Treatise da Tempo Reale Electroacoustic Ensemble

Tempo Reale Festival 2012
RUMORE ROSA Il paesaggio delle voci

MUSICA COMUNISTA
Salvatore Miele, coordinamento e live electronics
Francesco Casciaro, oggetti sensibili e live electronics
Daniela Cattivelli, campionatore e live electronics
Andrea Gozzi, chitarra elettrica e live electronics
Damiano Meaccii, regia del suono

Cornelius Cardew
Treatise, per ensemble elettroacustico
(prima esecuzione a Firenze)


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Edgar Froese (1944-2015)

Edgar Froese è morto a Vienna il 20 Gennaio, ma l’annuncio è stato dato solo il 23.

Unico membro stabile dei Tangerine Dream e a tratti anche unico membro tout court, nel senso che numerose pubblicazioni uscite a nome Tangerine Dream sono in realtà lavori solisti di Froese stesso, è stato l’ispiratore delle sonorità più sperimentali del gruppo, quelle dei primi album legati alla cosiddetta Kosmische Musik degli anni ’70, ispirata da un lato alla psichedelia e dall’altro alla musica minimale e alle composizioni strumentali del Ligeti degli anni ’60 da cui i primi Tangerine Dream pescavano a piene mani.

Tangerine Dream Tangerine Dream 1974 Bordeaux

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Pixel

Un altra performance in cui la grafica computerizzata crea un ambiente virtuale con cui i danzatori interagiscono. Come spesso accade in questi casi, imho la musica lascia un po’ a desiderare, ma la parte grafica e l’interazione sono ben studiate, con alcune belle idee.

“Pixel”
Dance show – created in 2014

Pixel is a dance show for 11 dancers in a virtual and living visual environement. A work on illusion combining energy and poetry, fiction and technical achievement, hip hop and circus. A show at the crossroads of arts and at the crossroads of Adrien M / Claire B’s and Mourad Merzouki’s universes.

Artistic Direction and Choreography: Mourad Merzouki
Composed by Mourad Merzouki & Adrien M / Claire B
Digital Design: Adrien Mondot & Claire Bardainne
Music: Armand Amar
Produced by CCN de Créteil et du Val-de-Marne / Compagnie Käfig

This video is a cut of extracts from the actual show shot during the last day of creation on November the 14th 2014. Shooting and editing : Adrien M / Claire B.
Premiered at Maison des Arts de Créteil on November the 15th 2014. Duration of the show : 1h10.

The Adrien M / Claire B Company has been acting in the fields of the digital arts and performing arts since 2004. They create many forms of art, from stage performances to exhibitions combining real and virtual worlds with IT tools that were developed and customised specifically for them. They place the human body at the heart of technological and artistic challenges and adapt today’s technological tools to create a timeless poetry through a visual language based on playing and enjoyment, which breeds imagination. The projects are carried out by Adrien Mondot and Claire Bardainne. The company operates as a research and creativity workshop based out of Presqu’île in Lyon.

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Password 123456

Recentemente SplashData, una organizzazione che si occupa di sicurezza, ha pubblicato l’elenco delle password più utilizzate nel 2014. Questa classifica viene stilata analizzando i file pubblicati in seguito a massicci attacchi cracker che coinvolgono grandi organizzazioni con milioni di utenti.

Ecco le prime 25 password che, sempre secondo SplashData, costituiscono, da sole, il 2.2% delle pw, con a lato una cloud realizzata da Mark Burnett che esprime in forma grafica la frequenza delle prime 500 pw:

Rank Password Change from 2013
1 123456 No Change
2 password No Change
3 12345 Up 17
4 12345678 Down 1
5 qwerty Down 1
6 123456789 No Change
7 1234 Up 9
8 baseball New
9 dragon New
10 football New
11 1234567 Down 4
12 monkey Up 5
13 letmein Up 1
14 abc123 Down 9
15 111111 Down 8
16 mustang New
17 access New
18 shadow Unchanged
19 master New
20 michael New
21 superman New
22 696969 New
23 123123 Down 12
24 batman New
25 trustno1 Down 1
pwcloud 2014

Interessante notare come gli utenti insistano nel farsi del male: la maggior parte delle pw continuano ad essere quelle ormai abusate da anni con le famosissime “123456″ e “password” ai primi due posti. Su 25, solo 11 sono nuove rispetto all’anno precedente e corrispondono a nomi di sport, star o supereroi (michael è Jordan).

