For those who stay,
and those that go away.
For Giampilieri 1 Oct. 2018
Until the last minute I have postponed this decision, in hope new energies, small founding, new enthusiasms would fill in for trasformatorio 2015 to happen. But now, with the last NO archived, time has finally to come.
Trasformatorio has to confront with reality.
There are no founds to do the planned edition of october 2015.
All efforts, of whom I am extremely grateful to some of you, have unfortunately given no usable result.
This I believe is not due to a fault in the ideas, that make them un interesting to founding institutions, because off the grid, sustainable and open performance research are spawning everywhere around us. And get founded.
Neither is I believe a problem in the methodology of creative research we are using, that I am more and more convinced about. To put together researchers, artists and makers in a positive but challenging environment, find stories, tell stories with new words, live, create poetic objects, experiment new and old ways to construct narratives in the open, with people, without the burden of technical or ideological jargon; to strive to realise other stories in a poetic forms that is our own is still my goal. I still strongly believe in all this.
Neither I can honestly say that I believed the direction chosen, to work in Sicily, with local institutions and in connection with Holland during the biggest crisis in 30 years and the total restructuring of dutch founding to be a simple one;
It is also a fact that Trasformatorio two editions have been super fruitful for the artistic research of many people that I have involved in this adventure. And I am happy about all these friends personal achievements. I am proud about all stories that you have carried with you out of Montalbano. All. The good and the bad ones.
But it is as well a fact that I have failed to convince producers, institutions, privates or other assets, fonds or money givers to give us a sigle euro for this year.
To make a 2015 edition a reality under these conditions is impossible, and I have to face this bitter truth.
Amsterdam 23 july 2015
THE GLITCH THING // EXPERIMENT #1 TWO TOWERS is an interactive projection mapping installation that allows the visitor to control the projection by moving his/her arms along with the body in the space in front of the two towers of the Castle of Montalbano, Sicily Italy. The images of the installation are generated in real time by those movements and create a unique and smooth flow of animation for each visitor, transforming him/her into participant and performer. The installation uses 3D sensor and motion analysis to track the visitor’s behavior and transform it into reactive abstract visuals with the help of VVVV. The interactive installation is developed by Antony Raijekov and supported by Trasformatorio #Zero.
by Sara de Santis
This project is study of the memory.
The memory is seen not as a tool to preserve experiences and emotions, but as an obstacle to the development of the present. According to Greek mythology the birth of memory (Mynemousine) originates from the primordial sin of the son versus the father.
The memory was born to save from shame.
The shame causes pain, the pain needs to be expiated but there is no catharsis.
The memory stagnates fueling the cracks of darkness, the fall without limits, Erebus sine lux.
In the dark abyss tadalafil cialis from india dwell the shame of primordial memory.
The inability to manage the present is born from this kind of memory, the time becomes cyclical and freezes in a moment.
Individuals are “tied” to the past that makes the present anachronistic.
While the surface is pretending an apparent equilibrium, the Erebus surrenders to a stable-unstability.
Through the work on the skeletal system, i discover a naked body, forced by his bones’ and joint’s rhythm: a body that is not scarred to show its stall.
check also an impression of the backstage, with an interview:
In a previous trip to Montalbano we met a local cheese maker, Ezio. He showed us how he makes a cheese called Provolone from the milk of his own cows
I was inspired by his work to explore cheese making in Montalbano and set to make my own version of the cheese from the same milk. Ezio gave me 30 liters of raw milk from which I made 12 kinds of soft cheeses in the shape of eggs. The installation was presented into the higher of the castle’s towers and fed to the spectators. After this, in collaboration with participant artist Emanuela Ravida, we shared a “milking” performance with the left over of the milk.
In response to my research, a very interesting gathering took place in the first week: an afternoon with the community’s elderly people, where they offered us to teach how to make traditional pasta. We shared songs, stories, local folklore and the get together ended up in spontaneous performances by the villagers and the artists alike, sharing of painting, dance steps, food.
