Kirielle

12 02 2010

Kirielle (Cantata)

KirielleThe piece I present is a new version of the concluding part of a larger work, Kirielle (Cantata). It draws on some features of ancient choral music and places these within the contemporary context. The title of the piece is in French as this allows for a variety of possible meanings: litany, complaint, series, sequence. In general terms, I sought to grasp the atmosphere of choral music through the generation of synthesized sounds. From the point of view of composition, I developed the piece using musical notation based on models from mathematics and physics (such as set theory or the Ising model), suggesting to the audience listening and interpreting the piece a sonic structure existing in space as well as in time.

Duration: 5’:20’’

Selected by SoundLAB VII, Cologne New Media Festival (Germany).

Kirielle (part I-II-III, 5′:27”):

 








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