Ingrid Pustijanac is Associate Professor at the University of Pavia, Department of Musicology and Cultural Heritage (Cremona). Her writings include a book on G. Ligeti and articles about the late 20th-century music with special attention to the spectral and post-spectral music, sound studies, improvisation, and sketch studies. She is a member of the Editorial Board of Archival Notes (Venice), member of GREAM (Strasbourg) and the Head of research group DALM (Cremona-Pavia).
Starting from some historical examples taken from the production of authors such as Stockhausen, Xenakis, and Nono, the concept of space in instrumental-vocal music, as well as the different modalities of its representation, will be addressed. We will examine the influence that the presence of the spatial dimension in the very conception of the piece affects the form and the musical articulation. Also, the problem will also be extended to the examination of some works of mixed music in which the presence of the electronic dimension multiplies the perspectives, creates new relationships between sound sources, and, therefore, different spaces. Examples of site-specific works and performances in unconventional spaces will be discussed.
Alessandro Bratus
Alessandro Bratus is Associate Professor of popular music at the University of Pavia – Department of Musicology and Cultural Heritage. His interest in popular music and multimedia spans over his entire academic production, starting with his MA thesis on the Pink Floyd’s concept-albums and following with the publication of Mediatization in Popular Music Recorded Artifacts. Performance on Record and on Screen (Lexington Books, 2019).
The spatial dimension in the cultures of popular music
The lecture will present a survey on the manifold meanings of space within the cultural domain of popular music cultures, with a special focus on how current practices (often labeled as dematerialized and devoid of a physical dimension) rethink and re-shape the spatial dimension. In the historical development of these musics, space has played a special role both in the cultural definition of particular genres and scenes, and in the technical development of recording technology, in which the gradual affirmation of certain sonic standards answers to specific socio-technological conditions. What is specific of space, though, is that offer to the imagery triggered by sound a background in which the narrative of songs, tracks and albums are happening, in a constant interplay between interpretation and inference by the part of the listener, which is at the same time subject and object in the definition of such a location in the moment of listening.
Fulvia Caruso
Fulvia Caruso is Associate Professor at the University of Pavia, Department of Musicology and Cultural Heritage (Cremona). Since 1998 she elaborates and realizes scientific projects to create permanent and temporary exhibitions in museums and cultural monuments as Collosseum in Rome. Her fields of interest are: Music and migration, Intangible heritage and its heritization, Visual Ethnomusicology. She is a member of the Italian Society for Museography and Demo-Ethno-Anthropological Heritage, member of the Editorial Board of Sound Ethnographies journal and a member of the Scientific Board of Esengo, Tor Vergata University of Rome publishing series.
From soundscape to acoustemology
Anthropology of sound theorized the role sound have to convey cultural meanings and messages effectively. In a world like that of museums, which generally focus on the exposition of the physical object, what can be the contribution of an acoustic perspective? The role intangible cultural heritage has in every culture impose to understand how to expose it in museums and how to let it speak to visitors.
Starting from specific examples from her museographic experience, Fulvia Caruso will give some tools to reflect about the relationship between objects, sound and space in museum exhibitions. Why, how and when to use sound in exhibitions? How to build, and when, relationships between space and the sound that one decides to let live in that space?
Giacomo Albert
Giacomo Albert is a Research Fellow at the CIRMA (University of Turin) and teaches audiovision at the Conservatory of Cuneo. He has published a book on sound in video art and essays on XXth and XXIst century music, sound art, electronic music, audiovision, and computational dramaturgies. His compositions have been performed in Italy, France, Denmark, UK, Spain, Portugal, USA, Canada and Australia.
New media and sound geographies and the technologies for the re-composition of space
The landscape of audio technologies is constantly evolving, a process that affects the way we perceive sound and reconfigures the space we live in. The workshop aims to present an overview of the main platforms for audio and of the main technologies for spatialization, combining a theoretical approach – scientific, media and cultural -, with the analysis of case studies and practical work – the latter being, based on exploration, exploitation and reconfiguration of space through digital technologies. Participants will then be invited to reflect on space and its technological construction, a space understood as a complex entity and, at the same time, a possible engine of sound form.
Andrea Valle
Andrea Valle is Associate Professor at the DAMS (Department of Fine Arts, Music and Performative Arts) of the University of Torino, where he teaches audio programming and media semiotics of media at the School of Multimedia. He is a founding member of CIRMA (Inter-departmental Centre for Multimedia and Audiovisual) of the University of Torino. He has participated to the EU-funded project VEP, that has reconstructed in Virtual Reality the Philips Pavilions. He has published in many international journals and conferences dedicated to multimedia, computer music and semiotics, and he is the author of Introduction to SuperCollider (Berlin, Logos, 2016). He is active as a composer and a performer.
Crash course: SuperCollider
SuperCollider (https://supercollider.github.io) is an integrated environment for the synthesis and digital processing of audio and music in real time, which combines signal control with algorithmic composition. The software environment is managed through programming with a textual interface but has a rich set of programmable graphic interfaces.
