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Preorder via Bandcamp: https://osare-editions.bandcamp.com/album/oe-020-tutto-questo-sentire-w-coby-sey-elena-colombi-charlie-hope-spazio-per-azioni-luminescenti

In October 2021, Spazio Per Azioni Luminescenti culminated the Close Range music residency programme at Het HEM contemporary art centre in Zaandam, the Netherlands. A haunting audiovisual performance and site specific immersive installation, it evokes elements of sound, spoken word and articulated light design. The recording is released by Osàre! Editions as a twenty minute sonic journey in four moments, each interlinked with one another. This format reflects the iterations of the work which was performed live twice a day over two days.

The piece was presented by Tutto Questo Sentire, an artist collective consisting of experimental soprano Olivia Salvadori, composer and cellist Sandro Mussida and filmmaker and video artist Rebecca Salvadori. The group is accompanied by guests Osàre! founder Elena Colombi on synthesizer, vocalist and producer Coby Sey and light artist Charlie Hope.

Conjuring the afterglow of creative encounters; the dying embers that linger when the curtain has fallen, Spazio Per Azioni Luminescenti illuminates impressions embedded in architecture; the echoes of the past that emanate as sensations, affect and memory. Interweaving classical instruments and singing with synthetic production and field recordings, for each performance, Hope sampled the colours of the evening sky, projecting the fluctuating shades of orange like a slowly revolving lighthouse beacon. Emerging from the captured footage, sound and light design processes are concepts of fragmentary action, stillness and rotation, the passage of time and circular motion of circadian rhythms.

Located along the banks of the North Sea Canal, Het HEM is a former industrial munitions factory. Unfolding between the looming white metal girders that make up the building’s infrastructure, Spazio Per Azioni Luminescenti opens with a low hum from Colombi’s modular synth, the oscillations reverberating through the concrete and steel. Filmmaker Rebecca Salvadori plays out fragments of her videos, inviting the audience to listen and imagine the missing images, envisioning “what remains” absent, while Mussida draws a slow, incandescent chord on his cello strings. Voices echo, snippets of conversations between the artists involved, Het HEM's director and curators. Sey harmonises with Olivia Salvadori’s otherworldly soprano, their vocals amplified through a quadraphonic, site-adapted speakers. Slipping into the surreal and uncanny, Spazio Per Azioni Luminescenti plays deftly with spatially: utterances surface, then disappear into the shadows, as ephemeral as a sunset. 
credits
releases October 1, 2023

[ OE 020 ] :  TQS w/ Coby Sey, Elena Colombi, Charlie Hope - Spazio Per Azioni Luminescenti (Snips)

‘Blush Study’, taken from the forthcoming album 'Corner Dancer', out via Modern Love on November 10th, 2023.

Produced by Lucy Railton, co-written with Petter Eldh.
Cello, vocals, electronics by Lucy Railton.
Moog, guitar and Polysix by Petter Eldh.  

Artwork by Rebecca Salvadori.

Corner Dancer

Blush Study

Buy Here

Lucy Railton- Blush Study

from the upcoming album Dare Voce
©2016 Sony Classical Italy

A brief anthology of short stories, Dare Voce takes the listener on a journey through different languages, compositional techniques, orchestrations, and recording processes with Olivia’s deep and powerful lyrical voice, complimented by classically influenced electronic soundscape

Dare Voce

Isola

Why Do Birds Suddenly Appear (excerpt)

music, Carlos Guastavino
lyrics,  F.Silva Valdés
Buenos Aires 1939

voice, Olivia Salvadori
piano, Susanne Satz

Recorded,  Studio Glance/Roberto Cacciapaglia,  Milan 2007


La rosa y el sauce

Pendulum Wave - using samples from St Mary's Church, Guilden Morden, UK

https://www.robgodman.com/RobGodman/Pendulums....html

This pendulum formula has had a significant impact on science and humanity in general (not least, giving an accurate measurement for ‘g’).  It has also been at the heart of much of my music and arts/sci work for the past couple of years...

