[rohrpost] t-u-b-e newsletter: Werkschau Lou Mallozzi, 7. bis 11. Nov. 02
Christoph Hoefig
christoph.hoefig@muenchen.de
Thu, 07 Nov 2002 15:42:54 +0100
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Werkschau: Lou Mallozzi
Radiophone Arbeiten
(Wiederholung)
______________________________________________________________________________
t-u-b-e
galerie für radiophone kunst, installationen und audioperformances
www.t-u-b-e.de
im EINSTEIN Kulturzentrum
Einsteinstr. 42, 81667 München
______________________________________________________________________________
Donnerstag, 7. bis Montag 11. November, jeweils 20.30 Uhr
Teil I: 7., 9. und 11. November 2002
Aquapolis (1997)
8-Kanal-Installation, 28.55 Min
Things in their place (2002)
Stereo, 19.13 Min
Building from Scratch (1990)
Stereo, 15.10 Min
Teil II: 8. und 10. November
Pass (2000)
Stereo, 19.16 Min
Dizzy, not numb (1995)
Stereo, 23.30 Min
Drifters (1996)
Stereo, 32.24 Min
Dizzy, not numb (1995)
Dizzy,not numb is an audio art work that explores the sensorial body.
Utilizing four original fictional texts on breath, heat, bulk, and
scent, several other linguistic layers, or interpretive shells, were
constructed by asking several people to converse or improvise on the
given themes. The sounds of the body in motion, in space, and in repose
interact with these polysemous texts, making a corporeal language where
the physicality of utterance is as important as the development of
meaning.
Written, directed, and produced by Lou Mallozzi
Narrators: Katy Roderick, Mark Booth, Paula Froehle, Kevin Henry
Conversation: Terri Kapsalis, John Corbett, Dawn Mallozzi
Archaeological improvisation: Shanna Linn
Telephony: Lillian Lennox, Gregory Whitehead
Eighty violins: Terri Kapsalis, Dan Scanlan
Bodies in motion: Goat Island Performance Group (Karen Christopher,
Matthew Goulish, Lin Hixson, Greg McCain, Tim McCain)
Last words: Meenakshi Dash, Bill Talsma
Vocalizations: Lou Mallozzi
Recorded and mixed by Lou Mallozzi at Experimental Sound Studio, Chicago
Aquapolis (1997)
Aquapolis is a four-part architectonic audio art work, a work rooted in
language in which imaginary and real acoustic spaces interact,
contradict, and transform each other and the stories they contain. lt
was originally produced as an audio cinema work for a surround-sound
theater in Bonn. I subsequently produced a stereo version for broadcast
and CD listening and an 8-channel version for installation. The spine of
Aquapolis is a text in which a female narrator describes her walk
through the history of an imaginary city built on the water, based
loosely on the city of Venice, a city that is aquatic, enigmatic, and
labyrinthian. I originally wrote the text for the piece in English, then
had it translated into German and Venetian Italian. This multi-lingual
weave is edited and manipulated in various ways, and combined with
aquatic sounds, body sounds, the sounds of physical labor, and the
sounds of various locations. These sounds, primarily acousmatic,
corporeal, or referential in nature, expand the malleability of
location, absence, and meaning inherent in the acousticized text.
Written, directed, and produced by Lou Mallozzi.
Narrators: Marta Tonnegutti, Petra Klusmeyer, Carrie Biolo, Marcel
Baaijens, Margarete Zander, Heinz Weber.
Location recordings, unearthed sources, and electronic manipulations:
Lou Mallozzi
German translation: Dr. Manfred Heid.
Venetian Italian translation: Marta Tonnegutti.
Recorded and mixed by Lou Mallozzi at Experimental Sound Studio, Chicago
Engineering assistance: Robbie Hunsinger.
Pass (2000)
Pass is an audio art work intended for radio broadcast or CD listening.
Although it incorporates recorded voices from various sources, it is not
based on language (as is much of my work), but explores a narrativity
founded on extended moments and representations of physical proximity.
One of the original bases for the piece was the concentration on "the
moment after" -- for example, the moment immediately following the last
note of an opera, or immediately following the closing of a door. In
other words, that moment when the dust starts to settle -- an event is
ending and an aftermath is beginning. I use some recordings or
renderings of such moments in the piece, but it was never my intention
to illustrate these moments; they were a starting point from which to
build something, and thus Pass incorporates other material as well --
physical sounds, in particular non-verbal voices or breaths that can be
unstable, aggressive, or reserved; electronicahy manipulated recordings
that yield textures and pure tones, most of them very quiet; fragments
of pre-recorded singing or utterances; sonic detritus, such as noise,
radio interference, hiss, and dropout; and representations of spaces.
