{"id":648,"date":"2011-08-29T15:05:38","date_gmt":"2011-08-29T15:05:38","guid":{"rendered":"http:\/\/www.zavod-parasite.si\/slo\/?page_id=648"},"modified":"2011-08-29T15:05:38","modified_gmt":"2011-08-29T15:05:38","slug":"sound-explicit-2004","status":"publish","type":"page","link":"https:\/\/arhiv.zavod-parasite.si\/slo\/program\/sound-explicit\/sound-explicit-2004","title":{"rendered":"Sound Explicit 2004"},"content":{"rendered":"

MENU_B
\nThursday, 3 June 2004, at 8:00 p.m.<\/strong><\/p>\n

This year the P74 Gallery at Pru\u0161nikova 74 expands its activities to include the field of music.
\nSound Explicit is a series of sound events whose purpose is to present and highlight investigative, experimental, and improvisational music projects in Slovenia.
\nThe series will open with the premiere performance of the band\/project MENU_B, who will be promoting their new album MENU_B: Beatification.<\/p>\n

MENU_B<\/strong>, a project originating with the electronic-music artist and producer Sa\u0161o Kalan, has, through various editions and collaborations, successfully established itself on the electronic music scene both in Vienna and in the larger international context. Beatification, the project’s first LP, will be issued 7 June by Couch Records, the respected Viennese label of the production duo Dzihan & Kamien. Collaborating on the album are the musicians Franck Martin, Jaka Ropret, Luka Ropret, Jaka Hawlina, and Davor Herceg. While the album is primarily concerned with investigating the relational potential between jazz improvisation and electronic manipulation and composition, the concert will put the emphasis on live improvisation. Performing at the concert will be:<\/p>\n

sa\u0161o kalan : korg, laptop, fx
\nfranck martin : drums
\njaka ropret : bass guitar
\nluka ropret : guitar
\njaka hawlina : trumpet
\ndavor herceg : fender rhodes<\/p>\n

——————-<\/p>\n

Menu_B: Beatification (Couch Records, 2004)<\/strong><\/p>\n

The eclectic soundscape of the album Beatification is replete with fragments of classic jazz, new-age digital clicks and textures, analog synthesized sounds, and acoustic improvisation. Rhythms may avoid or overflow standard parameters, while harmonies detour into atonality, but the performers nevertheless succeed in holding the listener’s attention, thanks largely to this unusual combination of aural delight and unpredictability. On the album Beatification, Menu_B creates parallel universes of sound that are, at one and the same time, both introverted and extroverted.<\/p>\n

An important aspect of the album is its collaboration with various musicians who offer up the results of their improvisational studio sessions for computer manipulation, alteration, and reprocessing. In this way, Beatification serves as a platform for crossbreeding classic instrumental improvisation with the capabilities of new-age computer production as it explores new possibilities for the free flow of aural and musical energies and ideas.<\/p>\n

Sa\u0161o Kalan – MENU_B – Biography<\/strong><\/p>\n

Growing up in various social environments had a palpable effect on the creative work of Sa\u0161o Kalan. After spending the first years of his life in Montreal, he moved to Ljubljana in the mid-1980s; then, in 1993, the desire for a first-rate musical education took him to Vienna, where, eight years later, he successfully completed his studies in sound design. His initial experimentation with his father’s cassette tape recorders, record players, and record collections eventually led him, both during his studies and later, to the production of sound installations, music for contemporary theater and dance, and sound design for animated film, and finally, to the development of his own original project, MENU_B.<\/p>\n

A Selection of Original Artistic Works:<\/strong><\/p>\n

– Menu_B – Morgam (12″), including Dzihan & Kamien’s Shhhhh… mix. Issued 1999 by Twentysomething Tunes, Vienna.
\n(Menu_B – Morgam. The Shhhhh… mix was also included on the compilation Black Coffee & NL)<\/p>\n

– Menu_B – Remix of the piece Spacewater by the duo Dzihan & Kamien for their album Refreaked, which also includes the artists’ remixes, such as U.F.O., Hefner, Herbert, Fauna Flash, AtJazz, Mum… Issued 2001 by Couch Records.<\/p>\n

– Music for two poems on the CD Ko\u0161\u010dek hrupa in \u0161\u010depec soli [A Piece of Noise and a Pinch of Salt] – Menu_B in collaboration with the poet Gregor Podlogar (2003, KUD France Pre\u0161eren).<\/p>\n

– Music for theatrical productions by Mestno Gledali\u0161\u010de Ljubljana: H. Ibsen, The Wild Duck, directed by M. Ho\u010devar (2001); M. Jovanovi\u010d: The Bug, directed by J. Ivanc (2002).<\/p>\n

