Giovanni Antignano - Inharmonicity
01:01:25, 2009Perhaps they share the same origin.
We learn that collective consciousness is shared among human beings, dynamically redistributing itself via unknown processes.
It permeates objects themselves and contributes to reality in its entirety.
We can perceive only a small part due to our biological nature and our tools for scientific research.
Our unconscious through reminiscence collects and dynamically rearranges fragments, and they interact in the explicit order.
The uniqueness of all things appears under different forms of experience.
We are searching for the wholeness, but we can only guess, sometimes in our dreams, in the arts, and in our philosophical speculation.
We ask ourselves about the deepness of matter and spirit with often inadequate or sometimes inconclusive tools and believe in the specificity and singularity of phenomena.
Each event persists in a place, in the past, in the future, because it is a permanent image itself, flowing the wholeness, like the story and the experience.
There’s no distinction, no limits, no difference, every possible infinity resonates in the wholeness.
DirectorGiovanni AntignanoProducerMatteo Milani, Federico Placidi, Giovanni AntignanoWriterMatteo Milani, Federico PlacidiEditorGiovanni AntignanoCrewMatteo Milani
Federico Placidi
Giovanni Antignano
CountryItalyEdition2009 Screenings2009 14th October, Winnipeg, Canada. Send + receive [v. 11]. AV screening: Girl Running.
2009 25th June, GÖDÖR KLUB, Budapest, Hungary. Crosstalk Video Art Festival 2009. AV screening: Invisible Words.
2009 27th February, NUfest.2009, Padua. Workshop: \"Vjing - videohacking, techniques and creative video making\". AV screening: excerpts from the dvd \"InharmoniCity\".
2009 18th February, Cedar Cultural Center, University of Minnesota, Minneapolis, MN. Spark Festival of Electronic Music and Arts. AV screening: Girl Running.
2009 31th January, Milan. Spazio Frida. Hearing through silence. Introducing the dvd \"InharmoniCity\" by Zerofeedback/Synesthesia Recordings.
2009 14th January, ZAUM - Officina Giovani, Prato. Hearing through silence. Introducing the dvd \"InharmoniCity\" by Zerofeedback/Synesthesia Recordings.
< overview
Who are behind Selfish and U.S.O. Project?
Giovanni Antignano (aka Selfish) is an italian video artist and visual designer. From the end of the nineties until today he has been a member of minor and important collectives such as BlindVision, and the conceptual group Timet which he collaborated with for various sound installations. In 2004 he founded the collective Fish-tank, a group that mainly takes care of digital art issues. He took part to several national and international meetings and festivals. He also curated the “What’ s next? 2006” festival dedicated to audio/video performances. During the past years Selfish collaborated/performed with Marco Parente, Marco Messina (99 Posse), Milanese, Dj Shantel, Lorenzo Brusci, Timet, Dino Bramanti, Bonarosa, David Cossin, Don Pasta, Larry Heard, Ether, Fenin, Xiangxing, Bardacid, Matter, among the others.
Milan/Rome based Matteo Milani and Federico Placidi (aka U.S.O. Project - Unidentified Sound Object) are sound artists whose work spans from digital music to electro acoustic improvisation.
Matteo Milani is a sound designer and composer living in Milan, Italy. He started his career at the end of the 80’s in radio stations, cutting inches of music on analogue tape. In the mid 90’s he pioneered the rising of digital audio workstations. Now, he’s reflecting most of his creativity blending “synthetic” and “organic” sound materials and performing live electronics.
Federico Placidi is a composer and sound designer living in Rome, Italy. Since the year 1993, he’s been working with several composers and performers as sound designer and live-electronics technician, thus developing his personal sound library and tools. He also worked as a sound editor / designer for numerous full-feature movies. His music ranges from “concrete” acoustic to experimental.
Your work is about?
