Testing the Cconfin software by Ennio Mazzon
http://www.farmacia901.com/site/quark-project

Q4 (Cconfin Test)

“Mirror neurons will do for psychology what DNA did for biology”
— Vilayanur S. Ramachandran, neuroscientist


Mirror neurons represent a distinctive class of cells that fire both when an animal executes an action and when it observes another individual performing the same action. Discovered by Italian neurophysiologist Giacomo Rizzolatti and his team at the University of Parma while doing a research on the neural representation of motor movements in monkeys, the precise function and influence of these neurons has become one of the most important topic in neuroscience. They have been linked to many behaviours and abilities, from empathy to learning by imitation and language acquisition, as well as implicated in conditions such as autism and other brain disorders. These findings suggest that the mirror neuron system plays a key role in our ability to experience empathy.

Initiated by sound artists France Jobin and Fabio Perletta, Mirror Neurons is a media-project investigating the notion of empathy and physical distance. The entire album is the result of extended sound files exchange between Montréal (Canada) and Roseto degli Abruzzi (Italy). Each of the pieces is based on rough sounds and their consequent re-working, listening and reaction, processing and imitation. The ongoing process helped artists to draw inspiration in terms of stimuli for the act of composing itself in two very distant cities, different climate, time zones and languages.

Like much of Jobin and Perletta’s recent works, Mirror Neurons explores the artists’ interest in intersection between science and art, as well as the infinitely small and invisible. In order to further develop the concept of distance/connectivity, visual artists XX+XY from Rome have been involved in the process. They created a multi-dimensional, generative and ever-changing sound visualization through the use of quiet textures and subtle movements emphasizing the slowed sense of time of the work itself. Thought to be performed live in a big space, the video aims to create an immersive environment and a unique occasion to reflect about the behaviour of our emotions and the importance of human interaction.

France Jobin + Fabio Perletta ~ Mirror Neurons (Dragon's Eye Recordings)

Un Fiocco Di Neve

10'52

7'30''

9'23''

8'14''

8'35''

First day of residency at EMS elektronmusikstudion, Stockholm, Sweden. Serge modular.

EMS, Stockholm, Day 1

Second day of residency at EMS elektronmusikstudion, Stockholm, Sweden. Buchla 200.

EMS, Stockholm, Day 2

Third day of residency at EMS elektronmusikstudion, Stockholm, Sweden. Buchla 200.

EMS, Stockholm, Day 3

Collaboration with Japanese sound designer Haruo Okada, titled Genkai 限界, released by LINE.
______

“Listening through headphones allows to grasp the sense of this work in all its substance and depth […] as a real sculptural work of sound art.” — Leandro Pisano, Blow Up (IT)

“In its highly tactile passages of susurrant ambient noise [...] and long stretches of near-silence it becomes something admirable for the patient smoothness of its beauty”  — Matthew Sweeney, Foreign Accents (US)

“To a large extent it’s an empty vessel” — Nathan Thomas, Fluid Radio (UK)

“Within this sonic environment it is the small gestures that are truly celebrated. Pure perfection” 
— Beach Sloth (US)

“Fine document in electronic minimalism and musique concrete”  — Philippe Blache, Igloo Magazine (US)

“Genkai is an immersive powerful experience, to those who like the subtle vibes of the complex art of sound environment” — Andrea Prevignano, Rumore (IT)
______

Watch the video teaser: https://vimeo.com/169772192
______

Haruo Okada: field recordings
Fabio Perletta: digital processing, composition

Genkai (Japanese 限界, meaning limit, boundary) is the second collaboration between Italian sound artist Fabio Perletta and Japanese sound designer for Pioneer, Haruo Okada.

The work was born out of the purpose to limit the elements employed in the process of composing. It comes up in the form of micro compositions created by following strict rules of juxtaposing elements: ‘and/or’, ‘just one’, ‘maximum three’, ‘duration’. An attempt of creating independent systems of electro-acoustic combinations, mixing abstract electronics and concrete recordings through an ever changing auditory field.

All sound recorded by Haruo Okada between 2008 and 2016 in various locations around the world including a cave, a small factory, several airport lobbies, and a recording room. Digitally processed and composed by Fabio Perletta in Berlin between January and February 2016. 

Photo by Fabio Perletta taken at Ryōan-ji Zen temple in Kyoto on April 7, 2015.

______

http://www.lineimprint.com/editions/digital/line_080

Genkai 限界

Haruo Okada + Fabio Perletta — Genkai 限界 (LINE_080)

"Zen does not follow the routine of reasoning, and does not mind contradicting itself or being inconsistent" —Suzuki Daisetsu Teitarō

'Ichinen' (Japanese 一念) is the follow-up to Fabio Perletta's 2016 work 'Genkai', released by LINE imprint, and perhaps his most narrative album in material concept and sound. Where 'Genkai' found itself exploring the limit as a compositional rule, 'Ichinen' follows similar paths but in a more immersive, intimate and mysterious way, drawing inspiration from a trip in Japan in 2015 and a book of Suzuki Daisetsu Teitarō titled 'Living by Zen'. 