Pass is a dialogue among these sonic elements, structured in a linear,
episodic way. The structure is hinged together by the expanded moments
(or moments after), which is why long sections of the piece are very
quiet, or slowly decrease in volume, with subtle articulations in these
emptying spaces, then sudden dramatic jumps in volume at the next event.
lt is as if a moment of typically brief decay or pause is drawn out to
an unnatural length, so that the "ending" of an event is longer and more
emphatic than the event itself.
Produced by Lou Mallozzi
Mouths; Jaap Blonk, Mats Gustafsson, Lou Mallozzi
Recorded and mixed by Lou Mallozzi at Experimental Sound Studio, Chicago
Things in their place (2002)
Things in their place is an audio work about listening through the veil
of memory. Location recordings in real time are juxtaposed with texts
that have an instructional, interpretive, or ruminating sense to them.
Language is also used to accumulate absent objects that in turn "pile
up" inside the otherwise calm acoustic spaces.
Produced by Lou Mallozzi
Location recordings made in Venice and Bellagio, Italy
Written, recorded, and produced at the Electronic Music Studio of the
Rockefeller Foundation´s Bellagio Study and Conference Center, June
2002.
Mixed and mastered at Experimental Sound Studio, Chicago, August 2002.
Location recordings, narration, production, mix and mastering by Lou
Mallozzi.
Der Eintritt zu den Veranstaltungen in der t-u-b-e ist frei.
________________________________________________________________________
Impressum
t-u-b-e
galerie für radiophone kunst, installationen und audio-performances
Internet: www.t-u-b-e.de
EINSTEIN Kulturzentrum, Einsteinstr. 42, 81667 München
MVV: Max-Weber-Platz, U-Bahn und Tram
Ein Projekt der
Landeshauptstadt München
Kulturreferat
Projektleitung:
Christoph Schwarz, e-mail: christoph.schwarz@muenchen.de
Christoph Höfig, e-mail: christoph.hoefig@muenchen.de
Kontakt:
Landeshauptstadt München – Kulturreferat
Fachgebiet Medien, Film, Literatur
Burgstr. 4, 80331 München
Tel: ++49 (0)89 2332 69 91
Fax: ++49 (0)89 2332 15 63
Presse:
Anja Fanslau
Tel: 089 417 68 913
Fax: 089 419 29 492
Kuration:
Ulrich Müller, Jörg Stelkens
Kontakt: büro </stelkens>, Tel: 089 / 76 75 58 04, Fax: 089 / 74 74 78
59
e-mail: info@stelkens.de
_________________________________________________________________________
Hinweis zum Versand des t-u-b-e newsletter
Liebe Interessentin,
lieber Interessent,
mit dem t-u-b-e newsletter möchten wir Sie auf das aktuelle Programm
aufmerksam machen. Wir freuen uns auch über jede Rückmeldung, Anregung
und Kritik und wir bitten Sie, uns Ihre Meinung mitzuteilen.
Ihre Anschrift wird als Blind Copy in unseren Verteiler eingefügt. Damit
schützen wir Ihre e-mail-Adresse, denn kein anderer Empfänger kann diese
Informationen einsehen.
Sollten Sie unsere Informationen nicht benötigen, senden Sie uns bitte
eine kurze Nachricht an christoph.hoefig@muenchen.de . Wir werden dann
sofort Ihre Anschrift aus dem Verteiler nehmen.
