Ausgabe 3.2011 / Auditive Perspektiven
SOUND – SYSTEM – THEORY:
Agostino di Scipio's Work between Composition and Sound Installation.
Proceedings of the international conference, 21 and 22 March 2011, Berlin (Universität der Künste Berlin, Sound Studies)
Redaktion: Julia Schröder / Julia Schröder / Julia Schröder / Julia Schröder / Julia Schröder / Julia Schröder
Ausgabedatum: 27.07.2011
Agostino Di Scipio is among the few composers and sound artists who combine artistic production and theoretical reflection on an equally high level. For example, includes his concept of “sound dust” a – in a wider sense – political questioning of sound and background noise. In his series Audible Ecosystemics (2002–2005) background noise and other room or site specific elements are transformed – in a real-time computer process – into a musical composition. Therefore, the Berlin conference opened with a section on “room as an instrument”, a phrase coined by Martin Supper to describe music and sound art which relies on the specific acoustics of the performance space. A second section focused on emergence and system theory. Furthermore, an aesthetic approach to Di Scipio’s works was undertaken by Makis Solomos and others.
The Berlin conference was a sequel to “Journée d’études autour des Ecosystèmes audibles d’Agostino” organised by Makis Solomos (Université Paris 8) at Université Paul-Valéry in Montpellier (France) in February 2010.
With these proceedings the section Auditory Perspectives at kunsttexte.de broadens its width of formats once more: Next to the written texts of papers held at the conference (e. g. Helga de la Motte), we publish transcriptions of free lectures (Agostino Di Scipio) and we publish audio-documentations to listen to – with the accompanying slides as a text-file (e. g. Makis Solomos).
-
2011-07-27ZeitschriftenartikelScipios Realisation von Luciers Raumkomposition In diesem Vortrag werden vier verschiedene Realisationen von Alvin Luciers Raumkomposition "I Am Sitting in a Room" (1970) verglichen. Auch der Komponist Agostino di Scipio hat sich intensiv mit dem Stück auseinander ...
-
2011-07-27ZeitschriftenartikelSysteme mit Selbstregulation Es werden drei sich selbst regulierende Systeme ausführlich vorgestellt: Der erste spatiodynamische Turm von Nicolas Schöffer und Pierre Henry, die Pendulum Music von Steve Reich und Spacecraft von Richard Teitelbaum (mit ...
-
2011-07-27ZeitschriftenartikelSpace Turns to Time and Vice Versa In 2005, at the DAAD Galerie in Berlin, Agostino Di Scipio composed an ecosystemic work: Ohne Titel, Ökosystemische Klanginstallation in einem kleinen halligen Raum (Untitled 2005, Ecosystemic Sound Installation in a Small ...
-
2011-07-27ZeitschriftenartikelAesthetics of Agostino Di Scipio’s Ecosystems This paper proposes a deleuzian-guattarian reading of Agostino Di Scipio’s aesthetics, putting into parallel lines some characteristics of his music with ideas from Deleuze’s and Guattari’s Thousand plateaus. It starts ...
-
2011-07-27ZeitschriftenartikelEmergence and Emergency Agostino Di Scipio refers in his works to theoretical implications of system theory and transfers its models into his compositions, installations, and recently into his sounding objects. Some of these references are mentioned ...
-
2011-07-27ZeitschriftenartikelKlang – Spiel? Johan Huizinga sagt, Spiel sei eine primäre Lebenskategorie, „da menschliche Kultur im Spiel und als Spiel aufkommt und sich entfaltet“. Ich möchte zeigen, dass Klangkunst eine Art (letzter?) Anker unverdorbener Spielhaftigkeit ...
-
2011-07-27ZeitschriftenartikelUntitled Public Lecture In the lecture transcribed here, Di Scipio commented on one of his sound installations, Condotte Pubbliche (public conducts), at the time being featured in his solo exhibition “sound. self. other”, at the Galerie Mario ...
-
2011-07-27ZeitschriftenartikelRaum als Instrument Musik und Raum: Supper teilt den Raum in drei Kategorien. Raum als Instrument Virtueller und simulierter Raum Bewegung des Klanges im Raum