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)

music diaries of middle-age homo sapiens
and Home of Disco Avant Disco Movement and Supersonic TM, detail soon and  Tłocznia Recordins and Blue Berg Recording


Music from the end of the world



Husycki król

Zaiste,
kto ma uszy, 
niechaj słucha

kto ma oczy, 
niechaj patrzy

chwasty są piękne 
(wystarczy się schylić)

deszcz pada zawsze 
pod jedynym właściwym 
kątem

fala prado-
podobieństwa
załamuje się 
tam, gdzie było
jej sądzone

a dźwięk 
uderza z idealną 
częstotliwością

pomysł z 
harmonią sfer
był oczywiście 
błędny
pod względem 
naukowym

ale to jeden
ze szczytów
ludzkiej
poezji

moment
kiedy przez
stroboskopowe 
światło
frunie
okruch prawdy

The Hussite king

Indeed,
who has ears
let him listen

who has eyes
let him watch

the weeds are beautiful
(just bend down)

rain always fall
under the only right one
angle

wave of probability
breaks down
right where
she should

and the sound
hits with perfect
frequency

idea of 
harmony of the spheres
was of course
wrong
in scientific manner

but it's one
from the heights of
human
poetry

moment
when by
strobe
light
flies
a piece of truth









Gram, co chcę./I play what I want.

AT YOUR SERVICE 24/7 







Always Scuderia!



 Few moments worth Life
Listen to Belton, pllease

New LPS Out Now!




grandgrandnephew
 of Adolf, grandson of Edward son of Jacek



isten belton sutherland genuine american genius





cover time




i like synts also try qibrd


blues time








https://banishedprince.bandcamp.com/


wkrotce 2 czesc wiersza o bs





SEPR - Studio Eksperymentalne Polskiego Radio/Polish Radio Experimental Studio


lakis/andrzej przybielski 


columbia lost archives





sluchaja panstwo utworow z plyty skalom stac i grozic/you are listening to tracks from album stones are made to stay and threaten




ciekawe, co się stało/i wonder what happend
z gitarą/to the guitar
Beltona Sutherlanda/of Belton Sutherland
ten czarny geniusz/this black genius
o migdałowym wykroju oczu/
with eyes in the shape of almonds
starym głosie/old voice
przypominający mi chwilami dziadka Mietka/
reminds me sometimes grandfather Mietek
pojawia się na scenie tylko raz/
appears on the stage once only

wkrotce w tym miejcu wiersz o beltonie /soon the poem about belton sutherland


czy tylko ja nie bylem nigdy na wagarach?
sa boty ktore podszywaja sie pod ludzi i takie ktore sie przedstawiaja
oto ojciec
hello,world?

Pleasy try the DIY(the fish)





I can project you one cover free
JA TU TYLKO WRZUCAM LOL I AM JUSTY POSTING HERE

nikt nie slucha muzyki/nobody listen to the music
wszyscy na działkach/everybody on dachas
albo na spacerze albo w łózku/or walking or laying in the bed
albo w pracy/or at work






puste parkingi /empty parkings
nie mamy lodu/we dont have an ice
to najzimniejsza cola jaką mam/it is the coolest cocke i have
mogę panu wyjąć/i can can give you another one from refrigator






zdrój jana/the spring of john

prosze dmuchnac w alkomat/please blow into breathylezer
nie dmucham/I don`t blow
to jedziemy na badanie krwi/Lets go for blood examination
mogę alkomat?/can I have this breathylezer?

dark side ofthemoon
kid a niemen nalepa
ok computer
fleet foxes
not jimi hendrix u2 dwie pierwsze płyty/two first LPs gloria a day withouth me
a little
kid a kid

https://www.youtube.com/user/DRORELIMELECH120V

https://www.facebook.com/dror.elimelech.338/


ACOUSTIC AND   ELECTRO-ACOUSTIC  COMPOSER .
STUDIED  COMPOSITION WITH  SERGIU  NATRA .
ELECTRONIC AND  ELECTROACOUSTIC  MUSIC  WITH YIZHAK  SADAI .
PIANO  --  WITH  PNINA  SALZMAN  , BART  BERMAN  , AVI  SCHONFELD .
CONTEMPORARY CLASSIC  COMPOSER , ACOUSTIC ,
ELECTRONIC AND  ELECTROACOUSTIC   MUSIC , 
EXPERIMENTAL  MUSIC . SOUND  ARTIST .
IMPROVISATION AND INTUITIVE MUSIC .
PIANIST .
ACCORDION AND  RECORDER  PLAYER .
FOUNDED  AND  CURATED    2  SERIES  OF  CONTEMPORARY  CLASSIC  MUSIC   IN TEL AVIV  ,  ISRAEL  -- 
 " NIGHT  HAPPENING -  FORUM FOR EXPERIMENTAL MUSIC "    1986  -  2007
" OTHER  ISRAELI  MUSIC "      1985   -  1987
MANY COLLABORATIONS  WITH  POETS , ACTORS , DANCERS ,  PAINTERS ,
 VIDEO ARTISTS , PERFORMANCE  ARTISTS .
MORE THAN  120  PREMIERS  OF  NEW  CONTEMPORARY  CLASSIC MUSIC - 
ACOUSTIC , ELECTROACOUSTIC , MULTI-MEDIA  --  WERE  PRESENTED
IN  HIS  SERIES DURING  23  YEARS OF ACTIVITY .
HIS  MUSIC WAS  PERFORMED  IN  EUROPE , CANADA , USA .
WON  VARIOUS GRANTS AND PRIZES .

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

MauroLanza