XXIV Waves For Piano Solo
MASSIMO SALOTTI, XXIV WAVES FOR PIANO SOLO - TO DAVID LYNCH
Artistic Commission and Theatrical Design: Keane
Tridimensional QR Code Production: Alessandro Stefani
1.ARTISTIC STATEMENT AND DESCRIPTION
The work was commissioned by Irish artist Keane, promoter of the new artistic and cultural phenomenon known as “geo-cultural caching” and is a tribute to celebrated filmmaker David Lynch. Salotti is inspired to pursue a form of sonorous experimentation, which designs, imprints and moves the emotional clock of the performer/listener. The twenty-four sound waves are the mirror of a deep introspective analysis as they explore the human soul in search of the profound “primordial” sound. The composition is inspired by numerology and by the evoking of images, quotes, emotions, anxieties and fears. Dedicated to David Lynch also pays tribute to great composers like Verdi, Shostakovich, Beethoven, Chopin, to the great structures of musical composition and to the famous collections of etudes and divertissements, reinterpreting the formal rigor as the only point of contact between the performer/composer and the audience. The audience will be able to take part in the performance of the musical composition in several ways:
1) As a passive listener, inside the circular structure created in the space provided.
2) As a performer: using a tablet or a smart-phone, after photographing two-dimensional codes, the audience will be able to listen to the individual tracks.
The composition texture is articulated in a 24-track timeline and develops into a compositional structure similar to true polychoral. The twenty-four voices can be performed in their ordinary succession (monophonic) or, by overlapping of the same music tracks, in their infinite vertical combinations (polyphonic).
An endless kaleidoscope of images and colors will accompany the music - the visual comment of artist Luca Leggero. Leggero will stage a Video Performance by projecting on a wall video fragments from the web concerning David Lynch’s manifold activities and subsequently manipulating, overlapping and transforming these images.
More details
PERFORMANCE AS SONOROUS SPACE
The 24 bell-chimes of the Cathedral of the Tuscany city of Barga are hidden in each track thanks to a technical-mathematic process, marking the passage of time with inexorable force. The ideal “annihilation” of the performer’s role as it is habitually preconceived finds full expression in the literal destruction of the musical score. Digital sound is the only way to execute this composition, a solution that can be mechanically “driven” by 24 performers. The “vox humana” of the piano, prepared through a process that alters the vibrational string resonance, is imprinted on the digital cell using a simple digital recorder with no additional special effects (a homage to David Lynch’s agent Dale Cooper).
TECHNOLOGY AS A TOOL FOR THE ARTISTIC INTERPRETATION OF THE WORK:
Salotti’s work is born from musical and sonorous matter and after collides violently with the cold and powerless aspect of technology. Critique, a wish or experimentation?
Can technology integrate itself into a work of art?
Can a work of art live and survive, today, without technological stratagems?
The space will certainly become a sonorous/ musical/theatrical/meditative environment.
But ONLY thanks to technology.
Only thanks to a QR Code reader.
Only thanks to a code.
Only thanks to an internet connection.
Only thanks to a loudspeaker.
Starting from a simple, primordial code : 0 1 0 0 1 0 1 0 0 0 0 1
Will this really be the first SOUND INSTALLATION WITHOUT SOUND?
2.TYPE OF CONTEXT
The bearing structure of the installation is made of 24 wooden boxes, in various heights, on which are positioned the same number of ceramic tiles containing 24 QRCode of audio tracks. The structure includes other 24 cubes, made of biodegradable material and 3D printing technique. It contains 6 random traces of the whole structure. Each track can be played individually, through a QRCode reader, or placed on top of any other track of the complete work.
The simultaneous presence of 24 visitors (performers) will allow the simultaneous execution of 24 tracks, as written in the score. The structure itself can be easily assembled in spaces of various purpose. You can create a circular structure (with a minimum diameter of 4 meters) positioned inside a gallery or a concert hall; you can even use the facilities as a real path inside the city itself.
3.SIZE OF EXHIBITION SPACE, DURATION…
The size of the wooden structures are:
6 structures: 30cm x 30cm x 100 cm
6 structures: 30cm x 30cm x 70 cm
6 structures: 30cm x 30cm x 80 cm
6 structures: 30cm x 30cm x 90 cm
24 Cubes: 4cm x 4cm x 4cm
24 QR-Code: 3cm x 3cm
The theatrical design provides a minimum of 4 metres in diameter; structures can be arranged in various ways.