The modern lo-fi soundscape possesses no perspective; rather, sounds massage the listener with continual presence. On a downtown street corner of the modern city there is no distance; there is only presence. As the population of sounds in the world increases, soloistic gestures are replaced by aggregate textures. Today we have ignored our ears.
With Inharmonicity, we’ve tried to realize an urban symphony, through those sounds normally hidden from our perception and revealed through unusual transducers.
In the visual portion of the work, the ongoing absence feeling is metaphorically represented by the superposition of desolate landscapes and apparently motionless, but in a deep perception of a constantly changing reality; distressing images and quiet absence. The action is layered up to reaching, in total synthesis with the audio track, a dialectic of lights and shadows, in total absence of colour.
Could you explain what themes or concepts and what is important to you?
The goal is to expand the simple concept of presence, looking for perspective and distance without creating virtual spaces, while pragmatically integrating aural environments in the compositional process. It was an attempt to recover our capacity of phonetic discrimination, with no fear of looking for the silence around us, avoiding that these singularities get lost in an unbalanced aural environment.
The imperfections in each sound/noise and the silence, free from any insurgence of distortion, are locked in a conflict of eternal existence and interdependence, where each realls its contrary.
Silence not as Emptiness, but as living presence that precedes the life of men and goes further than death.
Can you describe how the sonic scenery was accomplished?
Silence and electro-acoustic noise are the main components in the three suites of "InharmoniCity", and inspiration was drawn from the avant-garde technique of worldizing - recording and re-recording samples in various surroundings while tweaking the setting of speakers and microphones - which results in a complex, three-dimensional canvas. This way it is possible to realize several effects, i.e. The classic Doppler, by quickly moving the microphone in front of the speaker, so to vary the frequency of the soundwave (to observe this phaenomenon directly, simply listen to the different sound frequencies of a siren when it gets close and then far away).
In the track "Girl Running" a dialogue is established between the sounds synthesized with Xenakis’ UPIC and the sound outputs of invisible electronic objects. By carrying these magnetic fields into the audible range, the sounds have been suspended, intimately researched, orchestrated, in order to cross the physical borders of aural perception.
The second work "Invisible Words" takes its name from the fact that most audio sources in this track come from the typing of an old Olivetti typewriter. These recordings, after being processed using micro-montage techniques, have been presented in different metaphors.
The most interesting maybe, appears in the final phase (last 4 minutes), where a quiet stream of structured pulses mimics, in an almost onomatopeic manner, the attempt to emit a sound/word with a closed mouth, a painful besides impossible action, almost as if they were invisible words spoken inside the same mouth.
< overview
< Artists interviews
Federico Placidi
Giovanni Antignano
CountryItalyEdition2009 Screenings2009 14th October, Winnipeg, Canada. Send + receive [v. 11]. AV screening: Girl Running.
2009 25th June, GÖDÖR KLUB, Budapest, Hungary. Crosstalk Video Art Festival 2009. AV screening: Invisible Words.
2009 27th February, NUfest.2009, Padua. Workshop: \"Vjing - videohacking, techniques and creative video making\". AV screening: excerpts from the dvd \"InharmoniCity\".
2009 18th February, Cedar Cultural Center, University of Minnesota, Minneapolis, MN. Spark Festival of Electronic Music and Arts. AV screening: Girl Running.
2009 31th January, Milan. Spazio Frida. Hearing through silence. Introducing the dvd \"InharmoniCity\" by Zerofeedback/Synesthesia Recordings.
2009 14th January, ZAUM - Officina Giovani, Prato. Hearing through silence. Introducing the dvd \"InharmoniCity\" by Zerofeedback/Synesthesia Recordings.
