The more one immerses oneself in the recording, the more one comes to appreciate Forcucci’s attention to detail and how artfully he’s arranged the sounds – Textura Evoking an impending danger by means of his orotund heavy “voice” and his effect on sonic sphere which seems to be covered by a sort of camouflage mantle – ChainDLK The music generates feelings associated with the sense of loss and the act of creation, things that, usually, anticipate the rising of new times – Neural
Back from ten days of research, concerts, talks and lecture in Japan where we welcomed the vinyl of THE ROOM ABOVE in collaboration with mAtter, a great project and it sounds fantastic ! You can order your copy here. We celebrated the release with a concert at the CUBE in TOKYO, with also a dance performance and incredible DJ’S sets all along the night.
After two years and counting of iatus, the field research starts again. Just arrived in Accra, and already building bridges for the continuation of a project started 12 years ago, and which occupied much of my time between southern Africa since 2015 and Brazil since 2008. Thanks to Pro Helvetia Johannesburg – Swiss Arts Council for the opportunity. Stay tuned ! picture Lorenzo Pusterla
New records out https://matterlabel.bandcamp.com/album/the-room-above / Limited edition of 300 vinyls and digital / The Room Above was recorded in the church of the Helvetic Circle in Genoa, in the 2020 lockdown. I played the church’s organ in the present moment, with no score, over four consecutive days, possibly inspired by long sonic walks in the surrounding mountains and along the Ligurian coast. The intrinsic architectural sonic spatial identity of the building entered the recordings. The cumulation of sonic spaces – those initially present, those of field recordings, those of future concert venues, and those imagined by the listener – lead to a sonic moiré, a polyphony of spaces. Such a sonic moiré is the perception of several strata of spaces, as is comparable to the perception emerging from Marcel Duchamp’s rotoreliefs between the work and the perceiver, in a cinematic experience for the mind. It will be premiered in concert on June 15th/ 7.30pm at Centre de Cultura Contemporània de Barcelona during ISEA (international Symposium of Electronic Arts) 2022.
Next June 13th 15th 2022 at ISEA 2022 in Barcelona, we are presenting THE ROOM ABOVE, a multichannel electroacoustic piece. The organ of the Helvetic Circle’ church in Genoa was recorded, sampled and reworked with its resonances in the architectural space and leading to a sonic moiré, a polyphony of spaces. Also, an experimental laboratory work in cognitive sciences is combined with the concert in the performance space.
Starting the year with an interview with musicologist Wioleta Zochowska for Elektramusic
It is out ! Such a pleasure to publish my chapter (almost a book per se) in such a great context, with great authors. This is my second publication with Springer Press! The title, Sonic Imagination: Body, Visual Mental Imagery, and Nomadism, refers to practice-led research in a context of art & science and with an attempt to build a plural and non western vision by developing a nomadic lab.
Super exciting panel on interdisciplinary practices in the arts at the New York University of Shanghai of Friday March 5 at 3.15pm CST (China Standard Time). The event is public and accessible through Zoom. Link below.
New record out ! Ultra limited edition of 10
Every man should pull a boat over a mountain once in his life moi
De Rerum Natura emerges from field recordings in the Brazilian Amazon rainforest I recorded in November 2008 at the Mamori Art Lab. The environment is dense with sonorities; it absorbs and influences the beholder/listener while soundwalking, spotting locations or recording. The ears and the mind are fully dedicated to listening, leading to vivid mental imagery. The sonic does not carry its reality within itself but is comparable to a symbol that triggers ‘virtual’ reality in the mind of the listener.
The Amazon rainforest is so remote that one can concentrate only on the recording task with absolute dedication. The experience is so intense that the sounds become deeply engraved into one’s mind. The powerful images created by the sonic environment while recording and Deep Listening create the composer’s initial mental images. The final resulting imprint is the story told by the Amazonian space
I am honored to be part of the Leonardo community https://www.leonardo.info/led/24 #deeplistening #sonicarts #mentalimagery #sonicarchitecture
This week, I am part of the ELIA Biennale at the Zürich University of the Arts in Switzerland. ELIA is a globally connected European network that provides a dynamic platform for professional exchange and development in higher arts education https://elia-artschools.org/page/ELIABiennialHomepage
The artists-in-labs (AIL) program has a long history of bringing together artists from various disciplines with scientists from diverse research institutions. These cross-border and transdisciplinary collaborations are intended to engage opportunities that expand contemporary knowledges and artistic production.
