Here is the online version of the radio-performance FOOTBALL CHANTS CLASS that I made for Radio PicNic/Freies Radio in Berlin auf 88.4 MhZ on the 26th of April. Following the presentation of football supporters’ vocal techniques and know-how, a small choir learns and performs a selected number of football chants. The piece emphasizes the responsive nature of football-chanting as a situated real-time improvisation that unfolds in relation to the match and to the overall context of the stadium. The chants used for the piece come from the ultras group BRESCIA 1911. For a deeper insight about football chanting see the audio archive project THE SOUND OF NORMALIZATION
This is me walking through different rooms of the same building. I compare the acoustic response of each room by means of a pair of metal plates that I attached to the sole of my shoes.
Passages under bridges have always been interesting places for acoustic tests. In this video, the resonance of a concrete tunnel is triggered by the explosion of a series of firecrackers.
A radio microphone “walks” away from the signal receiver up to the point where the connection gets lost.
An acoustician illustrates the behaviour of sound in space by means of a practical demonstration. [...]
A collection of takes that show the constructed nature of studio-based recording production.
The microphone is placed in the foreground and is shot from behind. It becomes the alter ego of the recordist.
1) The performer is outside with a microphone in his hand.
2) The audience is inside and is listening to the performer from a loudspeaker that is connected to the microphone outside.
3) The performer tries to throw the microphone through the window and reach the inside where the audience is listening.
4) When the microphone enters the inside, the high gain volume (excitement) and the reduced distance (encounter) between microphone and loudspeaker produce an acoustic feedback.
5) In this way, the performer, who is metaphorically embodied in the microphone, finally meets his audience.
A drumset is separated in its basic elements: a bass drum, a snare and a hi hat.
Each of the performers plays a different element.
The performers stand in circle very close to each other and begin to play single strokes one at a time.
All the strokes are in relation together and contribute to the creation of a rhythmic pattern.
While they play, the performers break the circle and start to move away from each other.
The rhythmic pattern transforms in relation to the acoustic of the space and to the distance between the performers.
To the ones I love. To the ones I hate.
I can’t give you anything but myself.
Always be human. Always be you.
This is my personal version of “Hatebreeders”, a song by the hardcore punk band The Misfits. O O O HATEBREEDERS O O O, O O O O O HATEBREEDERS O O O !!!
A body moves in space modulating the acoustic feedback that occours between microphone and loudspeaker. According to the position occupied, the body can block or activate the feedback.
Starting from the exploration of the physical nature of sound waves (frequency and wave lenght), the performance reveals the capacity of the body to filter and alter the propagation of sound in space.
Video 1 – Rehearsals: https://vimeo.com/118521780 (password is “ciao”)
Video 2 – Live Performance: https://vimeo.com/119800367 (password is “ciao”)
WE PROVOKE THE CITY AND LISTEN TO ITS RESPONSE
EACH EXPLOSION LEADS TO A CONFLICT
EACH EXPLOSION LEADS TO AN ENCOUNTER
EACH EXPLOSION LEADS TO A DIALOGUE
SET THE FUSE ON FIRE AND GET READY FOR CONFRONTATION
1) The group walks in the city at night-time looking for places where to burst firecrackers.
2) The group moves silently, like in a sabotage action.
3) Once the firecracker is set off, the group concentrates on the impact of the bang.
The walk takes place at night.
Participants have to bring along a stick and an object to hit (ex: a paint bucket).
Each participant walks alone beating very simple and minimal rhythms (start from the beat of your own pace).
Everybody can take a different path.
Attention goes to the reflections bouncing off the walls of the builidings.
There’s no listening without intervention.
This is my personal version of the classic “Autumn Leaves”. Voice and piano together, searching for each other. A “broken” relationship that still works.