Preliminary Concert Program
September, 26 (Monday)
CinemaTeatro LUX
Piazza S.Caterina 6, Pisa
26 september 2005
9.00 p.m.
The concert has been organized with the contribution of «Associazione Culturale PANE e JAZZ», the technical assistance of the pesonnel of CinemaTeatroLUX and the precious technological assistance of Dr. Massimo Magrini and Dr. Graziano Bertini (cART project of ISTI/CNR).
Balene (whales)
for PAGe System
Marco Cardini: painting, music and performer
All That Tech
for Handel System
Leonello Tarabella
Etude for Unstable Time
interactive dance
Music: Carlos Guedes
Dance/Choreography: Maxime Iannarelli
Speak My Mind
for flute and interactive computer (max/msp)
Lars Graugaard
From DoubleStrings to FOS music
a hybrid instrumental performance
Ernst Oosterveld
Bourdon‘t
Kristoffer Jensen & Laurent «Saxi» Georges
Solar Symphony
Mobile~tainment® Frog®
Lin Hsin Hsin: IT inventor, artist, poet, composer
Balene (whales)
for PAGe System
Marco Cardini: painting, music and performer
Sponsored by "Galleria d‘Arte Sangiorgi", Laigueglia (SV)
Technology.
In PAGe (Painting by Aerial Gesture) system, positions and movements of a performer‘s hands are recognized in a wide vertical x-y area.
The performer acts as a painter who uses his hands for selecting colors and nuances of color and for actually drawing a picture: movements are performed in the air and the resulting picture is projected on a large video-screen.
Special gestures trigger preset sounds that makes operative the paradigm of synaesthesy in art.
Marco Cardini, Cyberpainter, during the ‘90s explores the possibilities offered by digital technology to be used in his artistic research in collaboration with the computerARTproject dell‘ISTI of the CNR Research Area in Pisa. He gave birth to a number of applications (SHINE HANDS -1994, APH, Aerial Painting Hands 1996, PAGe, Painting by Aerial Gesture, 1999 realized by Davide Filidei). Using this original technique Marco Cardini creates digital paintings in realtime performances. A list of composition and performance follows: (2004) Poema sinfonico “Arcus Pulcher Aetheri” with the music of H. Unterhofer, executed by the Haydn Orchestra in Bolzano, Trento e Auditorium del MART di Rovereto, Cinescienza e Festival della Scienza (Genova), ENEL, Pisa. (2003) Convegno Internazionale “Tecnologie e Forme nell‘Arte e nella Scienza”, Università degli studi di Salerno. (2002) “Premio Marconi 2002 per l‘Arte Elettronica” for the Centenary of the first transatlantic radio transmission, Fondazione Guglielmo Marconi, Pontecchio di Sasso Marconi, Bologna. “Premio Michelangelo 98 per la ricerca nell‘Arte Elettronica”, Carrara-MS. (2001) Biennale di Venezia, “BUNKER POETICO”, Venezia : Sarajevo, ARS AEVI Museum of Contemporary Art Sarajevo. Dakar, “DAK‘ART 2002”, Biennale Internazionale d‘Arte. New York, “Frederick Loewe Theatre”, New York University. Parigi, “Da la Main a la Main”, Palais de la Decouvert. Amsterdam, “ERCIM” Beurs van Berlage. Bolognano-PS, “La Casa di Lucrezia”. Salonicco, “ICMC ‘97”, Città della Cultura Europea 1997. Lucca, “Piazze della Memoria”, Piazza Napoleone. Catania, “C.N.R. Istituto di Fisica”. Madrid, Conservatorio Real de Madrid. New York, “Columbia University Interactive Arts Festival”, Merce Cunningham Dance Studio. Italian national RAI TV networks.
pittorecibernetico@libero.it
www.marcocardini.com
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All That Tech
for Handel System
Leonello Tarabella
This piece emphasizes the development of music in terms of the history of the musical instruments technology from clavier to piano to computer.
Technology.