Interessante anche l’ossimoro “trustno1″ (non fidarti di nessuno) al 25° posto (oltretutto è la pw di Fox Mulder in X-Files).

Notare che, secondo uno studio del 2011 di Mark Burnett, la pw del 30% degli utenti è compresa fra le prime 10000 in termini di frequenza d’uso. Quindi, statisticamente, insistendo su un account fino a fare 10000 tentativi, una volta su 3.3 si entra. Diecimila tentativi sembrano molti, ma, ovviamente, non si fanno manualmente, ma via software, con programmi automatici che si collegano via proxy cambiando ogni volta l’IP.

Per darvi un’idea di come stanno le cose nella realtà, prendiamo questo blog (proprio questo che state leggendo), che non è nemmeno così famoso. Dal 1/11/2014 a oggi io mi sono loggato circa una volta al giorno, cioè più o meno 80 volte. Nello stesso periodo, i tentativi di accesso, fortunatamente falliti, sono stati 61777 (sessantunmilasettecentosettantasette) cioè circa 770 al giorno, 32 ogni ora, mediamente 1 ogni 2 minuti.

In questo modo si possono fare 10000 tentativi in circa 13 giorni. Ma il cracker intelligente non fa così. Generalmente, inizia facendo un migliaio di accessi molto rapidamente (circa 4/5 al secondo) tentando le 1000 pw più comuni in circa 4 minuti. Se così non entra, significa che l’amministratore non è totalmente idiota. Il sito scende di priorità e la frequenza dei tentativi si abbassa diventando più sporadica via via che si si è costretti a tentare pw sempre meno comuni, fino ad arrivare a qualche tentativo ogni ora (per esempio, c’è uno che ormai è alla frutta e fa solo 5 tentativi ogni 4 ore). Naturalmente il tutto è gestito da un software e il cracker deve solo preoccuparsi di rifornire il programma con gli URL di siti su cui tentare.

Buon divertimento :P


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RAM: Reactor for Awareness in Motion

Yamaguchi Center for Arts and Media (YCAM) has played an active role in cultivating creative and research environments to support the art & technology of the next generation. Since 2011, we have carried out “Reactor for Awareness in Motion (RAM)”, a research project for developing tool for dance creation and education, with Yoko Ando, a dancer from The Forsythe Company, a leading contemporary dance company and programmers from Japan and the US. Professionals in dance and technology shared an innovative concept in dance and developed it in the form of a physical tool and workshop. It is a revolutionary project in the sense that the technology is not only for theatrical effect, but also to embody one of the very natures of dance and communicate it with the world. What we witness is a technological inquiry into the nature of dance. Customized based on the perspectives of the dancer, the digital tool writes a new chapter in the history of experience in dance and technology.

RAM Dance Toolkit is a C++ creative coding toolkit to create environments for dancers. This toolkit contains a GUI and functions to access, recognize, and process motion data to support creation of various environmental conditions (called “scene”) and gives real time feedbacks to dancers using code in an easy way.
MOTIONER is the inertial motion capture system developed for RAM. The computer captures the dancer’s movements via 18 sensors attached to the dancer’s body. In general, motion capture systems are very expensive and very accurate, or very cheap and very inaccurate. To address this problem we designed one which is relatively low in cost and fairly accurate.

 

RAM and MOTIONER are licensed under Creative Common and can be downloaded from this page.


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Resonant Architecture

ARCHITECTURE AS AN INSTRUMENT
VIDEO DOCUMENTARIES ABOUT ARCHITECTURAL SPACES SET INTO VIBRATION

Since 2006, the Art of Failure collective has been sending bass frequencies into remarkable architectural structures. These experiences establish a dialog between architecture, the structures’ spatial components, and their geographic context – revealing building’s specific acoustic and vibrating qualities.

