Trophies is :
Alessandro Bosetti
- voice, electronics, text-sound composition
Kenta Nagai - fretless guitar, shamisen
Tony Buck and/or Ches Smith - drums
>>>>> Composer and
sound artist Alessandro Bosetti is joined by Kenta Nagai, and Tony
Buck for TROPHIES.
Focusing on mantra loops of spoken/sung abstract and highly emotional
poetry Bosetti has created a powerful trance band where voice and
electronic sound melt with the hallucinatory fretless e-guitar playing
of Kenta Nagai (Miya Masaoka, Eugene Chadbourne), and the patiently
groovy and virtuoso pulses of Tony Buck (The Necks). Throphies uses
lenghty, repetitive and higlhy dinamic text-sound forms in a totally
unique and genre defying way.
Previous appearences of Trophies : Stone NYC, Roulette NYC, Teatro
Fondamenta Nuove Venice, Netwerk Aalst.... <<<<
photo : Kimberly Young (Ches Smith on drums)
Mask Mirror
A few months ago I wrote a note to myself :
"Try to create a mask that that doesn’t have anything to do with anything."
and kept wondering what that could mean until i started to imagine Mask/Mirror.
Mask/Mirror a sampler to process recordings of spoken language in real time.
The sampler follows both sound and meaning criteria in sorting, organizing and processing samples and in formulating utterances.
It is a software tool based on max/msp and a speech recognition software interacting with my own voice during performances. It's also a state of mind enabling expanded spoken and vocal improvisation, expanded communication and ecstasy.
It has been developed in collaboration with Harvestworks Digital Arts Center in New York and STEIM in Amsterdam.
Mask/Mirror has to do with virtually everything but at the same time it does not have anything special to do with anything special.
As well as being a blank mask I can put on my face - and my voice - it's also a mirror that let me browse and talk to my memory while I am watching into it.
All mirrors are masks and vice versa. Both are tools enabling identity.
"It is difficult not to treat Mask Mirror, with its randomized garble of words, as a willfully cryptic Oracle of Delphi reincarnated as an Apple laptop. While Bosetti had described the project as "about the aboutness of being about" what Noise got out all of this is that it's devilishly hard not to seek meaning even where it's clear none is forthcoming. Not until the program, in a moment of absurd hilarity, spit forth the word "hamburgers" did it all click: Mask Mirror is a tool for shearing all meaning from language. It's a liberation, of sorts, like the sound version of Rorschach tests: The mind is encouraged to wander freely and delight in words purely for their sound. In the information overload of contemporary times, Mask Mirror's playful rupturing of sense--its nonsense, in other words--is a welcome respite." Raven Baker - Noise/Citypaper
Above : Video recording of on of the early stages of Mask/Mirror, a max/msp based instru ment combining language and sound. Filmed in Brighton University TV studio by LauMunLeng as part of the intermedia art project EXTERNAL AV-SYNC 35Interview taken during the intermedia project EXTERNAL AV-SYNC 35 of LAU MUN LENG in collaboration with ALESSANDRO BOSETTI @ University of Brighton May 2008 /////
Composer Conall Gleeson talks about Mask Mirror. Interview taken during the intermedia project EXTERNAL AV-SYNC 35 of LAU MUN LENG in collaboration with ALESSANDRO BOSETTI @ University of Brighton May 2008
Complete Mask Mirror phone-in live performance in ORF Kunstradio, June 15th, 2008, listen here (actual piece start after 3 minutes of spoken german language introduction ).
her name - solo voice and
laptop
voice and laptop solo has been the main live setting in ab's past
two years tours. some of those materials have been recently released
on crouton music.
"What I do could be roughly reminiscent of songs. Kind of almost
spoken, abstract songs.
Maybe it’s just their duration that make them song-like, maybe
they are just "pieces." Maybe they are not songs at all.
I usually use my voice and a laptop, and then project the sound produced
around the audience.
During the concert I wear headphones. I consider headphones very poetic
objects. I receive signals through the headphones and I try to react
to them. Often I misunderstand them. Often I can't really control
what I sing because the headphones separate me from the environment.
I sing—as an untrained, passionate singer—and I speak—I
don’t play the saxophone here, for anybody who might ask.
I'm sorry I can't (and don't want to) provide a more conceptual framework
for this project.
It's not a "project" as much as it is a live performance,
changing every evening, though still featuring a lot of hidden conceptual
issues—as everything does, especially for those who might ask.
Voice, language, misunderstandings, sound-anthropology, relational
aesthetics, tone languages, conversations, headphones, geography,
unspoken languages, feedback (in behaviour and physics), interview,
no-control, handicap, imitation or mimetic behaviour are all favourite
themes for me. They are all somehow there.
I make music out of conversations, conversations that I’ve had,
and I make music out of them. It's the people I’ve met.
Often they were wearing headphones and I was having them listen to
something. When it’s taking place you are not listening with
them because of the headphones that cut you out. But you can listen
to their reactions. They often misunderstand too. That's OK for me."
The Pool and the Soup.
A set of rules for spoken improvisation.
By Alessandro Bosetti. © 2007
An ongoing research project on spoken imprvisation. The project will have it's premeire at the festival "maulwerker performing music" at Berlin venue Tesla in september '07 and has been perfromed several times by differennt ensebles in Germany and the US since then. ...The piece is based on spoken improvisation guided by a conductor through a pool of instructions.
The piece can be played by any number of people starting from 2. I recommend a group of about 8 to 15 people.
All instruction could also given by anybody in the ensemble at any time, my experience though is that it works better when the prompter leads most of the time. There could also be an agreement in rotating the conductor role during the piece. This is up to the ensemble.
Instructions are given through gestures and are valid until a new instruction comes.
Before any instruction is given the conductor has to point out with a finger all the player that will be involved.
Many different combinations of instruction could be used at the same time. The conductor can experiment with them....
See video, Download the score here