The two kanji of the title, 一 (one) and 念 (thought), refer to the shortest possible unit of time as a principle of Zen practice that Suzuki Daisetsu Teitarō describes in 'Living by Zen', or more precisely the time occupied by a single thought. Time represents an instant or "absolute present", "a point of time which has neither the past nor the future [...], that it is to say ichinen is where eternity cuts into time". It exactly corresponds to what it’s known as Satori, which "takes place when consciousness realizes a state of one thought".

'Ichinen' investigates the notion of presence in a re-defined territory of sonic experience. Incorporating sounds from Japanese traditional objects found in common and sacred locations, Perletta explores the complexity of emotional states experienced before, during and after a very long awaited trip. The work thus aims to re-construct fragmented expectations and memories here framed in a still and timeless auditory field, which fuses together and transcends dimensions of time and space.

Arranged in three pieces, each one having distinct movements that drift from one into another, 'Ichinen' is mainly based on various recordings collected in Tokyo, Takayama and Kyoto, subsequently processed using computer. 

—
Tracklist
1. Untitled — 11’03’’ 
2. Untitled — 16’58’’ 
3. Untitled — 19’51’’
—

Fabio Perletta: computer, digital and irreversible sound processing, feedbacks, field recordings, magnetic tape. Created March 2015—December 2016

Recording Locations: Nanzen-ji, Ryōan-ji, Shirakumo-jinja, Yachiyo ryokan (Kyōto); Higashiyama Yūhodō, Kaiseki dinner and Onsen at Hida Futari Shizuka Hakuun ryokan (Takayama); Meiji-jingu, Oriental Bazaar in Harajuku Omotesandō (Tōkyō). 

Photo: Meiji-jingu, Tokyo, March 2015 by Fabio Perletta.

A special thanks to: Rossella Angelozzi, Lorenzo Balloni, Richard Chartier & LINE, France Jobin, Marco Marzuoli, Rossano Polidoro, Marco Segabinazzi & Kohlhaas, Daniele Antezza, Gianclaudio H. Moniri and Luigi Turra.

Ichinen

Ichinen 一念 (LINE_085)

This is a sound excerpt from the album featuring tracks 1, 5 and 6.

Fabio Perletta + Asmus Tietchens — Deflections
aufabwegen (DE) | 42’31’’ | March 2, 2017 

Deflection 1 — 5’52’’
Deflection 2 — 8’20’’
Deflection 3 — 2’44’’
Deflection 4 — 6’50’’
Deflection 5 — 10’59’’
Deflection 6 — 7’46’’

—

"There is an élite of the anxious: the rest is the mankind” — E. M. Cioran, 'Notizen 1957—1972'

Fabio Perletta and Asmus Tietchens’ hermetic micro-cosmos of Deflections unfolds by exploring instability and physical decay of sound. Built upon liminal forms and atonal passages, the six near-silent pieces of the work traverse empty space by means of elementary sonic emissions and drifting nano-structures. Among sound collisions and evanescent masses, the almost immaterial yet corporeal nature of Deflections, embodies sound in its most subliminal and contradictory form.

“When atoms move straight down through the void by their own weight, they deflect a bit in space at a quite uncertain time and in uncertain places, just enough that you could say that their motion has changed. But if they were not in the habit of swerving, they would all fall straight down through the depths of the void, like drops of rain, and no collision would occur, nor would any blow be produced among the atoms. In that case, nature would never have produced anything” — Lucretius, 'De Rerum Natura' 

—

Composed, recorded and processed by Fabio Perletta at Tokonoma Studio in Roseto degli Abruzzi, Italy and Asmus Tietchens at Audiplex Studio E in Hamburg, Germany.

Designed by Fabio Perletta at Mote Studio, Berlin. Mastered by Asmus Tietchens.

(C) 2017 Fabio Perletta / Asmus Tietchens
(P) 2017 aufabwegen

aatp59 gema lc 01291 
www.aufabwegen.com
www.fabioperletta.it
www.tietchens.de

A special thanks to Till Kniola.

Deflections

Fabio Perletta + Asmus Tietchens — Deflections

『 無 』MU: nothing, naught, nought, nil, zero

庭のソメイヨシノは葉が目立ち始めて、
近くの土手では霞桜がもこもこしている。

儚いことを美しいと思えるのは、
また次がある、また逢えると、
沁みこんだ、揺るぎのない「常」の中で
無常（に似て非なるもの）を捉えているからだと思う。

本当の意味での諸行無常を受け容れることができたら、
どんなに強くいられるのだろう。

—

source: http://www.tohogakuen.com/kira/036.html

無 (ノーインプット残響) no input reverb

Sound excerpt from the installation GENKAI.
http://www.fabioperletta.it/work/genkai

'A Constellation of Moments: Sound Aesthetics in Abruzzo from the 90s to present time' group exhibition, curated by Carla Capodimonti & Leandro Pisano.