SuperCollider allows the use to practice live coding (as of its origin), as well as to synthesize signals in deferred time. Finally, it easily connects to other applications through the native support of the OSC protocol.
The workshop aims to provide a basic introduction to SuperCollider. For the neophyte, SuperCollider typically presents a rather steep first step of learning, which depends on the large number of aspects to be taken into consideration. However, once the fundamental points are understood, SuperCollider makes it easy to continue learning on your own. The workshop aims to facilitate this first step by providing an overview of SuperCollider and indicating how to proceed from then on.
Vicky Bisbiki
Vicky Bisbiki is an artist that combines new technologies and programming languages to describe and explore today’s perception of the world and our role in it through the potentials of interactive artworks. In her most recent works, she worked as a data visualization specialist giving her the opportunity to research and develop projects that deals with big data, such as “People behavior/location visualized as point clouds in interactive 3d environments”. She is currently member of the Greek Medea Electronique Media Art Team, collaborating in projects produced with the support of Onassis Cultural Center.
A survey on the activities that will be proposed to partcipants during the hands-on artistic workshop:
- Introduction to interactive visual artworks
- Introduction to different types of tools
- Experiment with the tools for visual interaction
- Experiment with different hardware for interactive visuals
- Choosing the tools for each project and start to compose the interactive narrative
- Experiment with the tools applied for each project
- Experiment with the tools for interactive visuals of each project/ team
- Planning the final project of each team, applying space specifics – material – tools – final synthesis
- Tools/techniques proposed for interactive visual such as Audio input – Sound Interaction, Live
- Camera feeding, types of controlling
- Communication protocols, open-source softwares: Openframeworks, Processing, Supercollider
- Other softwares: Resolume Arena, Adobe Premiere and more
- Hardware proposed for interactive visuals (microphones, web cameras, MIDI controllers, tablets, mobiles).
Marco Morandotti
Full professor of Architectural Engineering at the University of Pavia (since 2016). Faculty of Engineering; Chancellor’s delegate for the building heritage of the University of Pavia (2013/2019) President of the Degree Course in Building Engineering and Architecture (2013/2019); Director of the Interdepartmental Centre for the Conservation of the Historical Heritage of the University of Pavia (2010/2015) He is responsible for the scientific activity of the STEP laboratory (Science and Techniques for the Building Project) in the Department of Civil Engineering and Architecture (DICAr)
Architectural photography between documentation and interpretation
The architectural photographic reading and its formal rendering follow, like any language, its own grammar and syntax. Thanks to the knowledge of methods, techniques and rules it is possible to read a three-dimensional space, to communicate it through a two-dimensional image. The communication of the built space and its relations with the landscape can, however, have different aims than its exclusive documentation, and therefore suggest a different formal and representation declination.
The scientific objectives of the documentation and the mapping of the built are based on knowledge tools, which make the objectivity of the acquired data and its correct metric restitution the main purpose of the acquisition itself. Sometimes instead, you can decide to abandon a descriptive intent, pursuing a more subjectively emotional narrative.
Francesca Picchio
European Ph.D in Architecture and Research Fellow at the DICAr, Department of Civil Engineering and Architecture of the University of Pavia. Scientific coordinator of the research projects promoted by the DAda Lab of the University of Pavia and the LS3D Joint Laboratory of the University of Pavia and Florence. She has participated in national and international research projects, for the production of documentation and representation systems for graphic design of architectural and landscape heritage. She is a lecturer in the Graphic Computer Science course and has been an assistant in Architectural Drawing courses inside the Master’s Degree in Building Engineering and Architecture of the University of Pavia. She is an expert in hand drawing techniques, graphic concept and storyboard processing for video documentation of the architectural project.
Visual communication basics: Building a storyboard
The visual communication, as an instrument for the transmission of information in graphic and symbolic representations systems, uses visual synthesis processes to deals with a story or a sequence of events that followed a specific time-line. The storyboard was created with the aim of producing a tool capable of describing this sequence. Starting from different instruments related to graphic area, paper or digital illustration, the storyboard is able to structure the sequential patterns on which to produce films, short films, commercials or emotional videos, necessary for the description of a dynamic phenomenon, distributed over time.
In the lecture, the key passages will then be set out to perform a storyboard for the video sequence, from the graphic transposition systems of the “idea” to the description of the script, with the explanation of the subject, narrative history, places and events, in order to fully develop the project, from the concept to its visual transposition.
Marcello Scalzo
European Ph.D in Architecture and Research Fellow at the DICAr, Department of Civil Engineering and Architecture of the University of Pavia. Scientific coordinator of the research projects promoted by the DAda Lab of the University of Pavia and the LS3D Joint Laboratory of the University of Pavia and Florence. She has participated in national and international research projects, for the production of documentation and representation systems for graphic design of architectural and landscape heritage. She is a lecturer in the Graphic Computer Science course and has been an assistant in Architectural Drawing courses inside the Master’s Degree in Building Engineering and Architecture of the University of Pavia. She is an expert in hand drawing techniques, graphic concept and storyboard processing for video documentation of the architectural project.