The performance can be repeated over and over.
Artistic Commission and Theatrical Design: Keane
Tridimensional QR Code Production: Alessandro Stefani
1.ARTISTIC STATEMENT AND DESCRIPTION
The work was commissioned by Irish artist Keane, promoter of the new artistic and cultural phenomenon known as “geo-cultural caching” and is a tribute to celebrated filmmaker David Lynch. Salotti is inspired to pursue a form of sonorous experimentation, which designs, imprints and moves the emotional clock of the performer/listener. The twenty-four sound waves are the mirror of a deep introspective analysis as they explore the human soul in search of the profound “primordial” sound. The composition is inspired by numerology and by the evoking of images, quotes, emotions, anxieties and fears. Dedicated to David Lynch also pays tribute to great composers like Verdi, Shostakovich, Beethoven, Chopin, to the great structures of musical composition and to the famous collections of etudes and divertissements, reinterpreting the formal rigor as the only point of contact between the performer/composer and the audience. The audience will be able to take part in the performance of the musical composition in several ways:
1) As a passive listener, inside the circular structure created in the space provided.
2) As a performer: using a tablet or a smart-phone, after photographing two-dimensional codes, the audience will be able to listen to the individual tracks.
The composition texture is articulated in a 24-track timeline and develops into a compositional structure similar to true polychoral. The twenty-four voices can be performed in their ordinary succession (monophonic) or, by overlapping of the same music tracks, in their infinite vertical combinations (polyphonic).
An endless kaleidoscope of images and colors will accompany the music - the visual comment of artist Luca Leggero. Leggero will stage a Video Performance by projecting on a wall video fragments from the web concerning David Lynch’s manifold activities and subsequently manipulating, overlapping and transforming these images.
More details
PERFORMANCE AS SONOROUS SPACE
The 24 bell-chimes of the Cathedral of the Tuscany city of Barga are hidden in each track thanks to a technical-mathematic process, marking the passage of time with inexorable force. The ideal “annihilation” of the performer’s role as it is habitually preconceived finds full expression in the literal destruction of the musical score. Digital sound is the only way to execute this composition, a solution that can be mechanically “driven” by 24 performers. The “vox humana” of the piano, prepared through a process that alters the vibrational string resonance, is imprinted on the digital cell using a simple digital recorder with no additional special effects (a homage to David Lynch’s agent Dale Cooper).
TECHNOLOGY AS A TOOL FOR THE ARTISTIC INTERPRETATION OF THE WORK:
Salotti’s work is born from musical and sonorous matter and after collides violently with the cold and powerless aspect of technology. Critique, a wish or experimentation?
Can technology integrate itself into a work of art?
Can a work of art live and survive, today, without technological stratagems?
The space will certainly become a sonorous/ musical/theatrical/meditative environment.
But ONLY thanks to technology.
Only thanks to a QR Code reader.
Only thanks to a code.
Only thanks to an internet connection.
Only thanks to a loudspeaker.
Starting from a simple, primordial code : 0 1 0 0 1 0 1 0 0 0 0 1
Will this really be the first SOUND INSTALLATION WITHOUT SOUND?
2.TYPE OF CONTEXT
The bearing structure of the installation is made of 24 wooden boxes, in various heights, on which are positioned the same number of ceramic tiles containing 24 QRCode of audio tracks. The structure includes other 24 cubes, made of biodegradable material and 3D printing technique. It contains 6 random traces of the whole structure. Each track can be played individually, through a QRCode reader, or placed on top of any other track of the complete work.
The simultaneous presence of 24 visitors (performers) will allow the simultaneous execution of 24 tracks, as written in the score. The structure itself can be easily assembled in spaces of various purpose. You can create a circular structure (with a minimum diameter of 4 meters) positioned inside a gallery or a concert hall; you can even use the facilities as a real path inside the city itself.
3.SIZE OF EXHIBITION SPACE, DURATION…
The size of the wooden structures are:
6 structures: 30cm x 30cm x 100 cm
6 structures: 30cm x 30cm x 70 cm
6 structures: 30cm x 30cm x 80 cm
6 structures: 30cm x 30cm x 90 cm
24 Cubes: 4cm x 4cm x 4cm
24 QR-Code: 3cm x 3cm
The theatrical design provides a minimum of 4 metres in diameter; structures can be arranged in various ways.
The performance can be repeated over and over.
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