Re:All – Call & Response 2016

devised by Danila Luppino

Call & Response is the UK’s only independent dedicated sound arts space, serving as a focus for sound arts practice in London.
Call & Response prompts us to contemplate the nature of sound itself in both scientific and social terms.

callandresponse

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Sound Portrait

communicating through Sound – test for “It is all about listening

devised by Danila Luppino

Different subjects have been closed in a black room and recorded while listening to a track made for them and them only.
I left them in the room without telling them what to do.
Craig’s track has been mostly produced by myself except the last bit which is from Nils Fram (composer).
– I decided to insert a “commercial bit” in order to see his reaction to it. –
Through this experiment I discovered that some of them were synesthete.

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Temporally – Denatured Sonorum 2016

devised & prototyped by Danila Luppino

 

I am very interested in how sound interacts with our brain and also also how we interact with the environment and the environment respond to us.
This project is an analogue kinetic sound installation experiment.

In a narrow corridor, the presence of the listener is detected by a microphone. The data (mainly air) passes through the microphone into the amplifier and then
from the amplifier into the transducers applied on top of a cymbal/metal sheet. Ultimately the metal will vibrate and act as a speaker, therefor responding to the human presence.

The shrilling sound produced by the metal results ambiguously not unpleasant.
The listener found himself shaping the noise with his movements, therefor creating a sort of ‘experimental musical composition’.
The noise increase when underneath the cymbal.

 

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Abstract Sound n1

liquids

devised by Danila Luppino

 

Abstract Sound n2

violins

devised by Danila Luppino

Abstract Sound n3

dust

devised by Danila Luppino

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Not Such a Thing as Silence 2014

devised by Danila Luppino

I look at silence as I look at objects. I ask myself if we need to consider all media (video, sound or anything produced by the human being) as a disincarnated discourse as it happens within speeches.
Speech is a discourse itself, created and formulated by a subject, but the dichotomy of those two kinds of disincarnated discourse could be annihilated.
Considering all the disincarnated discourses as a speech or an expression of subjects could lead to a materialist animism that we can call a new “formalism”.
This way of looking at things would make the discourse of a video not as a transcription of the idea of the video-maker, but as a discourse produced by the video itself,
almost as if the video was a subject itself rather than an object.

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Janestone Massacre – Immersive installation

devised by Danila Luppino & Alexandre Saden @ CSM 2013

(footages are randomly taken from the internet – the voice si from the FBI database and the sounds been mixed by us)

 

A massive indoctrination and mind-control

The first reports out of Guyana on November 18, 1978 were that Congressman Leo J. Ryan and four other members of his party were shot and killed as they attempted to
board a plane at Port Kaituma airstrip. Within hours, came the shocking announcement that 408 American citizens had committed suicide at a communal village
they had built in the jungle in Northwest Guyana. The community had come to be known as “Jonestown.” The dead were all members of a group known as “The People’s Temple”
which was led by the Reverend Jim Jones. It would soon be learned that 913 of the 1100 people believed to have been at “Jonestown” at the time had died in a mass suicide.

Members of the People’s Temple had been trained for many years in readiness for the mass suicide that had finally occurred in November 1978.
Jim Jones had shared with his followers his paranoid belief that the American government was plotting to destroy anyone who was involved in the People’s Temple.
Jones’s followers were accustomed to looking to Jones for salvation. They had learned to trust this man known to them as “Father.”

We choose to realise a video installation, by exploiting the camera as a “mass art form, a social rite, a defence against anxiety and a tool of power” (In Plato’s Cave, Susan Sontag)

In Plato’s Cave

Photography changes our condition of imprisonment.
“In Plato’s Cave” Sontag notes how photography separates history into unrelated fractures, a collection of anecdotes.
But we are now all addicted to approving and ratifying reality through photography. We are more addicted to imagery rather then writing.

According to Susan Sontag, alienation of people and a surplus of Faustian energy, built modern, inorganic, “liquid” society.
Photography can be a passive documentary of atrocities. The person who intervene can not record, the person who record ca not intervene.

As photography we represents “the lie of life” through a video installation.

 

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