There are a vast number of different types of pendulum experiment.  The original Pendulum Wave experiment, where multiple uncoupled pendulums of increasing lengths move together to produce visual traveling waves, standing waves, phasing, beating, and quasi chaotic motion, is the subject of physics, kinetic arts and desk toys!  By focusing on experiments carried out by Galileo, Newton, Huygens, Foucault and Cavendish (Baker, Gregory L. 2009), I am developing large-scale physical sonic sculptures that will be designed and constructed enabling the early wave visualisation to be studied and analysed.  Methods of analysing movement and extracting data from the swinging pendula will be investigated via video or other forms of motion tracking. 

The periodic nature of the pendulum will be compared to the work with pulse, phase and time of composers such as Nancarrow, Cowell, Reich and Ligeti.

I am fascinated by the periodic nature of sound that can be seen through astronomy, time and, not least, the human psyche.

Pendulum Wave

The clarity of sound within Greek or Roman theatres (without any form of enhancement) will be impressive to any visitor. The seats arranged in curved rows around the circular orchestra form large horizontal reflecting surfaces. The paths of sound waves travel from the source (the actor or singer) to each of the listeners in a direct path (i.e. without obstruction or reflection). Vitruvius, however, claimed further enhancements could be made.

In theatres, also, are copper vases and these are placed in chambers under the rows of seats in accordance with mathematical reckoning. The Greeks call them Echeia. The differences of the sounds which arise are combined into musical symphonies...
... it becomes fuller, and reaches the audience with a richer and sweeter note. 

Vitruvius, on Architecture, Book I, – on training of architects, Loeb

Over the past ten years, many of my compositions have been inspired by the notion of resonance in physical and artificial spaces.  Without ‘space’ (physical, virtual, psychological), music cannot exist.  My paper ‘THE ENIGMA OF VITRUVIAN RESONATING VASES AND THE RELEVANCE OF THE CONCEPT FOR TODAY’ has been published widely (including the ICMC 2009, Belfast) and is available from various sites online.  Rob has been requested to write an 8000 word chapter detailing the use of Echeia for 'A Companion to the Reception of Vitruvius'. This project is under contract with Brill and is being co-edited by Prof. Rowland and Dr Sinclair Bell. Publication is due for December 2020.

I’m still not sure if the echeia principle could have worked... (but I want it to!)

Drone3

Taken from 'Specimen' on Takuroku - www.cafeoto.co.uk

TR077 - Li Yilei - 'Slice'

Fredrik Rasten - composition, adapted guitars played with e-bows

Recorded on February 17 & 18 2021

score:

http://fredrikrasten.com/wp-content/uploads/2019/01/Murmurations-VI-XII.pdf

Murmurations VII

https://radiopunctum.cz

Tracklist:
Sandro Mussida - Rueben (8) [Die Schachtel] 
Sarah Haras - Wish That I [Chinabot] 
wzrdryAV - Storm Eluder [Accidental Meetings] 
Max Rumyantsev - S - Elements [Audion Soundscape Clics] 
Zoe McPherson ft. Elvin Brandhi - LEARN UR LANGUAGE FASTER [SFX] 
Lucrecia Dalt - Disuelta [RVNG Intl.] 
Kentaro Hayashi - Odyssey [Forthcoming Opal Tapes] 
Pauline Anna Strom - Small Reptiles on the Forest Floor [RVNG Intl.] 
Oliver Torr - Cleanser #1 [Self Released] 
Oliver Torr - Stay True [Self Released] 
Oliver Torr - Losing Mine [Self Released’] 
Jimmy Edgar - Bent (feat. Hudson Mohawke) [Innovative Leisure] 
Slowdive - Rutte [Creation Records] 
Detente 2020 - Bucket Tube (ft. Afu Ra & Jakub Tengler Live Drums) [FM Label]

Inverted Audio 02/21 by Freddie Hudson w/ Oliver Torr

His work investigates the relationships between tradition and innovation in music, investigating active listening, the identity of musical languages and rites. his latest works involve historical, nonequal-tempered tuning systems questioning its perception by the western, standardized ear. On the intersection between acoustical/classical, electric and electronic fields, he writes for orchestra, chamber and solo instruments, electronics. His work is published by Sony Classical, Boomkat, Tapeworms, Blume Editions, Metrica, Soave Records, Curl, Die Schachtel.

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