Sound poetry can be inspired by outer space phenomena and permeated by its times, scales, and mysterious dynamics.  In this radiophonic piece, distant planetary winds carry along animal calls, science fiction readings and vocal improvisations.  Blending the experience of having followed the Great Conjunction of 2020 from the countryside, using an amateur telescope, with inspiring passages from Arthur Simack’s short story Desertion (1944), the spatialised version of this 'eve I lectrique' conjunction sets a retro-futuristic immersion into imaginable multilingual and trans-species transmissions.   


credits:::

composition and hostess voice: Ángela Hoyos Gómez

multi-channel version: Ángela Hoyos Gómez and Juan Hernández 

vocal improvisers and readers: Maria Sappho, Isabella Ruiz Gallardo and Leah Stuttard 

voice processor programming: Juan Hernández

source image: Alejandro Aristizábal - taken in Cundinamarca, Colombia 2020.

ConjunctionPodcast

PLAYGOD

Colibrimorfosis

The audio from a sound installation made for Fields Festival, Maryland 2016.

Radio art, Brexit, Clinton's laughter, Trump speaking backwards at AIPAC, the Baltimore Uprising, refugee crises, politics, guilt, war, and more. 

#PirateRadio is Shola Cole and Mark Gunnery. Musical production by Mark Gunnery. Concept by Shola Cole. 

Shola Cole: http://www.piratehaterjenny.com/

Mark Gunnery: https://soundcloud.com/mark-gunnery

Nonviolence As Compliance (featuring Shola Cole Reading Ta-Nehisi Coates)

Arioso Dolente / Beethoven Op. 110 is based on Beethoven’s Piano Sonata No. 31 in A-flat major, Op. 110, and more specifically on the third movement, which provided all the sonic material for the composition. The arioso dolente, which carries out the main melodic themes, is the epicentre of the third movement. Although I have largely maintained the harmonic structure and even the melodic profiles of the movement, the electroacoustic piece remains a comment on the original piano sonata rather than an analytical approach to Beethoven’s music. I was more interested in the spiritual aspects of the sonata. Beethoven had just rebounded from a period of illness. His recovery sparked his creative forces resulting in the genesis of Op. 110. Both the joy and the melancholy of life are merged in this movement as an omnipresent duality. While composing my musical comment on Beethoven’s adagio I tried to enhance this duality by means of spectral transparency and luminosity which often contrast and converse with textural obscurity and opacity. The main melodic theme of the original arioso dolente appears in the middle of the piece, remote, magnified and utterly stretched in time.

Arioso Dolente / Beethoven Op. 110 was realized in 2002 at the studio of City University in London (England, UK) and the composer’s studio, and premiered on June 1, 2002, during the festival Intorno a Beethoven in Cagliari (Sardinia). The piece was commissioned by Amici della Musica di Cagliari (Sardinia). Thanks to Maria Metaxaki for the piano recordings, and to Lucio Garau for initiating the commission. Arioso Dolente / Beethoven Op. 110 was awarded the 1st Prize (UK Section) at the 2003 transatlantic competition Jeu de temps/Times Play and has been recorded on the compact discs Epoque de l’Eau and Cache 2003 CA+UK. 
(electrocd.com)

Epoque de l'eau

Arioso Dolente/Beethoven op.110

Musically, the work explores the disruption and abrupt termination of repeated patterns to suggest short episodes of pulses and rhythms that are never fully resolved or developed. 
Most of the sounds in the work come from recordings that I made from inside an upright piano, and inside a clock. These sources are juxtaposed with short samples of Baroque string orchestra. Patches in Reaktor and Max were used to create spatial movement (in the 8-channel version) and rhythmic modulation of playback position within each sound. 
The title of the piece comes from a line in Norman MacCaig’s poem ‘Sounds of the Day’, where the dark sounds in the poem, and silence that follows them represent the intense pain of grief and loss. The relevant extract from the poem is:
When the black drums rolled, it was water
falling sixty feet into itself.
When the door
scraped shut, it was the end
of all the sounds there are.
You left me
beside the quietest fire in the world.
(Norman MacCaig)

black drums rolled (2019)

Analogue synthesizer patterns, focussing on pulse and microtonal timbres rather than melody.

Non Musik (2019)

Written, produced and mixed by David Sabel.
Artwork by Michel Iseneld & Gabriella Holmström.
Mastering by Mattias Fridell.

A1. Hedén (7:14)
A2. Höga (6:36)
B1. Ängarna (7:43)
B2. Säm (4:44)

Released under the February full moon, 2020.

Love and light

Till Dig

Birds ov Paradise - Till Dig

Mozilla Hubs virtual tour Naukograd is about virtual experience about city of science produced by The Center for the Promotion of Science for event European Night of explorers 2020.
More about project: https://www.nocistrazivaca.rs/programi2020/naukograd/355

Science city/ Naukograd - Observatory theme

Mozilla Hubs virtual tour "Naukograd" is about virtual experience about city of science produced by The Center for the Promotion of Science for event European Night of explorers 2020.
More about project: https://www.nocistrazivaca.rs/programi2020/naukograd/355

ConjunctionPodcast

ulricaduo

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