Video capture, editing tools and techniques
Making a short video (a short film) we are dealing with some fundamental elements, of which the most relevant certainly are: subject, screenplay, quality of shooting, soundtrack and editing. The perfect mix of these elements makes the video smooth, pleasant and powerful. Given the first three variables acquired, we will focus our attention on the relationships and connections between the soundtrack and the editing. A music (or soundtrack) can simply support the message or the story (for simplicity a “background sound”) or it will have to have a foreground function. The perfect mixer between soundtrack and editing creates a balanced understanding between the elements, that harmony that will make the rendering of the video satisfying. However, the viewer must concentrate on the images (which, in the case of a short video, are the real protagonists), and it is the task of music to support and enhance them. The soundtrack (or music) and video work together. Many editors decide the music before creating a video, the reason is very simple: it is easier to adapt a video to a music than the other way around. Once the music has been chosen, the shots can be detached directly on the main bars of the track. It is possible to have more soundtracks inside a video, chosen to effectively support the different scenes and shots, and to use the sound to underline a premise or a prologue, sometimes to support, other times autonomously with respect to the visual image. The lesson will focus on the techniques and methods of video, image and sound editing, with some references to experiences conducted in the field of video editing.
Davorka Begovic - Ena Hodzic
Davorka Begovic - Ena Hodzic
For the last 15 years, Davorka Begovic has been working in the field of culture and art as a selector and a producer, primarily of music, but also theatre, contemporary dance, multimedia and film projects. She was an associate from the very beginning of the Culture of Change Programme at the Student Centre Zagreb, where afterwards she held the position of the Music Programme Artistic Director. Within that framework she initiated, artistically ran and produced the international festival Showroom of Contemporary Sound. Currently, she works as a freelance musicologist and independent curator, and as a collaborator of KONTEJNER she runs the international project Re-Imagine Europe. She publishes critics and articles, writes texts for discography and other releases.
Holds MA in Art History (2012) and Museum studies and heritage management (2014), Faculty of Humanities and Social Sciences, University of Zagreb. Works as curator and project organizer since 2010 (Device_art, Extravagant Bodies, Touch Me Festival). She is the programme coordinator for KONTEJNER since 2013 and was one of the curators of Mochvara Gallery (2011-2018) and Sound Art Incubator platform (2012-2018) – projects in which KONTEJNER worked with Culture Development Association “CDA” and Mochvara Club as partners. She is also the consultant for project development, project planning, fundraising and strategical planning for other organizations of the independent cultural scene in Croatia.
Sound Art Curation
The lecture will give an insight into the curation and the production in the field of sound art with a special focus on the site-specific sound artworks. It will discuss the aspects of the curatorial and production process and its specificities: both challenges and obstacles, but also possibilities and potentialities, as well as the broader positive outcomes. Starting from the specific examples and professional experience, it will also cover more general conclusions from the curator’s perspective. Besides some practical information and input for the problem-solving in production, we will also open the topic of distribution of site-specific sound artworks.
Tutor
Arber Marra
In October 2017 she won a Doctoral Scholarship in Architecture, address in Survey and Representation of Architecture and Environment, and from December 2017 she is PhD student at the Department of Architecture in Florence.
Elisabetta Doria
PhD Student at University of Pavia, degree in Building Engineering and Architecture, collaborates with Dada Lab – Design Architecture DocumentAction Laboratory in particular for the analysis of urban agglomerations, the documentation of territories and historic cities in Italy and in Holy Land and database management for GIS systems integrated with 3D models. From 2018 she participates in international and national activities organized by DICAr – Department of Civil Engineering and Architecture of the University of Pavia. She has participated in laser and photogrammetric surveying campaigns for the documentation of historical, monumental and UNESCO sites.
Francesca Galasso
PhD student in Design, Modelling and Simulation in Engineering, cycle XXXV, at the High Doctoral School of University of Pavia. She degreed in Building Engineering and Architecture in September 2018 with the thesis “Project of documentation in East Jerusalem. Databases and Virtual Reality systems for the recovery and use of urban space“, developed in the context of Architectural Surveying and Representation, with supervisor Prof. Sandro Parrinello. She is currently a scholarship researcher at DAda Lab research laboratory – Drawing Architecture DocumentAction. She deals with experimental research projects on three-dimensional geometric modeling systems for the extensive documentation from the architectural scale to the urban sector, and the development of compatibility protocols and implementation of these models in immersive and augmented virtual scenarios for information purposes. Since 2014 she participates and collaborates in national and international research projects for architectural documentation with digital representation systems, through the use of Lidar, TSL and Mobile, SfM photogrammetric survey for the structuring of 3D databases and virtual 3D models suitable for Augmented scenarious of fruition, in particular for valorization projects of archaeological and urban sites.