Mit freundlichen Grüßen
Christoph Höfig
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<html>
<br><b><u><font color="#993300"><font size=+3>Werkschau: Lou Mallozzi</font></font></u></b>
<br><b>Radiophone Arbeiten</b>
<br>(Wiederholung)
<p><font color="#000099">______________________________________________________________________________</font>
<p><b><font color="#000099"><font size=+2>t-u-b-e</font></font></b>
<br><font color="#000099"><font size=-1>galerie für radiophone kunst,
installationen und audioperformances</font></font>
<p><font color="#000099"><font size=-1>www.t-u-b-e.de</font></font>
<p><font color="#000099"><font size=-1>im EINSTEIN Kulturzentrum</font></font>
<br><font color="#000099"><font size=-1>Einsteinstr. 42, 81667 München</font></font>
<br><font color="#000099">______________________________________________________________________________</font>
<br>
<p><b>Donnerstag, 7. bis Montag 11. November, jeweils 20.30 Uhr</b>
<br>
<p><b><u>Teil I: 7., 9. und 11. November 2002</u></b>
<p><b><font color="#993300"><font size=+2>Aquapolis (1997)</font></font></b>
<br>8-Kanal-Installation, 28.55 Min
<p><b><font color="#993300"><font size=+2>Things in their place (2002)</font></font></b>
<br>Stereo, 19.13 Min
<p><b><font color="#993300"><font size=+2>Building from Scratch (1990)</font></font></b>
<br>Stereo, 15.10 Min
<br>
<br>
<p><b><u>Teil II: 8. und 10. November</u></b>
<p><b><font color="#993300"><font size=+2>Pass (2000)</font></font></b>
<br>Stereo, 19.16 Min
<p><b><font color="#993300"><font size=+2>Dizzy, not numb (1995)</font></font></b>
<br>Stereo, 23.30 Min
<p><b><font color="#993300"><font size=+2>Drifters (1996)</font></font></b>
<br>Stereo, 32.24 Min
<br>
<br>
<p><b><u><font color="#993300">Dizzy, not numb (1995)</font></u></b>
<p>Dizzy,not numb is an audio art work that explores the sensorial body.
Utilizing four original fictional texts on breath, heat, bulk, and scent,
several other linguistic layers, or interpretive shells, were constructed
by asking several people to converse or improvise on the given themes.
The sounds of the body in motion, in space, and in repose interact with
these polysemous texts, making a corporeal language where the physicality
of utterance is as important as the development of meaning.
<p>Written, directed, and produced by Lou Mallozzi
<p>Narrators: Katy Roderick, Mark Booth, Paula Froehle, Kevin Henry
<br>Conversation: Terri Kapsalis, John Corbett, Dawn Mallozzi
<br>Archaeological improvisation: Shanna Linn
<br>Telephony: Lillian Lennox, Gregory Whitehead
<br>Eighty violins: Terri Kapsalis, Dan Scanlan
<br>Bodies in motion: Goat Island Performance Group (Karen Christopher,
Matthew Goulish, Lin Hixson, Greg McCain, Tim McCain)
<br>Last words: Meenakshi Dash, Bill Talsma
<br>Vocalizations: Lou Mallozzi
<p>Recorded and mixed by Lou Mallozzi at Experimental Sound Studio, Chicago
<br>
<br>
<p><b><u><font color="#993300">Aquapolis (1997)</font></u></b>
<p>Aquapolis is a four-part architectonic audio art work, a work rooted
in language in which imaginary and real acoustic spaces interact, contradict,
and transform each other and the stories they contain. lt was originally
produced as an audio cinema work for a surround-sound theater in Bonn.
I subsequently produced a stereo version for broadcast and CD listening
and an 8-channel version for installation. The spine of Aquapolis is a
text in which a female narrator describes her walk through the history
of an imaginary city built on the water, based loosely on the city of Venice,
a city that is aquatic, enigmatic, and labyrinthian. I originally wrote
the text for the piece in English, then had it translated into German and
Venetian Italian. This multi-lingual weave is edited and manipulated in
various ways, and combined with aquatic sounds, body sounds, the sounds
of physical labor, and the sounds of various locations. These sounds, primarily
acousmatic, corporeal, or referential in nature, expand the malleability
of location, absence, and meaning inherent in the acousticized text.
<p>Written, directed, and produced by Lou Mallozzi.
<br>Narrators: Marta Tonnegutti, Petra Klusmeyer, Carrie Biolo, Marcel
Baaijens, Margarete Zander, Heinz Weber.
<br>Location recordings, unearthed sources, and electronic manipulations:
Lou Mallozzi
<br>German translation: Dr. Manfred Heid.
<br>Venetian Italian translation: Marta Tonnegutti.
<br>Recorded and mixed by Lou Mallozzi at Experimental Sound Studio, Chicago
<br>Engineering assistance: Robbie Hunsinger.
<br>
<br>
<p><b><u><font color="#993300">Pass (2000)</font></u></b>
<p>Pass is an audio art work intended for radio broadcast or CD listening.