– Sound design for animated and artistic films in collaboration with the director Oliver Mar\u010deto: The Dalmatian (1994), The Caf\u00e9 (1995), Hotel Intercontinental (1996), The Carriage (1997), Avantgarde Film (1997).<\/p>\n

– Sound installations:
\nThe Washing Machine, 1998, at the Palais Eschenbach (Vienna), in collaboration with Oliver Mar\u010deto.
\nNew Generations, 2003, Jakopi\u010d Gallery (Ljubljana), in collaboration with the photographer Andrej Cvetni\u010d.<\/p>\n

– Menu_B – Beatification, CD\/album, June 2004, Couch Records.<\/p>\n

\n

TILT
\nSreda, 16. 6. 2004 ob 20.00 uri<\/strong><\/p>\n

\"\"<\/p>\n

Toma\u017e Grom – kontrabas
\nTao G. Vrhovec Sambolec – digitalno procesiranje zvoka v \u017eivo (Max\/Msp)<\/strong><\/p>\n

TILT<\/strong> je eden najbolj vznemirljivih, aktivnih in naglo razvijajo\u010dih se eksperimentalnih glasbenih projektov zadnje \u010dase pri nas. Temelji na eksperimentiranju z zvokom, igrivo raziskuje relacije med akustiko in elektroniko in uspe\u0161no zdru\u017euje energi\u010dno impulzivnost \u017eivega nastopa z ustvarjalno premi\u0161ljenostjo strukturiranega pristopa h glasbeni kreaciji.<\/p>\n

Projekt se osredoto\u010da na ustvarjanje zvo\u010dnih tekstur in glasbenih struktur s pomo\u010djo digitalnega procesiranja zvoka v \u017eivo. Ta postopek po eni strani spreminja in \u0161iri ekspresivni razpon in\u0161trumenta, po drugi strani pa postavlja in\u0161trument v druga\u010den akusti\u010dni kontekst, kar nato zahteva druga\u010den na\u010din samega igranja nanj. TILT se giblje na meji med akusti\u010dnim in elektronskim, ju zdru\u017euje, zoperstavlja in v\u010dasih medsebojno izklju\u010duje.<\/p>\n

TILT – biografija<\/strong><\/p>\n

Po vrsti skupnih sodelovanj pri razli\u010dnih glasbenih projektih sredi 90-ih, sta Toma\u017e Grom in Tao G. Vrhovec Sambolec projekt TILT prvi\u010d konkretizirala s sodelovanjem pesnika Primo\u017ea \u010cu\u010dnika na albumu Dvojnik (samozalo\u017eba Sploh, 1999), na katerem so ustvarjalci z eksperimentalnim pristopom soo\u010dili sodobno glasbo in poezijo.<\/p>\n

Po nekaj letih posve\u010danja drugim avtorskim projektom, sta Grom in Vrhovec Sambolec TILT znova aktivirala minulo zimo z rednimi improviziranimi nastopi v klubu Gromka, na katerih sta v svoje polje elektro-akusti\u010dne interakcije vklju\u010devala \u0161e druge doma\u010de in tuje glasbenike (Will Guthrie, Same Girl, Luka Ropret, Pavle Rakar,…)<\/p>\n

Leto\u0161nji nastopi dua TILT (izbor):<\/strong><\/p>\n

Januar: Barcelona (\u0160pa) – festival eksperimentalne glasbe Musica a Metronom;
\nAlicante (\u0160pa) – mednarodni festival eksperimentalne glasbe;
\nMarec: Moderna galerija, Ljubljana – v okviru trienala U3;
\nMaj: Tomar (Portugalska) – EuroJazz Day;
\nJunij: Tolmin – klub Moskva-Petu\u0161ki;
\npo nastopu v okviru serije Sound Explicit se glasbenika pripravljata \u0161e za julijski nastop v Haagu, kjer bosta igrala na otvoritvi razstave Breakthrough<\/p>\n

Nastop dua TILT v okviru serije Sound Explicit bo izveden v posebnem zvo\u010dnem okolju, ki bo izvajalcema in ob\u010dinstvu omogo\u010dilo dodatno dimenzijo kreativne sve\u017eine.<\/p>\n

\n

MIHA CIGLAR
\nTorek, 19. 10. 2004 ob 20.00 uri<\/strong><\/p>\n

\"\"<\/p>\n

Eksperimentalni slovenski glasbenik mlaj\u0161e generacije, \u0161tudent gra\u0161ke glasbene univerze Miha Ciglar se predstavlja z dvema projektoma:<\/p>\n