Museolaboratorio, Città Sant'Angelo (IT)
Dec 23, 2016 — Feb 12, 2017

Genkai (A Constellation Of Moments)

INFO: http://vivaitalia.xyz/?menu=1&lang=2

Concetto Sonoro (per Lucio Fontana)

A portrait of Valentina Tanni, obtained assembling 23 still images and printing them out on aluminium, and glowed on wood (2007).

Energies Visualiser (Luigi Pagliarini, 2004) is a software-art piece that deeps its roots into contemporary A.I. theories. With an Eventualistic approach it processes images metamorphosis by focusing on the existing relations amongst conceptual and figurative art in a perspective that involves several aspects of Art Psychology.

http://www.youtube.com/watch?v=YzAbZ7pSnrE

More info: 
http://www.artificialia.com/EV
http://www.valentinatanni.com/
http://www.fabioperletta.it

Sound Design for "Luigi Pagliarini: Energies Visualizer - A portrait of Valentina Tanni (2007)"

Exhibition title: ほどける耳 (Hodokeru Mimi)
Place: Ryosokuin Temple, Kyoto (Japan)
Materials: 2 speakers, amplifier, audio player, bamboo
Duration: 10:26∞
Date: December 9, 2017
Curators: Takamitsu Ohta, Asari Daiki / Sukima Industries
Artists: Takamitsu Ohta, Minoru Sato + ASUNA, Eisuke Yanagisawa

MORE INFO (Japanese only):
https://hodokeru-mimi.localinfo.jp

PHOTO DOCUMENTATION:
http://www.fabioperletta.it/work/untitled-ryosokuin


—
When Takamitsu Ohta and Asari Daiki proposed that I create an installation for the event “Hodokeru Mimi” at Ryosokuin temple in Kyoto, I instantly thought of something special. But after struggling with myself for many days, I realised there was no need to be special in a temple, and felt the need to focus on the exclusion of the non-essential. So, I took my portable recorder, set it to recording mode and connected it to some small speaker cones. Then I started playing around with feedbacks, using two bamboo sticks with two different lengths and placing them over the speakers. By covering the latter with my hands, I could create a sort of resonant box.
The air flowed differently according to the length of the two bamboo sticks, creating an instable chord and many hard-to-control sine waves. As it is not easy to keep the chord for a long time, I had to concentrate very much, and move the two sticks towards and away from the speakers with millimetric precision. It was like meditating.

Hesitant investigates the tension and subtle equilibrium between the fleeting nature of things and the contemplation related to it. The installation creates an ongoing parallel between the notions of incompleteness/imperfection and the profound sense of beauty as a way of approaching things. Whilst referencing various concepts, the focus of this work aims to be no different from a bird passing nearby the temple and disappearing straight away.

No overdub or other sounds were added to the recording, except the use of some silences to make the composition more suitable for the space.

—
http://www.fabioperletta.it/work/untitled-ryosokuin

Untitled (Ryosokuin) — Excerpt

‘Hesitant’ is a sound study created over the course of 2017, and also a reissue and partly a rework of a special 35 copy edition book released for my 2017 Japanese tour. This work is dedicated to Steve Roden.

‘Hesitant’ includes several sound sources captured for various events I was invited to participate in. The sounds were in perpetual change and becoming for a year, until I almost lost track of their origin.

I met Steve Roden in Pasadena during my residency in Los Angeles, curated by VOLUME in June 2017. We spent almost an entire afternoon at his beautiful bubble house talking about life, art, upcoming works and drinking a Japanese roasted tea called houjicha. He told me about his recent decision to get rid of the gear he had used for years, in order to approach something he wouldn’t know very well, like a modular synth. The courage to perform live without a complete knowledge of the new instrument, nor any pre-arranged sound or synth patch, exposes him to failures. “Being vulnerable means sharing”, he said. I was stunned by his incredible honesty. That is a real enlightenment in the contemporary darkness based on appearance, rather than contents. 

Compositions, live performances or anything concerning shows, are all something that deal with fiction in a way. With this new work I sought to not create any pre-determined intention as much as possible, erasing any explicit compositional gesture to focus on instability and hesitation. This is a work without a precise form, yet to be completely revealed, like something ancestral that could potentially be anything. 

‘Hesitant’ is an attempt to present sound as it is, not attached to anything but itself, yet far away from being a document or a representation of something.

—

(Maybe) recorded at EMS Elektronmusikstudion (Stockholm), Pollinaria (Civitella Casanova), Japanese Pavillion @ LACMA + Richard Serra’s ‘Band’ @ LACMA + 600 Moulton Ave (Los Angeles), Tokonoma Studio (Roseto degli Abruzzi), Garten Der Welt + Eisenbahnstr. 15 (Berlin).

Photography by Matthias Urban. Art direction by Joe McKay. 

Thanks to Steve Roden, Lorenzo Balloni, Luigi Turra, Joe Mckay, and all the people I met in Japan in Nov–Dec 2017.

Excerpt from Hesitant

Hesitant (excerpt: 5, 9, 14)

紅炉一点雪

Sound/installation artist, curator, professor.
Runs 901 Editions.

Fabio Perletta

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