The Handel System consists of an ordinary videocamera connected to a computer equipped with an image grab board. A special purpose program detects movement of the hands and issues proper information.
The score has been realized as a program: the program/score is properly composed and written in studio. The music has been composed as programmed algorithms that process sound and events. During the performance the computer runs the program/score and generates musical events under the control of the performer gesture. The algorithmic composition approach leaves room to improvisation and to true extemporary expressiveness.
As a result, with the same-programmed structure, each performance is always different from the previous ones.
Leonello Tarabella began his musical training as jazz alto-sax player.
He earned his degree in Computer Science at the University of Pisa and started his work on computer music under the direction of Maestro Pietro Grossi who was pioneering the research at CNUCE/C.N.R., Pisa. He spent some periods as study-grant holder at the Electronic Music Studio (EMS-MIT) in Boston and at the Center for Computer Research in Musical Acoustic (CCRMA) in Stanford.
As a researcher he coordinates the activities of the computerART project of ISTI/CNR-Pisa and yearly teaches a computer music course at the Computer Science Faculty of Pisa University.
His research mainly concerns the design and implementation of languages for algorithmic composition and of gesture interfaces for interactive computer music performances. In the quest of controlling in real time digital sound, he focused attention on designing and developing original touchless man-machine interfaces using infrared beams and real-time analysis of video captured images technologies. As a result of remote sensing human body gesture, the human body itself becomes the natural and powerful expressive interface able to give feeling to artistic performances based on computer generated realtime electro-acoustic music. (book INFORMATICA e MUSICA, Jackson Libri)
As a musician he composes (CD SUON1 produced by EMA Records) and performs his own computer music with the systems realized: Madrid, The Netherlands, Shanghai, Thessaloniki, NewYork, La Habana, Barcelona, Paris, La Biennale di Venezia, Dublin, and on the italian national RAI TV networks.
leonello.tarabella@isti.cnr.it
www.tarabella.isti.cnr.it
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Etude for Unstable Time
Interactive dance
Music: Carlos Guedes
Dance/Choreography: Maxime Iannarelli
Etude for Unstable Time is the first piece employing the m-objects, a library for Max/MSP that enables dancers to control musical tempo and to generate musical rhythmic structures in real time from dance movement. In this piece, all the music is created by compositional algorithms whose rhythms are generated by the computer‘s interpretation of the rhythm in the dancer‘s movement. The dancer is being constantly observed by a fixed video camera connected to the computer, which is utilizing the m-objects in order to extract the relevant rhythmic information from the dancer‘s movement. It is then up to the composer operating the Max patch to decide what to do with the data - if it will be used to generate rhythm for a pitch structure, to control the musical tempo of a sequence, or if it will not be used at all.
The m-objects provide musical information about movement in dance in real time, thereby allowing a composer to musically communicate with a dancer during a performance. There is a musical channel of communication between the musician/composer and the dancer that is established via the computer that enables improvisation during performance.
Maxime Iannarelli worked as a dancer-performer for choreographers Corinne Lancelle, Luc Petton, Serge Ricci, Tayeb Benamara, Wes Howard, Ku Ming-Shen, Jo Stromgren and Jean Marc Heim. As a choreographer, he started his own explorations in 1995 with solos and short group pieces, experienced working with actors, musicians and visual artists, as well as various performance groups such as architects (Jelly Fish in Taiwan) and blind artists-performers (Shin Bodo in Taiwan). He joined the international practice based research program in choreography in The Netherlands DanceUnlimited, and obtained his MA in choreography in 2004. Maxime Iannarelli is currently working with Swiss choreographer Jean Marc Heim in Lausanne, as well organizing projects with Yasmine Hugonnet and their organization Synalephe.
Carlos Guedes got his PhD in composition from New York University and he is currently the director of the composition program at the Escola Superior de Musica e das Artes do Espectáculo in Porto, Portugal. As a composer, his activity has focused in creating music for dance, theater, film and interactive installations. This led him to develop software for interactive dance as his doctoral research project.