Although it incorporates recorded voices from various sources, it is not
based on language (as is much of my work), but explores a narrativity founded
on extended moments and representations of physical proximity. One of the
original bases for the piece was the concentration on "the moment after"
-- for example, the moment immediately following the last note of an opera,
or immediately following the closing of a door. In other words, that moment
when the dust starts to settle -- an event is ending and an aftermath is
beginning. I use some recordings or renderings of such moments in the piece,
but it was never my intention to illustrate these moments; they were a
starting point from which to build something, and thus Pass incorporates
other material as well -- physical sounds, in particular non-verbal voices
or breaths that can be unstable, aggressive, or reserved; electronicahy
manipulated recordings that yield textures and pure tones, most of them
very quiet; fragments of pre-recorded singing or utterances; sonic detritus,
such as noise, radio interference, hiss, and dropout; and representations
of spaces. Pass is a dialogue among these sonic elements, structured in
a linear, episodic way. The structure is hinged together by the expanded
moments (or moments after), which is why long sections of the piece are
very quiet, or slowly decrease in volume, with subtle articulations in
these emptying spaces, then sudden dramatic jumps in volume at the next
event. lt is as if a moment of typically brief decay or pause is drawn
out to an unnatural length, so that the "ending" of an event is longer
and more emphatic than the event itself.
<p>Produced by Lou Mallozzi
<br>Mouths; Jaap Blonk, Mats Gustafsson, Lou Mallozzi
<br>Recorded and mixed by Lou Mallozzi at Experimental Sound Studio, Chicago
<br>
<br>
<p><b><u><font color="#993300">Things in their place (2002)</font></u></b>
<p>Things in their place is an audio work about listening through the veil
of memory. Location recordings in real time are juxtaposed with texts that
have an instructional, interpretive, or ruminating sense to them. Language
is also used to accumulate absent objects that in turn "pile up" inside
the otherwise calm acoustic spaces.
<p>Produced by Lou Mallozzi
<br>Location recordings made in Venice and Bellagio, Italy
<br>Written, recorded, and produced at the Electronic Music Studio of the
Rockefeller Foundation´s Bellagio Study and Conference Center, June
2002.
<br>Mixed and mastered at Experimental Sound Studio, Chicago, August 2002.
<br>Location recordings, narration, production, mix and mastering by Lou
Mallozzi.
<br>
<br>
<p><b>Der Eintritt zu den Veranstaltungen in der t-u-b-e ist frei.</b>
<p>________________________________________________________________________
<p>Impressum
<p><b>t-u-b-e</b>
<br><b>galerie für radiophone kunst, installationen und audio-performances</b>
<p>Internet: www.t-u-b-e.de
<p>EINSTEIN Kulturzentrum, Einsteinstr. 42, 81667 München
<p>MVV: Max-Weber-Platz, U-Bahn und Tram
<br>
<p><b>Ein Projekt der</b>
<p><b>Landeshauptstadt München</b>
<br><b>Kulturreferat</b>
<br>
<p><b>Projektleitung:</b>
<br>Christoph Schwarz, e-mail: christoph.schwarz@muenchen.de
<br>Christoph Höfig, e-mail: christoph.hoefig@muenchen.de
<p><b>Kontakt:</b>
<br>Landeshauptstadt München – Kulturreferat
<br>Fachgebiet Medien, Film, Literatur
<br>Burgstr. 4, 80331 München
<br>Tel: ++49 (0)89 2332 69 91
<br>Fax: ++49 (0)89 2332 15 63
<p><b>Presse:</b>
<br>Anja Fanslau
<br>Tel: 089 417 68 913
<br>Fax: 089 419 29 492
<p><b>Kuration:</b>
<br>Ulrich Müller, Jörg Stelkens
<br>Kontakt: büro </stelkens>, Tel: 089 / 76 75 58 04, Fax: 089
/ 74 74 78 59
<br>e-mail: info@stelkens.de
<p>_________________________________________________________________________
<p><b>Hinweis zum Versand des t-u-b-e newsletter</b>
<p>Liebe Interessentin,
<br>lieber Interessent,
<p>mit dem t-u-b-e newsletter möchten wir Sie auf das aktuelle Programm
aufmerksam machen. Wir freuen uns auch über jede Rückmeldung,
Anregung und Kritik und wir bitten Sie, uns Ihre Meinung mitzuteilen.
<p>Ihre Anschrift wird als Blind Copy in unseren Verteiler eingefügt.
Damit schützen wir Ihre e-mail-Adresse, denn kein anderer Empfänger
kann diese Informationen einsehen.
<p>Sollten Sie unsere Informationen nicht benötigen, senden Sie uns
bitte eine kurze Nachricht an <b>christoph.hoefig@muenchen.de</b> . Wir
werden dann sofort Ihre Anschrift aus dem Verteiler nehmen.
<p>Mit freundlichen Grüßen
<p>Christoph Höfig</html>
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