1. Skladba za dva in\u0161trumenta in saksofonista<\/strong><\/p>\n

Ideja kompozicije je soo\u010diti dva glasbena in\u0161trumenta (alt saksofon in ra\u010dunalnik) in izpostaviti njune skupne karakteristike ter s tem zapolniti \u010dasovno luknjo, ki zeva med datumoma njunih izumov. S tem se posku\u0161a prispevati k bolj\u0161emu sprejemanju in razumevanju \u010dudovite sposobnosti ra\u010dunalnika, da producira originalni zvok. Namen kompozicije je tudi raziskovanje in inovacija mo\u017enih metod komuniciranja, ki omogo\u010dajo enemu samemu glasbeniku (saksofonistu) igranje ter nadzorovanje obeh in\u0161trumentov hkrati.<\/p>\n

2. Kompozicija za monitor, projektor, bas in ra\u010dunalnik
\nalias v\u010deraj je bila rde\u010da to\u010dka”<\/p>\n

son:DA (koncept\/video)
\nMiha Ciglar (ra\u010dunalnik-PD)
\nSamo Pe\u010dar (bas)<\/strong><\/p>\n

Video kompozicija kot partitura, kot izvorni material za zvok. Posameznik z zvo\u010dno me\u0161alko in posameznik z ra\u010dunalnikom se s pomo\u010djo preprostega vmesnika odzivata na video kompozicijo, ki jo elektroni ustvarjajo na monitorju. Po koaksialnem kablu, prilepljenemu na ekran monitorja, potuje zvo\u010dni signal do ra\u010dunalnika, kjer se digitalizira in s pomo\u010djo programa za sintezo zvoka v realnem \u010dasu “PD” (Pure data) naprej obdeluje. Posameznik z basom se odziva na vsebino, obliko in ritem video kompozicije. On nima tehni\u010dnega vmesnika za zvo\u010dni signal. On sam je vmesnik.<\/p>\n

Trajanje performansa je skozi video kompozicijo-partituro vnaprej dolo\u010deno, improvizacija se pojavi le pri zvo\u010dnem obdelovanju-oblikovanju in pri izvedbi celotnega scenskega performansa.<\/p>\n

www.ciglar.mur.at<\/p>\n

\n

HARLEM UNDERGROUND
\n(samplerji, sekvencerji, efekti)
\nTorek, 26. 10. 2004 ob 20.00 uri<\/strong><\/p>\n

Harlem Underground je Romildo Kumar – hiperproduktivni slikarski in glasbeni samouk iz Deskel pri Novi Gorici, ki v z industrializacijo globoko zaznamovanem podezelskem okolju vztrajno razvija samosvoj avtorski izraz. V glasbi se je ta izraz iz nekdanje hardkorovske in post-hardkorovske akcije (Romildo je v 90-ih vihtel bas v bendu Link Der Wasser), prelevil v solo eksperiment – izredno samosvojo mesanico elektro-akusticnih zvokov. Romildova orodja so sampler, sekvencer, sintetizator in efekti, zvocne zanke in vzorce iz teh virov pa Romildo v realnem casu kombinira, mesa in manipulira ter rezultat hkrati snema na CD-R. Zvoki klavirja, basa, trobil, pihal in programiranih nelinearnih ritmov se v tem postopku stapljajo v unikatni “post-digitalni jazz” kola\u017e. Romildo je s to tehniko v nekaj letih tovrstnega ustvarjanja posnel mnozico CD-R albumov, v zivih nastopih pa je sodeloval z mnogimi priznanimi domacimi in tujimi blues, jazz (Ales Valentincic, Francesco Cusa, Amy Denio,…) in rap (MC King) ustvarjalci.<\/p>\n

\n

LUKA PRIN\u010cI\u010c: “Na\u0161 nastop”
\nTorek, 16. 11. 2004 ob 20.00 uri<\/strong><\/p>\n

V sklopu raziskovanja prostih programskih orodij, generativnih glasbenih ter vizualnih\/3d postopkov in odprtih performativnih praks se bo ‘Na\u0161 nastop’ vpra\u0161al, kaj potrebujemo, da se aktiviramo v interaktivni akciji umetnika oziroma, in predvsem, z njegovimi stroji. Za\u010dasni zvo\u010dni sistemi – avtonomna orodja? – kot vpra\u0161anje, iskanje manifestativnosti ali celo politi\u010dnosti. Raziskovanje mikro-dru\u017ebenih algoritmov, ki vzdr\u017eujejo na\u0161o prisotnost in aktivnost. Generativnost trenutka, ne umetnikova, temve\u010d zvok stroja, njegovega algoritma in interakcije vseh nas z njim. Odprta kreacija v javni lasti.<\/p>\n

Luka Prin\u010di\u010d (1977) je copyleft avtor, dj in programer. <\/p>\n","protected":false},"excerpt":{"rendered":"

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