The radio piece "101 Dada: listening to avant-garde vocality" is a collage processed from fragments of various audios, made in the laboratory, in November 2016 by Juan Angel Italiano.
This piece was made at the request of Alejandro Puig, to be broadcast on the Radio of the University of the Republic, 89.1 FM UNIradio. The transmission was made on September 28, 2017. The program was the first of a cycle dedicated to Dada and a podcast of it can be heard at the following address: http://archive.org/details/ElGarageDada
La pieza radiofónica “101 Dadá: a la escucha de la vocalidad vanguardista” es un collage procesado a partir de fragmentos de diversos audios, realizado en el labOratorio, en noviembre del 2016 por Juan Angel Italiano.
Dicha pieza fue realizada a pedido de Alejandro Puig, para ser trasmitida en la Radio de la Universidad de la República, 89.1 FM UNIradio. La transmisión se realizó el 28 de setiembre del 2017. El programa fue el primero de un ciclo dedicado al Dadá. Kyn-Taniya / IIIIUUUUU, Radio. Poema Inalámbrico en Trece Mensajes (1924) - Jesús Durón Cepeda y Waldo González Ramirez (2004) Lady Margot Asquith / The Events of August 1914 (1918) Eleutherios Venizelos / On the British Empire (1917) Juan Zorrilla de San Martín / Introducción a Tabaré (1910) Sara Bernhardt / Phèdre Act II Scene V (1910) Sara Bernhardt / Vive la revolution (1910) Emperor Franz-Josef I / Widows & Orphans Fund (1915) Filippo Tommaso Marinetti / Bombardamento di adrianopoli (1935) Arseny Avraamov / Symphony of sirens (1922) Von Paul Scheerbart / Kikakoku (1897) - Luis Bravo & Juan Angel Italiano (2016) Raoul Hausmann / Phonemes (1918 – grabación 1956) Tristán Tzara / Para hacer un poema dadaista, Manifiesto Sobre el amor débil y el amor amargo (1920) – Juan Angel Italiano (2016) Tristán Tzara / Aúlla, Manifiesto Sobre el amor débil y el amor amargo (1920) - Luis Bravo, Juan Angel Italiano, Eduardo de Souza (2013) Kurt Schwitters / Ursonate (1932 – grabación 1958) Tristán Tzara, Marcel Janco & Richard Huelsenbeck / Intermedio rítmico, L'amiral cherche une maison a louer (1916) - Luis Bravo & Juan Angel Italiano (2016) Kurt Schwitters / What-A-B-What-A-B-What-A-Beauty (1916) – Die Schwindlinge (2005) Kurt Schwitters / Qué b qué b qué belleza (1916) - Luis Bravo & Juan Angel Italiano (2016) Luigi Russolo / Risveglio Di Una Città (1913) Tristán Tzara / Dada es un microbio virgen, Manifiesto Sobre el amor débil y el amor amargo (1920) – Luis Bravo + Rita la cotorrita (2016) Wladimir Majakowski / Würden Sie denn (1920) Carlo Belloli / Bimba bomba (1943) – Valentina Ferraro (2004) José de Almada-Negreiros / Manifesto Anti-Dantas e Por Extenso-Poeta D'Orpheu Futurista e Tudo (1915 – gabación 1960) Johannes Baader / Einen Augenblick- Ich frage Sie, was ist Ihnen Jesús Christus- Er ist Ihnen Wurst (1918) – Jakob Gramms (2004) Germaine Albert-Birot / Entr'acte (1918) – Johny Fritz (2005) Hugo Ball / Karawane (1917) – Sonja Neuman (2005) Hugo Ball / Karawane (1917) – Luis Bravo & Juan Angel Italiano (2016) Filippo Tommaso Marinetti / Cinque sintesi radiofoniche (1933) Jamar / Polirumori di un treno in fuga (1917) – Juan Angel italiano (2016) Filippo Tommaso Marinetti / 80 Km all´ora (1917) – Juan Angel Italiano (2016) Vicente Huidobro / Canto VII, Altazor (1931) – Jaap Blonk (1992) Vicente Huidobro / Canto VII, Altazor (1931) – Luis Bravo (2015) Alfredo Mario Ferreiro / Tren en marcha (1927) – Guillermo Cano Rojas (2004) Alfredo Mario Ferreiro / Tren en marcha (1927) – Juan Angel Italiano (2008) César Vallejo / Poema XXXII, Trilce (1922) – Luis Bravo & Juan Angel Italiano (2016) Hugo Ball / Discutíamos la teoría del arte actual, Die Flucht aus der Zeit (1927) – Luis Bravo (2016) Kurt Schwitters / Anna Blume (1919 - grabación 1958) Kurt Schwitters / Anna Blume (1919) – Luis Bravo (2000) Hans Arp / Dada-Sprüche (1955) Antonin Artaud / Pour finir avec le jugement de dieu (1947) The cover art is a collage that contains the photomontage of John Heartfield "Krieg und leichen - Lie letzte hoffnung der Reichen" (1932) + the collage of Moholynagy "Ha seromin slviece" (1929) + photo taken of the Palacio Salvo during the passage del Garff Von Zeppelin on Montevideo (1934) + photograph of an American topophone (1921) El arte de tapa es un collage que contiene el fotomontaje de John Heartfield "Krieg und leichen - Lie letzte hoffnung der Reichen" (1932) + el collage de Moholynagy "Ha seromin slviece" (1929) + fotografía intervenida del Palacio Salvo durante el pasaje del Garff Von Zeppelin sobre Montevideo (1934) + fotografía de un topophone norteamericano (1921)
10 Comments
In Knížákrama Juan Angel Italiano follows in the footsteps of Czech artist Milan Knížák and his "Broken music" of the mid-sixties. On manually-altered surfaces in vinyl discs by means of stamping and pyrography or using old dubplats, aluminum discs coated with a lacquer of nitrocellulose acetate, cracked, and with the unmistakable white powder produced by the acidification of the lacquer with the metal. The reproduction in an IZU tray, manually, allows to obtain new unexpected sounds. The changes of speed, the recoil, the blows or the alteration in the path of the tine, allow a first analog record, which then, in turn, is reprocessed by means of digital software, trying beyond remixing, maintaining that characteristic modulation of rubbing the stylus in the grooves.
Recorded in: "labOratorio" in August 2013 Juan Angel Italiano in audio recording and editing. 
En Knížákrama Juan Angel Italiano va tras los pasos de checo Milan Knížák y sus “Broken music” de mediados de los sesentas. Sobre superficies alteradas manualmente en discos de vinilo por medio del calado y el pirograbado o utilizando viejos dubplats, discos de aluminio recubiertos de una laca de acetato de nitrocelulosa, cascados, ya con el inconfundible polvo blanco producido por la acidificación de la laca con el metal. La reproducción en una bandeja IZU, de forma manual, permite obtener nuevas sonoridades inesperadas. Los cambios de velocidad, el retroceso, los golpes o la alteración en el recorrido de la púa, permiten un primer registro analógico, que luego a su vez, es reprocesado por medio de sofware digital, intentando más allá del remixado, mantener esa modulación caracteristica del frotado del zafiro sobre los surcos.
Continuing with the cycle of "Bennettians" (works derived from works by John M. Bennett) I present this sound collage, made from audios previously recorded by John. A tour of 14 of his albums recorded between 1980 and 2014. / Continuando con el ciclo de “Bennettianas” (obras derivadas de obras de John M. Bennett) presento este collage sonoro, realizado a partir de audios previamente registrados por John. Un recorrido por 14 de sus álbumes grabados entre 1980 y 2014.