Carlos Guedes
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Speak My Mind
for flute and interactive computer (max/msp)
Lars Graugaard
The computer accompaniment is generated in real-time through analysis of performance data. The first section is quite free and with a character of improvisation, during which the performer explores his playing and the computer‘s reaction to it. A succession of multiphonics separated by more ‘traditional‘ playing is important to the later development of the piece as the computer analyses these striking sonorities and stores the data for later use.
The musical intensity slowly develops until a section of regular pulse is reached. In this section the player is directed to make variations on a set of chords and rhythm fragments, and the notation is such that the overall development of the section is guided by the composer. This leaves the details of the playing to the player, who uses this to explore the musical possibilities of this ‘sonic space‘.
The section freezes into great intensities of multiphonics and musical fragments before the energy is dispersed to faint sounds of air and whispers.
Lars Graugaard is a composer, flautist and lecturer. He has more than 150 compositions in all genres to his credit, and they are regularly performanced in Europe, Asia, Australia and the Americas. He has also composed incidental work for stage and cinema, and he has recorded more than 40 CDs as composer and as flautist for dacapo/Marco Polo, Tutl, Classico, Centaur, EMI, SONY Classical, CBS, and others. His artistic vision and musical understanding lets him move freely between sophisticated surroundings and popular culture. His production comprises digital experiments into the latest trends of interactive music and cross-modal forms, popular projects, and compositions in the modernistic European tradition from large-scale orchestral pieces to chamber music. Commissions for performances in the near future include the MD7 (Slovenia 2005), Reykjavik Arts Festival 2006 (Iceland) and Acteo_n (Barcelona 2006), and the Royal Danish Opera (Denmark 2009). The sound/video installation ‘The Sound Glove‘ will be premiered September 2005 at the Museum of Contemporary Art (Denmark). Mr. Graugaard‘s opera ‘La Quintrala‘ for 5 singers and interactive computer was premiered September 2nd 2004 in Copenhagen. It was a joint, EU sponsored commission from Danish, Swedish and German opera companies with performances in ao. Copenhagen, Pitea, Hannover and Berlin during the fall of 2004. His first interactive opera, ‘The Escape‘, based on characters from tales by Hans Christian Andersen, was premiered May 3rd 2002 by The Fiona Opera in Andersen‘s native city of Odense (Denmark). He is presently Lecturer at Aalborg University Esbjerg‘s department of Software and Media Technology and since 1999 treasurer of the International Society of Contemporary Music (ISCM, Holland).
lars@graugaard-music.dk
www.graugaard-music.dk
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From DoubleStrings to FOS music
a hybrid instrumental performance
Ernst Oosterveld
Compositional part.
From slow changing music to very fast music with abrupt changes. To make these changing music I have developed a lot of years ago a composition program called ‘midiMorph‘. In this performance I composed four ‘morphing patterns‘. These are used as a structural background. A morphing process consists of interpolations between two music fragments. The outcome of these processes is very dependant on the two composed music fragments. I have used here fragments close to each and very different ones creating gradually as well as very suddenly changing music. In the ‘midiMorph‘-software is the possibility to generate music for morphing as well. An area what is searched by me is FOS music (Fast Organised Sounds) it is still in the midi domain but unplayable for instrumentalists. The morphing process is here much clearer to hear because of the speed of the music. All the sounds are coming from a four channel virtual modular synth-engine (clavia G2).
Improvisational part.
The Morph music is controlled by the player with knobs on a Nord Modular synth but also with mouse movements (X,Y pads on screen). The small two octave Nord Modular keyboard is used to improvise. For this improvisation I use my real time chord generating program called "MultiVoicer". All the sounds are going to the same G2 engine. Everything is in realtime and no samples are used.
Artist Statement: “As performer I am what I called a ‘hybrid instrumentalist‘: left hand playing a laptop (mouse and keys), right hand playing a keyboard modular synthesizer”.
