lui:::: glio

for recordings of satellites, string quartet and electronics

Paris, Centre Pompidou April 18th 2021
Quatuor Diotima

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Achille Judica-Cordiglia and his brother Giovanni Battista are well-known amateur radio operators who claimed in the late fifties and early sixties to have heard radio communications taken from secret Soviet Union space missions, including SOS signals, telemetry, and the dying sounds (heartbeats and breathing) of a suffocating "lost cosmonaut.” Even though their claims have been thoroughly debunked, the stories of these sensational intercepts are part of the mythology of the Space Age and stand at the origin of a durable conspiracy theory.
In the 1960s, the idea of a “lost cosmonaut” spoke to acute fears. Despite the optimism of space exploration tales, the reality of space travel—from sending a dog into orbit to putting a man on the moon—had a striking effect on the public and raised more life-altering questions than it provided answers. A cosmonaut lost in space served as a poignant metaphor for individuals’ anxieties about the future in an era of nuclear tension and uncertainty. This helps to explain the diffusion and the longevity of a hoax that identified the stain of some kind of original sin on the shiny surface of the triumphs of the early space age. Now that the cosmos has switched in our imaginations from being the route toward a radiant future for humanity to a place of accumulation for space capitalism or a post-doomsday shelter for the extremely rich, these stories of dead astronauts are more sinister and haunting than ever.

The title "Memories of the Space Age" is borrowed from the collection of stories of the same name by J.G. Ballard (1988), a set of writings thematically linked around rotting launch gantries at Cape Canaveral, the failure of the US space program, dead astronauts eternally orbiting in space, deserted hotels lining the Florida coast, and the lonely, disturbed individuals who linger at the fringes of this lost dream of the Space Age.

The piece uses more than 100 historical radio recordings of human-made objects gravitating in Low Earth Orbit, for example, the beacon beeps of satellites, telemetries, and the voices of cosmonauts, along with the ill-famed Judica-Cordiglia tapes. This material—shifted and transposed to match the harmonic structure of the piece—is the starting point for an imitation game that involves the string quartet and that grows into a complex three-layered polyphony.

In addition to these archival materials, the electronic material features digital processing of the string instruments with the modulation techniques that were, and still are, commonly used for radio and television transmission. The fragile, inharmonic sonorities of the prepared strings are mirrored by electronic phenomena like feedbacks or physically-modeled chaotic circuits that behave in similarly erratic ways, in a laborious attempt to tame the untamable while at the same time pursuing serendipitous glitches.

"Memories of the Space Age" deals with the aesthetics of ground noise, white noise, and lost radio waves, with the misuse and malfunctions of technology, and with the misinterpretation of a chaotic signal as pareidolia. It is also, somehow, a nostalgic homage to obsolete or soon-to-be-obsolete technologies and to the visions of the future these technologies carried. That future now seems irretrievably lost, but its ghost, like Ballard’s dead astronauts, still haunts us.

Mauro Lanza - "Memories of the Space Age" (2020)

Pierluigi Billone - 2 Alberi (2017) for saxophone & percussion

Luis Codera Puzo - SUMMA#01 (2024)
for baritone saxophone, bass trombone, and electronics

Live recording at Gare du Nord, Basel 8.2.25

Audio recording mix and mastering: Eguzki Irusta

Duo Signal
Alejandro Oliván - soprano saxophone
Adrián Albaladejo Díaz - trombone

Luis Codera Puzo - SUMMA#01 (2024)

Studio Recording of 'Chaostika' by Yann Robin

Percussion: Tom De Cock
Sound Engineer: Philip Krause

Yann Robin: 'Chaostika'

Questo disco per sole percussioni di legno nasce dalla collaborazione con maestri falegnami e compositori invitati a calare il proprio immaginario musicale in un mondo sonoro unico e unitario, disseminato di strumenti ed installazioni sonore prima d’ora inesplorate.

13. ā grammatica del delirio (2017) for wooden percussion and electronic sounds, R. Nova (1960)

MicrO Tryptich for Hybrid Micro-Percussion setup and live electronics by Tom De Cock and Benjamin Van Esser

Instrument developed with the financial support of FRArt: « avec le soutien du FRArt »

Micr0 Triptych III - Exa

DUO SIGNAL​

We are a chamber music group formed by saxophone (Alejandro Oliván) and trombone (Adrián Albaladejo) with a determined commitment to the performance, creation and diffusion of new repertoire.