CantoGrático DECoLUMBRESCo
On sound pieces by John M. Bennett from the following works: 1980 - Gatered Heard VEC Audio exchange nº6 / John M. Bennett & Catherine Mehrl 1986 - Ax-Tongue / John M. Bennett & Byron D Smith 1992 - Pod King / John M. Bennett & Tom Furgas 2008 - John M. Bennett & Allan Revich 2009 - Be Blank Consort Von Ov from the Roanoke Marginal Art Festival / John M. Bennett, K.S. Ernst, Shelia E. Murphy, Michael Peters, Wendy Collin Sori, & Scott Helms 2009 - Banging the stone / John M. Bennett & Jim Leftwich 2009 - Cradled in the big white phone / John M. Bennett, Larry Marotta & Ben Bennett 2009 - Faster nih / John M. Bennett 2009 - 30 Diálogos sonoros / John M Bennett & Martín Gubbins 2010 - Ohio Grimes and Misted Meanies / John M. Bennett, Ben Bennett, Bob Marsh & Jack Wright 2013 - Areñal / John M. Bennett & Luis Bravo 2013 - Lo desencrito / John M. Bennett & Catherine Mehrl Bennett 2014 - Under the trees / John M. Bennett, Catherine Mehrl, Luis Bravo & Juan Angel Italiano 2014 - En la vuelta de la voz / John M. Bennett, Catherine Mehrl Bennett, Luis Bravo, Santiago Olivera, Damián Taveira & Juan Angel Italiano Edition of Juan Angel Italiano, made in December of 2016 in the "laboOratory" - Maldonado city, Uruguay Cover design on work by John M. Bennett: Cabezas Mayas (2009) The poetry of John M. Bennett has that strange attraction of the multiple voices, the deconstruction of the word, of the primal chaos of Babel. A poetics that works with the word, which disarms it and reassembles it. His works have a subtle attraction to be reinterpreted, invite and seduce to turn his work into an infinite composition, in continuous movement and flowering. A great powerhouse of motivation. Cloaca tuerca (John M. Bennett) Taveira / Olivera / Italiano – essay Damián Taveira: drums, percussion. Santiago Olivera: alto saxophone, melodica. Juan Angel Italiano: voice, rubbed metals, percussion. On text by John M. Bennett. Essay recorded in the Apple Room, on November 10, 2013.  La poesía de John M. Bennett tiene ese extraño atractivo de las múltiples
voces, la deconstrucción de la palabra, del caos primigenio de Babel. Una poética que trabaja con la palabra, que la desarma y la vuelve a armar. Sus trabajos poseen una sutil atracción para ser reinterpretados, invitan y seducen a convertir su obra en una infinita composición, en continuo movimiento y florescencia. Una gran usina de motivación. Cloaca tuerca (John M. Bennett) Taveira / Olivera / Italiano – ensayo Damián Taveira: batería , percusión. Santiago Olivera: saxo alto, melódica. Juan Angel Italiano: voz, metales frotados, percusión. Sobre texto de John M. Bennett. Ensayo grabado en la Sala Manzana, el 10 de Noviembre del 2013.
Tornatrueno / about homonymous text by John M. Bennett Inverted translation: Juan Angel Italiano Juan Angel Italiano: voices, rubbed metals, aerophones, bells, shaken keys and others etc. Recorded and edited in the "labOratory". Maldonado, Uruguay, May 2018 Editor's Note: listen in streaming audio and download the recording above rayando la mirada feroz
de Jim Leftwich´s "familiar lightning / rayo familiar" |
|||||||
Menu
RSS Feed
Contributors, friends, visitors to EC please feel free to comment on the blog posts in your own language if you wish. We all understand that this is an international community. It is true that English is a universal language among the underground sub-cultures of Planet Earth. But if you do not feel that you can comment in English effectively please use your own language and your friends here at EC will use translation software to read your comment.
ELECTRONIC COTTAGE is an international community where independent artists, musicians, writers and freethinkers can meet and share ideas, sounds, visual art, photos, zines, videos, reviews, news and info, opinions, tech and gear articles, and much more, all in the spirit of two-way communication.
EC draws inspiration from the Cassette Culture Revolution of the 1980s, 90s and beyond; Mail Art, Small Press and Zines, Dada, Fluxus, Punk Rock, Hacking, Circuit Bending, Anarchy, and Noise.
EC values inclusion, democracy, experimentation, independence and freedom of thought and expression, open-minded exchange, and Community.
ELECTRONIC COTTAGE is an international community where independent artists, musicians, writers and freethinkers can meet and share ideas, sounds, visual art, photos, zines, videos, reviews, news and info, opinions, tech and gear articles, and much more, all in the spirit of two-way communication.
EC draws inspiration from the Cassette Culture Revolution of the 1980s, 90s and beyond; Mail Art, Small Press and Zines, Dada, Fluxus, Punk Rock, Hacking, Circuit Bending, Anarchy, and Noise.
EC values inclusion, democracy, experimentation, independence and freedom of thought and expression, open-minded exchange, and Community.