A projet by: Art of Failure
Art direction: Nicolas Maigret
Conception: Nicolas Maigret, Jeremy Gravayat, Nicolas Montgermont
Video / editing: Jérémy Gravayat
Sound recordings / Mixing: Yann Leguay
Sound installations: Nicolas Maigret, Nicolas Montgermont
Supports: Arcadi, Cnc Dicream, Cnap, Futur En Seine, Ville De Clichy – Production: Ososphere, Seconde Nature, Sonic Protest, Ars Longa, Gaite Lyrique

More on resonantarchitecture.com

resonant architecture


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Epitaph for Moonlight

schaferUn altro brano corale di Murray Schafer con una bella partitura grafica.

Epitaph for Moonlight (1968), for youth choir with optional bells.
Roanoke College Choir, Jeffrey Sandborg director.

It is a free composition in which the singers must improvise from given indications of pitch, intensity and duration. To accompany the voices there is a selection of instruments as desired: glockenspiels, metallophones, vibraphones, triangles, bells, cymbals. The vibrations from these instruments, when used carefully, produced luminous effects that are evocative of moonlight reflecting on water. The score is written graphically and so does not require a knowledge of conventional musical notation.


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Snowforms

Murray ShaferR. Murray Schafer – Snowforms (1982) – for treble choir

The text consists of inuit words for various kinds of snow : apingaut , first snowfall; mauyk, soft snow; akelrorak , drifting snow ; pokaktok , snow like salt.

Notes from the composer:

In 1971 I flew the polar route from Europe to Vancouver over Greenland. Clear weather provided an excellent opportunity to study the forms of that spectacular and terrifying geography. Immediately, I had an idea for a symphonic work in which sustained bulks of sound would be fractured by occasional splinters of colour. That experience remains clear in memory. It suggested the orchestral textures of “North/White” and it returns now to shape “Snowforms”, yet very differently, for my memory of the vast foldings of Arctic snow has been modified by the experience of passing winters in Ontario. Often on a winter day I have broken off from other work to study the snow from my farmhouse window, and it is the memory of these forms which has suggested most of the continuous horizon of “Snowforms “.

Sometimes I have given children ‘sight-singing’ exercises in which they are asked to ‘sing’ drawings or the shapes of the distant horizon. Snowforms began as a series of sketches of snowdrifts, seen out the window of my Monteagle Valley farmhouse. I took these sketches and traced a pentagram over them. The notes of the pieced emerged wherever the lines of the sketch and the stave crossed. Of course I modified the drawings as necessary since the work is primarily a piece of music and only secondarily a set of sketches. I printed the work so that the shapes of the snow were in white over a pale blue background.

The entire piece is soft, and I wanted the voices to slide from note to note just like falling or drifting snow. Snowforms is related to Epitaph for Moonlight, Miniwanka and Sun ; they are all descriptions of nature. Later I was to add Fire, A Garden of Bells and Once on a Windy Night as further celebrations of natural phenomena. As the urban populations of the world grow, the forces and charms of nature are more distanced from increasing numbers of people. But I do not write such works out of nostalgia; they are a very real part of my life. Snowforms was actually preceded by a much more complex work of the same name which was performed once by the Vancouver Chamber Choir, but I am glad I withdrew it, substituting this simpler and purer expression of one of nature’s most beautiful elements.

Notes from co-conductors :

This 20 th century monument of treble choral literature was written in 1982 by the imaginative, highly respected, internationally praised composer, R. Murray Schafer. Watching from his farmhouse window in Ontario , Schafer was intrigued by the various shapes, forms, and ever-changing, soft foldings of snow. From these observations came the inspiration to write Snowforms. Using graphic notation, he asks singers to sing ‘shapes’ or ‘drawings’ which are representations of snow forms on the distant horizon. Schafer’s graphic notation is augmented by suggested pitches and the voices are asked to ‘glide’ from one pitch to another in a continuous portamento. A time log is written in the score to suggest durations but Schafer is quite specific that conductors should not feel ‘enslaved’ by the timed suggestions. Although it was written for two part treble chorus, there are a few times within the score when each of the two parts split into four independent lines. Except for the occasional interjection of words which mean various types of ‘snow’ in the Inuit language the entire piece is hummed thereby giving a sense of smoothness and peaceful quietness or hush. Challenges for the conductor are to find gestures that suggest and mirror the contours that are found within the score. Challenges for the singers are to believe the piece will ‘work’ and to trust the instincts and imagination of not only the composer and conductor but also of themselves. Snowforms is a remarkable work that fascinates listeners but more importantly encourages collaboration and exchange of ideas between conductors and singers. It encourages performers to create music beyond the bounds of a traditional score with very satisfying results. – DL

