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Arsenije Jovanović: The Cave, variation 011

26 April, 2011 in works

The Cave, variation 011 (2011) was made exclusively from Resava cave recording material, the same with The Cave of my ancestors, creative mixing and sound processing possibilities have no limit including author’s gift and ability to use it –it doesn’t concern exclusively me, of course- sounds of stalactites and stalagmites in this particular case are like the sounds from any traditional instruments. A. J.

Theatre, radio and television director, born in Belgrade, Serbia 1932., writer and audio-art author, university profesor – he was teaching acting at the Faculty of Dramatic Arts in Belgrade until the brake of the war in ex-Yugoslavia – Fulbright scholar and visiting professor at State University of New York at Albany, for eleven years theatre director in The National Theatre in Belgrade, later artistic director of The Bitef Theatre (Theatre in the Church), directing plays for theatres both in ex-Yugoslavia and abroad (Sheffield in England, Sofia in Bulgaria, Albany in USA), author of different sound installations – one was in Berlin as a part of SFB participation at Sonambiente event – initiator of a sound workshop at Kunstradio (ÖRF, Wien), initiator of a sound workshop at Media Arts Center at the University of Sydney 1999, participating sound workshops in Finland (Oulu and Helsinki), Denmark (Faeroe Islands), founder of the Adriatic Sound Factory, a moving sound laboratory settled for the time being in Rovinj in Istria, Croatia.

AWARDS: Aside of awards in his home country what was Yugoslavia, A.J. got Prix Italia in the category of stereo work for the “Tombstones along the Roadside” (Venice, 1971.), Prix Italia for the “Resava Cave” (Venice, 1977.), Premio Ondas for “Resava cave” (Barcelona, Spain, 1978.) Premio Ondas for “Along the Long Long Street” together with Ms. Neda Depolo (Barcelona, SPAIN), WDR Acustica International for “Faunophonia Balcanica” (Koeln, 1990.), “Finalist award” for “Homo Politikus Vulgaris” with P. Siren and A. Walligorska at New York Radio Art Festival (New York, 1992.), first prize for “Concerto Grosso Balcanico”, International Radio Festival in Rust (Austria), Grand prix Radio France International with Ilinka Colic for “La parata” (Palmares, France, 1997.), one of the composers for the film “The Thin Red Line” by Terrence Malick (USA, 1998) – that was the composition “The Prophecy of the Serbian Village Kremna” produced earlier.

Walter Ruttmann: Weekend

22 April, 2011 in classics, works

Weekend is a pioneering work from the early days of radio, commissioned in 1928 by Berlin Radio Hour. In a collage of words, music fragments and sounds, the film-maker and media artist Walter Ruttmann presented on 13 June 1930 a radically innovative radio piece: an acoustic picture of a Berlin weekend urban landscape.

At great technical expense, Walter Ruttmann collects sound recordings of a weekend in Berlin: from finishing work on Saturday to starting the next week on Monday morning. Lasting a good eleven minutes, the piece alternates between narration and sound pattern. With his ear for the narrative as well as the visual, Ruttmann works on a kind of audio-art. His formulations can also designate structure on the basis of musical points of departure such as pitch and rhythm (see the reproduction of his notation for a speech sequence). But the characteristic style of «Weekend» is thoroughly narrative-related. Tone coloring, rhythm, and pitch merely customize the storytelling.

Golo Föllmer

http://www.medienkunstnetz.de/

Weekend reflejaba la transición de un día de trabajo a un día festivo, el domingo al aire libre y la lasitud lejos de la vuelta al trabajo del día siguiente. La banal realidad, si se quiere, pero transpuesta y magnificada por la lógica del corte y el empalme, de la yuxtaposición. De la lógica narrativa procedente, pues, del montaje cinematográfico. Hay en Weekend otro aspecto muy importante que vincula la práctica cinematográfica a la radiofónica, por cuanto presupone, en la actitud de Ruttmann, una misma intencionalidad en su registro de sonidos concretos y en el rodaje de los planos que habían integrado, por ejemplo, su Berlin. Sinfonía de una gran ciudad. El músico “acusmático” Michel Chion nos ha llamado la atención sobre ese paralelismo, que le permite ampliar en Weekend el concepto de “rodaje” al acopio de sonidos que efectúa un creador sonoro -y radiofónico- a través del micrófono:

“Cuando se escucha hoy día la obra, parece evidente que [los sonidos] no hayan podido ser sino `realizados para´. Evidente al menos para quien haya hecho grabaciones sonoras, y haya vivido la dificultad que representa la obtención de un sonido aislado de los otros. Cuando se escucha por ejemplo en Weekend lo que se supone es una sierra cortando madera, todo eso en medio de un gran silencio, se sospecha que no hay ahí nada espontáneo. Ha sido preciso arreglárselas para evitar todo ruido simultáneo o vecino, elegir la hora o el lugar donde ningún alboroto arriesgase perturbar la grabación”
Michel Chion: L’art des sons fixés. Ed. Metamkine, Fontaine, 1991.

José Iges: Arte Radiofónico, UCM, 1997