Ernst Oosterveld: Diploma in Composition at the Rotterdam Conservatory. Price for Composition of the Dutch Government in 1980. In 1975 Larens jazz podium first price with his trio Soft Ice. 2 CD‘s produced with his own jazz compositions for the Frans Hals quintet (piano Ernst Oosterveld (FOCUS)). Masters degree in Science at the Royal University of Leiden Theoretical Organic Chemistry and Computer music (Institute of Sonology, University of Utrecht by Gottfried M. Koenig and Paul Berg) and Philosophy of Science. Professor of Composition (orchestration, analyses) 1979-1983 Rotterdam Conservatory and Head of composition 1991-2004 Noord Nederlands Conservatory in Groningen. Active as music editor for the radio and TV orchestra‘s and choirs (Groot omroepkoor, Metropole Orchestra en Radio Phil. Orchestra) and other orchestra‘s and ensembles (Concertgebouw Orchestra Amsterdam , Residentie Orchestra The Hague). Composer of film and animation music. Music for animator Gerrit van Dijk ‘ A Good turn Daily‘ and TV documentaries for producer Henk Renou (U bevindt zich hier, Land van Herkomst, Afwas in de ijskast).
www.ernstoosterveld.nl
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Bourdon‘t
Kristoffer Jensen & Laurent “Saxi” Georges
Two instruments, two musicians, one laptop and one bass-clarinet moving around low-drone sounds with timbre following. Heavy bodies with hairs droning from flower to flower. Melancholic low notes intermingles with windy and fluctuating sounds. Continuous muffled noises flying in the air. Rough and screaming sounds carried by the clarinet. Flower mistakes sometimes copied. Drone loops. Frozen noises note alternates ostinato.
Laurent “Saxi” Georges , composer, often make music that illustrates visual expression, such as film, cirkus, theater, dance, and performance. Saxi learned classical music and then played rock‘n‘roll and jazz and bassclarinet and popmusic and circus and electronic music and new improvised music and experimental jazz.
Kristoffer Jensen, scientist and musician, enjoys making music in an improvised setting. He play guitar and synthesizer and researches popmusic and sounds and makes experiments with gestures and makes gestures in experimental music and noise. Jensen&Georges is a duet. Their music is certainly a result of all this above-mentioned experiences since it is the above-mentioned musicians who plays and improvises it.
krist@diku.dk
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Solar Symphony
- ViewPoint
- Webrobics
- Solar Energy
Mobile~tainment® Frog®
Lin Hsin Hsin, IT inventor, artist, poet, composer
Solar Symphony is an interactive Web-enabled audio driven 2-button mouse triggered (even a micron movement, at a touch, not a click) rendering of three dimensional dynamically generated imageries in 16.7 million color live performance. It is music integrated in art in infinite combinatorics.
Artist Statement: “In the pursuit of art, visualize, use the cerebrum to make a difference. Think with the left, execute with the right, dialog with the medium, interface with the unknown and recognizing technology is only a piece of glue.”
Deeply rooted in art, music, mathematics and technology, Lin Hsin Hsin has composed and realized digital music without sound card and midi instruments since 1985. She has created the first virtual art museum in the world, 1994, designed the 50th Anniversary United Nation Commemorative Coins, 1995. Lin, a strong proponent in intermedia (interdisciplinary studies of media and digital media), is a pioneer of the different genres of digital art: DigitalArt, Digital Installation Art, MetaphorArt, Net Art, Web Art, Interactive Web Art and PhoneArt, since 1987. She was interviewed by BBC Global Business News, Wirshafts Woche, CeBits Special Edition, 2000, selected by UNESCO for Museum International Millennium Edition and was the only non-EU participant invited for Euro-world Art project. She was interviewed by The New York Times on the Net, 1997, named as one of the 200 cyber personalities in "24 hours in Cyberspace", 1996 amongst others. Lin is an author of 6 poetry books and is at ease with Chinese, English, French and Japanese. Lin‘s artworks have been exhibited and performed in Asia, Europe, South and United States of America.
artist@lhham.com.sg
www.lhham.com.sg
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