Wednesday 16 March 2016, 8pm
“From the Desert Came Saltwater is a film without words, its plot is smeared and indistinct. Perhaps it's even possible to cycle its playing to get away from startings and endings - in such a case this abstract, melancholic picture will become eternal. It's like slow movements through endless desert space, the sense of this trip is left far behind, obscurity ahead...” – from Sound Projector's review of Nicola Ratti's album, From the Desert Came Saltwater.
Born in Milano in 1978. Polyhedric musician and sound designer active since years in the experimental fields. He has performed live in Europe, North America and Russia and his albums had been released by Anticipate, Preservation, Die Schachtel, Entr’acte, Where To Now?, Senufo Editions, Boomkat Editions, Holidays Records, Megaplomb, Musica Moderna, Boring Machines, Coriolis Sounds, Zymogen. He is currently working with: Giuseppe Ielasi with whom he formed the project entitled Bellows, Tilde, a trio with Enrico Malatesta and Attila Faravelli. He collaborates also with visual artists such as Nicola Martini, Alessandro Roma, Riccardo Arena, Ferruccio Ascari and Blisterzine/NastyNasty. He’s been the curator of The Variable Series from September 2013 to December 2014, a series of events concerning sound and performance hosted by O’ in Milano. He’s one of the promoters/artists of Auna since its firts edition (sept. 2012), an electroacoustic music festival conceived as a research/exchange moment between italian-based artists. Since May 2015 he is the curator of a series of sound-related events at Standards, an experimental sound research gallery located in Milano.
Yoni Silver / bass clarinet
Grundik Kasyansky / feedback synth
Tom Wheatley / double bass
Denis d'or, an electric grand piano mutation, invented in 1730 by the Moravian priest Václav Prokop Diviš in Prednitz close to Znaim. The instrument was 5 foot long and 3 foot wide, had 790 strings which allowed for 130 alterations but could still be tuned within 45 Minutes. With this instrument it was possible to imitate pretty much every wind and string instrument. Furthermore, it incorporated a built-in practical joke: the musician could receive an electric shock at the inventor or owner's whim. Apparently the only existing prototype of this instrument was bought by Georg Lambeck, prelate in Bruck, who, as long as he remained alive, paid a particularly skilled musician to play it. (Mendel 1872)
Robinson believed that, if he looked at it hard enough, he could cause the surface of the city to reveal to him the molecular basis of historical events, and in this way he hoped to see into the future. (Patrick Keiller, 1994)
Есть звуки даже довольно громкие, но мало отличающиеся от тишины. Так, например, я заметил, что я не просыпаюсь от нашего дверного звонка. Когда я лежу в кровати, то звук звонка мало отличается от тишины. Происходит это потому, что он похож на ту вытянутую колбасную форму, которую имеет свернувшийся конец одеяла, располагающийся возле моего уха. (Даниил Хармс, Дневниковые записи)
Daniel Malinsky is an improviser and composer from Pittsburgh in the United States. His work is improvised electro-acoustic music, with varying instrumentation but in recent years his ultra-minimal performances have been comprised of audio feedback, electro-magnetic interference (from mobile telephones or other electronic devices), and amplified object manipulation. Recently Malinsky returned to the US from a Japan tour where he collaborated with Toshimaru Nakamura, Tetuzi Akiyama, Ezaki Masafumi, and others.