What food means to me – preparing food is creating with all senses: I see, smell, feel, taste and hear. Is also sensuality, intimacy, vulnerability, power and womanhood.
“…and she ate his hart, then his liver and further the rest of his meat…”
In un viaggio precedente a Montalbano abbiamo incontrato Ezio. Ci ha mostrato come fa un formaggio tipico, chiamato provolone, dal latte delle sue mucche.
Il suo lavoro mi ha ispirato nell’esplorazione della fabbricazione del formaggio e mi sono proposta di fare la mia versione di formaggio a partire dallo stesso latte. Ezio mi ha dato 30 litri di latte crudo da cui ho derivato 12 tipi differenti di formaggio a pasta molle a forma di uovo. L’istallazione e’ stata presentata nella torre piu’ alta del castello e data da assaggiare agli spettatori presenti. Alla fine, e in collaborazione con una delle artiste partecipanti, Emanuela Ravida’, abbiamo usato il rimanente del latte per un gesto di “mungitura”, cospargendoci da capo a piedi.
In risposta alla mia ricerca un incontro molto interessante e’ avvenuto nella prima settimana: un pomeriggio con la comunita’ degli anziani di Montalbano, che ci ha offerto di insegnarci come fare la pasta tradizionale. Abbiamo condiviso canzoni, storie, folclore locale e l’incontro e’ terminato in esibizioni spontanee degli abitanti e degli artisti presenti, che si sono divisi dipinti, passi di danza e cibo.
Cosa significa per me usare il cibo- preparare il cibo e’ creare per tutti i sensi: vedo, annuso, tocco, ascolto e assaggio. E’ anche sensualita’, intimita’, vulnerabilita’, potere e essere donna.
“… e lei mangio’ il suo cuore, poi il fegato e infine il resto della sua carne…”
Ulisse: Un racconto popolare e’ laboratorio-residenza itinerante e uno spettacolo di teatro fisico, ispirato alla tradizione del racconto orale e della localita’.
Nel laboratorio, di volta in volta concepito attorno a un nucleo stabile di artisti partecipanti allo spettacolo, si raccolgono schegge della storia che vengono disposte poi all’interno della metastruttura dello spettacolo, che non comprende solo l’eroe Omerico ma liberamente usa l’intera nuvola ipertestuale della modernita’ fiorita attorno alla figura di Ulisse.
Lo spettacolo è concepito per essere rappresentato anche in luoghi non tradizionalmente teatrali, sia all’aperto che al chiuso, e usando in contemporanea diverse lingue e dialetti.
Il primo work-in-progress e’ stato creato e presentato durante Trasformatorio, un laboratorio-residenza a Montalbano Elicona, in Sicilia.
Ulisse: Un racconto popolare nasce dalla collaborazione del regista Francesco Piotti, la coreografa Eugenia Demeglio, il sound artist Alberto Novello e i performers del Trasformatorio.
Narra il viaggio di ritorno di Ulisse immaginato dagli abitanti di Itaca, divisi e dominati dalle sperequazioni e alla ricerca di una speranza: il capovolgimento dei propri destini.
Ulysses: A popular xanax drug test story is a performance of physical theater and a laboratory, inspired by the tradition of oral storytelling.
The laboratory is from time to time designed around a stable core of artists participating to the show, who collect fragments of the story that are then re-arranged to compose the show line, which includes not only the Homeric hero, but uses the entire hypertext of modern aura that flourished around the figure of Ulysses.
The show is designed to be represented in different locations, both outdoors and indoors, using all different languages and dialects available.
The first work-in-progress and has been created and presented during Tranformatorio, a laboratory-residence in Montalbano Elicona, in Sicily.
Ulysses: A popular story is a collaboration between the director Francesco Piotti , the choreographer Eugenia Demeglio , sound artist Alberto Novello and many performers involved in Trasformatorio.
It narrates the return journey of Odysseus as it is imagined by the inhabitants of Ithaca, divided and dominated by inequalities, and looking for one hope: the reversal of their own destinies.
