Beyond Electrical Revolution
With InharmoniCity, we've tried to realize an urban symphony, through those sounds normally hidden from our perception and revealed through unusual transducers.
In the track Girl Running, a dialogue is established between the sounds synthesized with Xenakis' UPIC and the sound outputs of invisible electronic objects. By carrying these magnetic fields into the audible range, the sounds have been suspended, intimately researched, orchestrated, in order to cross the physical borders of aural perception.
The goal is to expand the simple concept of presence, looking for perspective and distance without creating virtual spaces, while pragmatically integrating aural environments in the compositional process. It was an attempt to recover our capacity of phonetic discrimination, with no fear of looking for the silence around us, avoiding that these singularities get lost in an unbalanced aural environment.
The imperfections in each sound/noise and the silence, free from any insurgence of distortion, are locked in a conflict of eternal existence and interdependence, where each realls its contrary.
Silence not as Emptiness, but as living presence that precedes the life of men and goes further than death.
The materials "caught" this way, is then played and re-recorded in real environments, not generated through digital reverb devices. This technique, often used by sound designers such as Ben Burtt and Walter Murch, is called worldizing. It consists of playing through a speaker the sounds created, and re-recording it with one or more microphones in different locations (garages, churches or other spaces which have interesting aural characteristics).
This way it is possible to realize several effects, i.e. the classic Doppler, by quickly moving the microphone in front of the speaker, so to vary the frequency of the sound wave (to observe this phenomenon directly, simply listen to the different sound frequencies of a siren when it gets close and then far away).
The second work Invisible Words takes its name from the fact that most audio sources in this track come from the typing of an old Olivetti typewriter.
These recordings, after being processed using micro-montage techniques, have been presented in different metaphors.
The most interesting maybe, appears in the final phase (last 4 minutes), where a quiet stream of structured pulses mimics, in an almost onomatopeic manner, the attempt to emit a sound/word with a closed mouth, a painful besides impossible action, almost as if they were invisible words spoken inside the same mouth.
released September 1, 2008
“Synesthesia is a crossing of the senses.”
Milan/Rome based Matteo Milani and Federico Placidi are sound artists whose work spans from digital music to electro acoustic improvisation.
U.S.O. Project was born from the desire to discover new paths and non-linear narrative strategies in both aural and visual domains.The project includes several collaborations with visual artists and performers.
Milani and Placidi are the co-founders of the label "Synesthesia Recordings", a repository of electroacoustic works.
U.S.O. is a continuing evolving organism.
Artwork by LA-based artist David Trulli
Unidentified Sound Object is the meaning of the acronym behind which hide the two sound-handlers Matteo Milani and Federico Placidi. They start from semi-concrete elements, patterns of stochastic self-generated drawings, transformation and organization of synthesis processes in order to achieve sculpted sound masses which evolve slowly in time.
On one hand, U.S.O. relate to a particular tradition of the classical electronic music (especially Italian), which did not obtain each and every sound from pure synthesis, creatively using instead their sound sources; on the other hand they hark back to video-arts languages dominated by processes of accumulation and/or slow transformation. If one appreciates the experimental tone - especially that which USO state to match performative aspect and other expressive realities - one ends up perceiving the limits of the audio cd, which is a pale image of what we can expect from the live version. - Michele Coralli
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