< overview
Interview
Giovanni Antignano (aka Selfish) is an italian video artist and visual designer. From the end of the nineties until today he has been a member of minor and important collectives such as BlindVision, and the conceptual group Timet which he collaborated with for various sound installations. In 2004 he founded the collective Fish-tank, a group that mainly takes care of digital art issues. He took part to several national and international meetings and festivals. He also curated the “What’ s next? 2006” festival dedicated to audio/video performances. During the past years Selfish collaborated/performed with Marco Parente, Marco Messina (99 Posse), Milanese, Dj Shantel, Lorenzo Brusci, Timet, Dino Bramanti, Bonarosa, David Cossin, Don Pasta, Larry Heard, Ether, Fenin, Xiangxing, Bardacid, Matter, among the others.
Milan/Rome based Matteo Milani and Federico Placidi (aka U.S.O. Project - Unidentified Sound Object) are sound artists whose work spans from digital music to electro acoustic improvisation.
Matteo Milani is a sound designer and composer living in Milan, Italy. He started his career at the end of the 80’s in radio stations, cutting inches of music on analogue tape. In the mid 90’s he pioneered the rising of digital audio workstations. Now, he’s reflecting most of his creativity blending “synthetic” and “organic” sound materials and performing live electronics.
Federico Placidi is a composer and sound designer living in Rome, Italy. Since the year 1993, he’s been working with several composers and performers as sound designer and live-electronics technician, thus developing his personal sound library and tools. He also worked as a sound editor / designer for numerous full-feature movies. His music ranges from “concrete” acoustic to experimental.
Your work is about?
The modern lo-fi soundscape possesses no perspective; rather, sounds massage the listener with continual presence. On a downtown street corner of the modern city there is no distance; there is only presence. As the population of sounds in the world increases, soloistic gestures are replaced by aggregate textures. Today we have ignored our ears.
With Inharmonicity, we’ve tried to realize an urban symphony, through those sounds normally hidden from our perception and revealed through unusual transducers.
In the visual portion of the work, the ongoing absence feeling is metaphorically represented by the superposition of desolate landscapes and apparently motionless, but in a deep perception of a constantly changing reality; distressing images and quiet absence. The action is layered up to reaching, in total synthesis with the audio track, a dialectic of lights and shadows, in total absence of colour.
Could you explain what themes or concepts and what is important to you?
The goal is to expand the simple concept of presence, looking for perspective and distance without creating virtual spaces, while pragmatically integrating aural environments in the compositional process. It was an attempt to recover our capacity of phonetic discrimination, with no fear of looking for the silence around us, avoiding that these singularities get lost in an unbalanced aural environment.
The imperfections in each sound/noise and the silence, free from any insurgence of distortion, are locked in a conflict of eternal existence and interdependence, where each realls its contrary.
Silence not as Emptiness, but as living presence that precedes the life of men and goes further than death.
Can you describe how the sonic scenery was accomplished?
Silence and electro-acoustic noise are the main components in the three suites of "InharmoniCity", and inspiration was drawn from the avant-garde technique of worldizing - recording and re-recording samples in various surroundings while tweaking the setting of speakers and microphones - which results in a complex, three-dimensional canvas. This way it is possible to realize several effects, i.e. The classic Doppler, by quickly moving the microphone in front of the speaker, so to vary the frequency of the soundwave (to observe this phaenomenon directly, simply listen to the different sound frequencies of a siren when it gets close and then far away).
In the track "Girl Running" a dialogue is established between the sounds synthesized with Xenakis’ UPIC and the sound outputs of invisible electronic objects. By carrying these magnetic fields into the audible range, the sounds have been suspended, intimately researched, orchestrated, in order to cross the physical borders of aural perception.
The second work "Invisible Words" takes its name from the fact that most audio sources in this track come from the typing of an old Olivetti typewriter. These recordings, after being processed using micro-montage techniques, have been presented in different metaphors.
The most interesting maybe, appears in the final phase (last 4 minutes), where a quiet stream of structured pulses mimics, in an almost onomatopeic manner, the attempt to emit a sound/word with a closed mouth, a painful besides impossible action, almost as if they were invisible words spoken inside the same mouth.
< overview
