Category Archives: suoni
tanzschleife / lutz mommartz. 1967
berlin horse / malcolm le grice. 1970 – sound by brian eno
Malcolm Le Grice’s Berlin Horse / Sound by Brian Eno
Multi-projection film Berlin Horse (1970) was based entirely on a novel but simple idea of a repeating, subtly changing film loop. The soundtrack created by Brian Eno was also implemented using a tape loop. According to the director, “Berlin Horse examines how the eye works and how the minds builds up a perceptual rhythmic structure”
musique differencielle, 1-2 [excerpts] / tsuchitori-sakamoto. 1976
TSUCHITORI-SAKAMOTO – “a / Φ (musique differencielle 1°)” from DISAPPOINTMENT HATERUMA
info: https://youtu.be/mPFLvai9IMI
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TSUCHITORI-SAKAMOTO – “∫ / 𝔷 (musique differencielle 2°)” from DISAPPOINTMENT HATERUMA
lacanizzazioni / differx. 2012
due di uno / agostino di scipio
Agostino Di Scipio, DUE DI UNO
for sopranino recorder, violin and live electronics
Antonio Politano – recorder
Haesung Choe – violin
Agostino Di Scipio – live electronics
live recording of the first world performing
configurations / roland kayn. 2024
permutazioni 254 / luca zanini. 2024
addressing the fallen angel / carl michael von hausswolff. 2024
celestial subway lines / salvaging noise / ken jacobs. 2005
: ubu.com
Celestial Subway Lines/Salvaging Noise, the DVD version of a live multi-media collaboration between Jacobs and musicians John Zorn and Ikue Mori, strives for the aesthetic purity and symbiotic balance that Bute describes, although it does so independent of the film medium. For the visual component of the work (patched together from four separate performances at the Anthology Film Archives in New York), Jacobs utilizes a modified version of the 19th century Magic Lantern, a device used to project still images like the modern slide projector. By spinning the shutter (as opposed to moving a strip of celluloid), Jacobs creates a phantasmagoric effect as bizarre and fantastic as the filmic manipulations he achieved in works like Tom, Tom, the Piper’s Son. And unlike experimental filmmakers as divergent as Stan Brakhage and Ernie Gehr, Jacobs does not value the primacy of image over sound. “Vast spaces ache to be inhabited, for sound to enter,” says Jacobs. “Indeed, for this transcendent Lower East Side-imbued ramble, they call specifically for Zorn and Ikue.”… [continua]



