for recordings of satellites, string quartet and electronics

Paris, Centre Pompidou April 18th 2021
Quatuor Diotima

**********************

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)

HEX is a duo founded by drummer and percussionist Lorenzo Brilli and electroacoustic composer Nicola Fumo Frattegiani. Their research develops through multiple projects oriented by a minimalist approach in which the real-time transformation of acoustic sound is a founding and exclusive act.

https://matiasfernandezrosales.blogspot.com/

 ANALIA LLUGDAR
Analía Llugdar is a Canadian/Argentine composer who is currently based in Montréal, Canada. She studied piano and composition at Cordoba National University, Argentina. She continued her composition studies at University of Montréal, where she completed a Master with José Evangelista and a PhD in Music composition with Denis Gougeon. 

She has received several awards for her work, including First Prize in the chamber music category of the CBC Radio National Competition for Young Composers, the Jeunesses Musicales du Canada Award and the Grand Prix of the Canada Council for the Arts. Also, she has received the Contemporary Music Québec-Flandres Prize 2007, the Jules Léger Prize 2008, the “Prix Opus du compositeur de l’année 08/09 du Conseil quebecois de la musique” and recently the Victor-Martyn-Lynch-Staunton prize of the of the Canada Council for the Arts.

Several of her works were performed at festivals including Montréal Nouvelle Musique (MNM), Conference of Contemporary Music (Brussel), the International Society of Contemporary Music Concerts (Flandres), Biennal Musique en Scène 2008 (Lyon), Royaumont Voix Nouvelles (France), Domaine Forget (Quebec), The 2008 Cornerstone Festival (Liverpool), Huddersfield New Music Festival (Huddersfield, UK), Presences China Concerts 2009 (Shanghai), TRANSIT festival in Belgium, Cervantino in Mexico,  MANCA in Nice etc.


Farshad Arshadi
Music Composer
Electronic music

COMPOSER
Digital Instrumental Music (DIM) for e-guitar and keyboard.
WHAT IS DIM...?
Digital instrumentation music, or DIM, is experimental music in which musical instruments produce sounds digitally rather than acoustically. This digitalisation process allows sounds to be modified and enriched through treatments and modulations.

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

MauroLanza