Aleksander Kolkowski is a composer, violinist, sound artist and researcher born and based in London. In a career spanning more than 30 years as a professional musician, he has appeared at major festivals worldwide and recorded for numerous record labels with various ensembles, bands and as a solo performer.
Over the past 12 years he has explored the potential of historical
sound recording and reproduction technology, combining horned violins,
gramophones and wax cylinder phonographs, to make contemporary
mechanical-acoustic music. This work has been shown across Europe and in
the USA, and broadcast by the BBC, WDR, Deutschlandradio and others.
In 2002 while resident in Berlin, Aleks founded Recording Angels, a
project that examines our relationship to recorded sound using
phonographs and acetate record cutters in performances, installations
and workshops. Large-scale works have been commissioned by MaerzMusik –
Berlin, Sonic Arts Network and the BFI South Bank.
He is an AHRC award holder and is currently completing a PhD at
Brunel University, London, combining practice-based and organological
research into early forms of mechanical amplification.
Aleks has recently been appointed as the London Science Museum’s sound artist-in-residence for 2012.
Venerdì 5 luglio si è svolto un primo incontro di coordinamento tra gli studenti di regia e montaggio del centro sperimentale e gli ex allievi del Lab di musica per le edizioni 2017 e 2018, in previsione di future collaborazioni.
Grazie a Sergio Bassetti, Annalisa Forgione e Natalia Rolla
Live concert by ALVIN CURRAN and ANGELO MARIA FARRO in occasion of the finissage of:
OMNIA FLUMINA ROMAM DUCUNT / ALL RIVERS LEAD TO ROME sound architecture by ALVIN CURRAN at the Baths of Caracalla, Rome Curated by RAM radioartemobile Promoted by Soprintendenza Speciale Roma with Electa
“The sounds which animated the great Baths of Caracalla nearly 2000
years ago are no longer audible, yet the ruins themselves stand like a
gigantic musical score – una partitura architettonica – waiting only to
be transformed into audible sound, into an universal symphony.” A. C.
Video by RAM radioartemobile in collaboration with 148Produzioni.
Jasmine Guffond created an application for android devices that sonifies wireless WI-FI and GPS networks, providing a sonic presence to phenomena that usually lies beyond human perception. Intersecting with the social, technological and political convergences within modern society, a society on the move – one walks through the city intercepting these wireless global infrastructures, the sonification of which, creates a compositional mapping within our everyday environments.
The first half of the title, Anywhere, all the time – was lifted from
the NSA Treasure Map document, leaked from the Snowden archive. It
outlines the NSA’s mission to build a near real-time interactive map of
the global internet that will “Map the entire internet – Any device,
anywhere, all the time” via the installation of traceroute generators in
“unwitting” data centres around the globe. Portable smart devices, by
the very characteristics that determine their success, also make them
particularly suitable as surveillance devices. Wi-fi technology, cell
phone towers and locative media provide specific geo-reference to
material territories so that it becomes possible to quite literally
‘follow the actor’.
The second half of the title, a permanent soundtrack to your life –
is a reference to the musical structure of the work and the ever-present
nature of wireless networks. John Cage’s dictum that “music is
permanent; only listening is intermittent” (1982) can be applied to the
listening of ever-present ubiquitous information networks, a ceaseless
production of sonic matter that proceeds and exceeds individual
Sound, like WI-FI and GPS data transmissions, functions as
omnipresent waves, and the sonification of these imperceptible networks
explores a ‘music’ with no fixed linear direction. By providing a sonic
presence to digital surveillance & communication infrastructure, the
listener is able to access their personal soundtrack anywhere, all the
time. By providing a direct sensory experience of data through sound I’m
interested in how it feels to live in a culture where our public space
is mediated by technological infrastructure that simultaneously empowers
via communication and compromises via the potential of surveillance. Do
our smart devices operate primarily as bridges or walls?