queste cose non avvennero mai ma sono sempre / rlecchinesque - double tape
Cassette + Digital Album
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kNN
• "queste cose non avvennero mai ma sono sempre" C30
• "rlecchinesque" C36
double tape - Canto 22
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"queste cose non avvennero mai ma sono sempre"
tapes montage - tape loops - feedback loops - tape delays
realized using reels of maxell 25-120 / maxwell 18-180 / scotch 207
recorded with a nagra iv-sj and an akai gx260d
"This is all about poor pieces of tapes I don’t want to throw away. They fight to not be stored.
Edges of memory that undergo the most arbitrary of assemblages to exhale their last magnetic breath".
"Back Pink Poem" was originally composed as part of the sound dramaturgy for the homonymous dance performance by and with Chiara Orefice (AltoFest, Valletta 2018 - European Capital of Culture). The music came from the ceiling of a garage.
realized using a bunch of 1990’ basf chrome extra II cassette tapes
recorded with a sanyo trc 1200 and a sanyo m1119 powering external lavalier and matched omnidirectional capsules (primo EM172 and EM173)
"I want my diary to be the place of the loss. Of the pruning. Somehow, of the sacrifice.
During the last year, I patiently cultivated a daily sound diary using two small cassette dictaphones.
My intent was purely speculative: I wanted to collect memories of my transitions between spaces using an alternative tool, which would bend the ethics and the ecological approach to the methodology, which are considered standard patterns (to don’t say a cliché) in all the field of research.
Rather than focusing on the transparency of the medium, I concentrated on a loss-based storage system: I used a single audio cassette for each month, allowing myself to go back and forth on the
tape to overwrite what was recorded with new material, corrupting the original horizontality of the document.
This constraint has led me to notice new, otherwise invisible parameters: the features of some sounds rather than others as a cue for the sutures (I tried to use the morphology of sounds themselves as a compositional principle in this patchwork), the degradation of the ferromagnetic support due to use and the effects of the intrinsic quality of the recorders effecting the environment with its own features, just like the contingent space does.
This topic became so important during the process that I started to introduce even more marks from the presence of the equipment: moving the audio cassette from one recorder to another to emphasize their structural differences; pointing an external microphone close to the motors as if the point of view were in third-person according to the recorder; and triggering feedback between one device and the other.
The processes through which these sounds began to self-arrange into a structure was astonishing: often I had to deal with the fact that a recording that was supposed to replace another (which I had condemned to be deleted as soon as I press record) was shorter than I imaged and so the overwhelmed layer emerged again, finding a new meaning in the whole organization.
Doing this, issues related to transparency, archiving, memory, subjectivity, technocracy, and narration had been explored through the minimal differences between spaces and environments that are virtually identical".
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recorded and realized between march 2017 and march 2018
cover picture : Germana Addolorata Frattini
«Spreco arlecchinesco della vita. Mentre l’entropia consuma tutti quei miracoli, uno finisce al mio cospetto. Lo intrappolo (registro).
Mentre tutto fuori deperisce, quello, nella sua nuova sede, trova nuova vita.
Trasformato, lui ritorna.
E vaga da un dispositivo all'altro.
Eredita gli oli e le putrescenze degli ambienti in cui si propaga, delle urne in cui è messo a giacere.
Preda di esalazioni magnetiche si flette, come a cercare il corpo che lo ha rifiutato: ora diventa opaco e immaterico -dimenticando del suo legame originario con la sorgente- ora somma se stesso ai suoi spettri. Non gli resta che clonarsi e autofagocitarsi come in preda ad una meiosi cannibale, sospeso fino al momento in cui il suo destino gli si rivela con comica ferocia: dopo essere stato disseppellito, proprio come è arrivato, lui va via. Lo dimentico.
Impilato nell’immenso archivio dove non è più ne ancora.»
«Legati in modo indissolubile, lo spazio e il tempo della percezione sono l’uno il reciproco umwelt dell’altro. La percezione dello spazio e del tempo sembra misurarsi con unità interscambiabili -la distanza percorsa dalla luce in un anno è il tempo che ci separa da ipotetici mondi a base di piombo-.
Nel dominio dell'orizzontale e verticale, in un sistema in cui è possibile discriminare le coordinate di un punto, il concetto di traiettoria resta una faccenda goniometrica.
Ma i suoni che ascolto, una volta privati del loro Umwelt (mondo-ambiente), non riescono più ad osservare un logico sistema di distanze. Si confondono in una trappola di limaccio. Divengono licheni in un paesaggio arboreo fatto di calotte, cupole e crateri, tutti simili.
I loro gesti senza carne ne guscio sono impotenti. Agiscono nella memoria.
Nel livello più esterno paiono ombre.
Nel livello più interno la raccapricciante edificazione di città vacue, miniaturizzate e rinchiuse dietro una sottile lente. Le mucillagini e i pulviscoli che vi si depositano rivelano un interstizio vuoto, dove l’orecchio- occhio riposa. Il secondo livello, quello dell’ascoltatore.
Solo con i suoni scopro le leggi che governano vite fatte di questa materia che è simile solo ad un fuoco fatuo. Ed ecco che quello che mi sembrava inorganico ora ha fame d’aria, e freme di un instancabile lavorio rilasciando scorie, tracce grafiche, firme rupestri.
Qui ritrovo la dimensione dell’ascolto.»
kNN/Renato Grieco is composer and sound enthusiast based in Naples, south Italy.
He is involved in several sound activities which finds him working on topics such as listening, archiving, questioning space trough producing and recording sounds.
He has been training himself to master repetitive movements both feeble or very projective and he spent a lot of time designing tools or spaces for listening, speaking inside objects, listening through objects, all of this with a critical attitude regarding sound ecology.
He just tries to not place himself in the border between scientific nor theoretical thoughts but using listening as a proper cognitive tool that affect intellect and body with its own semantics, humor and tragic nature.
Based somewhere in South Italy.
Canti Magnetici focuses on the research, through anomalous sounds, words and images, in the fields of natural and cultural phenomena, states of being and sciences.
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