Score excerpt (PDF)


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Arras

Barry Truax – Arras (1980) – for four computer-synthesized soundtrackstruax

Author’s notes:

Arras refers metaphorically to the heavy wall hanging or tapestry originally produced in the French town of the same name. The threads running through the material form both a background and, when coloured, a foreground pattern as well, even when they are the same thread. In the piece there is a constant ambiguity between whether a component sound is heard as part of the background texture, or whether it is heard as a foreground event because, in fact, the frequencies are the same. The listener can easily be drawn into the internal complexity of the constantly shifting pattern, but at the same time can sense the overall flow of the entire structure.

Arras is a continuously evolving texture based on a fusion of harmonic and inharmonic spectra. The large-scale structure of the piece follows a pattern of harmonic change going from closely spaced odd harmonics through to widely spaced harmonics towards the end. Each harmonic timbre is paired with an inharmonic one with which it shares specific harmonics, and with which it overlaps after each twenty-five second interval. This harmonic/inharmonic structure forms a background against which specific events are poised: shorter events, specific high pitches which otherwise would be imbedded in the overall timbre, and some percussive events. However, all frequencies found in the foreground events are the same as those in the background texture; hence the constant ambiguity between them.

Arras received an honourable mention in the computer music category of the 1980 International Competition of Electroacoustic Music sponsored by the G.M.E.B. in Bourges, France.

Arras is available on the Cambridge Street Records CD Pacific Rim, and the RCI Anthology of Canadian Electroacoustic Music.

More technical notes here.


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Androgyny

Barry Truax – Androgyny (1978) – a spatial environment with four computer-synthesized soundtracks

Author’s notes:

Androgyny explores the theme of its title in the abstract world of pure sound. The piece, however, is not programmatic; instead, the dramatic form of the piece has been derived from the nature of the sound material itself. In this case, the sound construction is based on ideas about an acoustic polarity, namely “harmonic” and “inharmonic,” or alternatively, “consonance” and “dissonance.” These concepts are not opposed, but instead, are related in ways that show that a continuum exists between them, such as in the middle of the piece when harmonic timbres slowly “pull apart” and become increasingly dissonant at the peak intensity of the work. At that point a deep harmonic 60 Hz drone enters, similar to the opening section, but now reinforced an octave lower, and leads the piece through to a peaceful conclusion. High above the drone are heard inharmonic bell-like timbres which are tuned to the same fundamental pitch as the harmonic drone, a technique used throughout the work with deeper bells.

The work is designed to sound different spatially when heard on headphones. Through the use of small binaural time delays, instead of intensity differences, the sounds are localized outside the head when heard through headphones. Various spatial movements can also be detected, such as the circular movement of the drones in the last section of the piece.

Although not intended to be programmatic, the work still has environmental images associated with it, namely those suggested by the I Ching hexagram number 62, Preponderance of the Small, with a changing line to number 31, Wooing. The reading describes a mountain, a masculine image, hollowed out at the top to enclose a lake, a feminine image. The two exist as a unity. Thunder is heard close by, clouds race past without giving rain, and a bird soars high but returns to earth.

Androgyny is available on the Melbourne album Androgyne and the Cambridge Street Records CD, SFU 40.

Production Note:

The work was realized with the composer’s POD6 and POD7 programs for computer sound synthesis and composition at Simon Fraser University. All the component sounds are examples of frequency modulation (FM) synthesis, generated in binaural stereo, with time differences between channels. However, considerable analog mixing in the Sonic Research Studio at Simon Fraser University produced the resulting complex work.


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