A project involving Emanuel Andel & Antoni Raizhekoff (ThisPlay), Sara de Santis and Alberto Novello.
Another of the interesting collaborations that just happened in Trasformatorio number zero: the dance transforms into light, the tower of Montalbano’s Castle is morphed into a reactive light instrument, the sound flows from two small monitor speakers and the viewer fights within this setup to choose what to look at.
(We were all so mesmerized that there was little footage to be used. It will expand and transform. Thanks for sharing to Emanuel, Sara, Anton xanax pfizer and Alberto…)
Un progetto che coinvolge Emanuel Andel & Antoni Raizhekoff (ThisPlay), Sara de Santis e Alberto Novello.
Un’altra delle collaborazioni interessanti accadute in Trasformatorio #zero: la danza si trasforma in luce, la torre del Castello di Montalbano cambia in uno strumento di luce reattiva, il suono fluisce da due piccoli altoparlanti e lo spettatore combatte all’interno di questa impostazione per scegliere cosa da guardare.
(Eravamo tutti straniti che ci fosse cosi’ poco girato da utilizzare. Si espanderà e trasformera’. Grazie per la condivisione di Emanuel, Sara, Anton e Alberto …)
An installation about the human will to control the god-made elements.
By Alberto Novello a.k.a. JesterN
During the Residency at the Trasformatorio in Montealbano (Sicily), the wind was blowing so much that i wished i could stop it with a simple gesture. So i decided to build an installation in the pitch-dark long corridor of the museum of the castle to recreate the scary atmosphere of a storm at night and allow the visitors to control/play with “the elements”.
In line with the concept of the Trasformatorio, the challenge was how to create a big convincing storm sound and be eco-friendly. Usually big sound requires big expensive equipment in terms of money and energy.
I captured the sound of the wind outside and diffused it through several loudspeakers which were enough to deliver the high what do viagra and cialis do if taken together frequencies of the wind character. I used resonators to make vibrate the walls, windows and metals plates of the castle to generate a bigger, more realistic low thundery sound. Finally i programmed a wireless sensor system (powered by cell phone batteries) to allow the people to control the intensity of the wind with their hands.
The whole system could run on solar energy. During the day a solar panel would charge a car battery and during the night the electricity could power the whole installation: amplifiers, computer and sensors.
Thanks to Daniele Pisasale/Insolaria for the sun energy system and STEIM/Marije Baalman for the SenseStage microcontroller boards.
Alberto Novello a.k.a. JesterN, scientist, sound designer,composer, audio-visual artists.
if you have photos of my performance you would like to share, please upload them here: [ngg_uploader id=5]
By Alberto Novello a.k.a. JesterN, Anthoni Rijekoff and Federica Dauri
We used a combination of technologies to create a flexible and transportable low-impact energy motion tracking system. Through the ASUS Xtion PRO LIVE interface we can determine the skeleton joint position in a 2d space. We used network communication to transfer the bodily information to a second computer for sound design, which used pre-recorded sound of Montealbano village in a concatenative synthesis fashion. This added the sense of location-specific to the raw technology.
All elements run on solar energy and have an autonomy of several hours with a completely charged car battery. The dancer was inspired by the metaphors of body giving/body receiving in her actions and could construct cialis sample pack autonomously several improvisations which were always very creative and different. The aesthetic imposed by the developed technology revolves around the concept of synchronicity of machine-human // action-reaction. Mostly the dancer decides when to trigger sound events but sometimes the unexpected sound trigger the creativity of the dancer which adds a random creative element in the aesthetic discourse.
We feel all these experimentations have big potential and will be further explored in the context of a future performance.
Thanks to STEIM/Marije Baalman for the SenseStage microcontroller boards and Insolaria/Daniele Pisasale for the solar energy system.
You can find other videos of Federica and Alberto’s improvisations in the darke version here.
Alberto Novello a.k.a. JesterN, scientist, sound designer,composer, audio-visual artists.