#art #artist #science #swissartistsinlab #zhdk #switzerland #ubqtlab #lucaforcucci #artandscience #neuroscience #research
The piece is part of the exhibition
curated by Francisco López / 14 October – 11 January 2021
This week i should have been in New York for the electroacoustic music festival to present my piece Alerta! Well, I am not there but as many things went online, this festival too. So you can find the piece in the concert number 13
In the Autumn of 2018, i was in the Nordeste of Brazil for research. At the Federal University of Bahia, we organised an art and science Laser Nomad art talk with Dr Paola Barreto and Dr Bárbara Carine . So great to find it transcribed here in the Metamorfose Journal ! A conversation between Science and Art: about epistemologies & poetical and political imaginations – Salvador,November 29, 2018. #artandscience #technology #poeticalandpoliticalimaginations #epistemologies #ufba #ihacdigital https://portalseer.ufba.br/index.php/metamorfose/issue/view/2021
The piece Bodyscape is selected by Francisco Lopez to be presented at Museo Nacional Centro de Arte Reina Sofia in Madrid for the exhibition Audiosphere: Social Experimental Audio, Pre- and Post-Internet. It will be held from May 27th to September 14th with many other artists. I believe this is a milestone for sonic arts curation.
Finalist of the Luigi Russolo Prize 2019
Johannes Birringer / Josephine Fenger (Hg.) Editors
New album is out (Bis) / Bodyscape
released on Glistening Examples Recordings (CD)
available as a beautiful limited signed and numbered edition of 10′ Dubplate and Print on archival paper
on my bandcamp site
New Album is out ! B(L)(E)(E)(N)DINGS
available as a beautiful limited signed and numbered edition of 10′ Dubplate and Print on archival paper
on my bandcamp site
New paper published on Organised Sounds at Cambrigde University Press.
8.11-17.12 During six weeks I am working on a research tour including concerts, talks and collaboration with Federal University of João Pessoa, Federal University of Pernambuco, and Federal University of Bahia.
During the last months, I worked on a new collaborative project named LASER Nomad with Leonardo/ISAST. The first result is a conference and festival of electroacoustic music with the South African college of music at the university of Cape Town. June 18-20.
looks like my work is travelling more than me, and to places where I never been: while I am cosy in my Berliner studio, next month, my piece Blending (seas from south and north hemispheres) will be in Reykjavík.
Two Poles, an electroacoustic piece blending waters from the South and North hemispheres during the Anotações Sonoras: Espaço, Pausa, Repetição Exhibition at oMuseum in Porto from March 23 to end of June.
Voices from the Coalmine, an electroacoustic piece based on autism, will be presented within res·o·nant, a sound installation from Mischa Kuball, as a 60-second-long sound clip – so-called Skits at the Jewish Museum in Berlin from March 23 to Summer 2019.
New paper Out now by yours truly (english, portuguese and spanish) on the French/Swiss Poet Blaise Cendrars in Brazil. Journal Pragmatize, n.12, 2017 “Leituras do mundo: formas de expressão criativas e comunicativas”, Latin American Journal of Cultural Studies / University Federal Fluminense / Brazil
Talk for the 50th anniversary of Leonardo Journal / Rio de Janeiro / Brazil
Performance and talk at ISEA 2017 / The international Symposia of Electronic Art Manizales / Colombia
05.05 – 05.06.2017
Performance / Exhibition / Research In Lofoten and Oslo (NOTAM)
Realities, appearing as multiple layers and folds in which memories, cognitions, perceptions are coined and ready to emerge.
Luca Forcucci – The Waste Land (Cassette on Crónica)
How to root your field recordings symphony firmly in INA-GRM territory? Well, let’s start with the rumbles of a passing train, in homage to Bernard Parmegianni… Or, do we hear something different than carriages on tracks? Luc Forcucci’s The Waste Land navigates the thin line where aural realities and sonic distortions and manipulations are crossing, merging, converging. He plays tricks on the memory for sound(s); cognitions thereof and the perception of space and time by inviting the ear towards examination of familiarities, while – at the same time, even – layering these habitual aural surroundings with alien noises, crackling static and displaced or disembodied emergences in multiscapes of sounds.
Following the lead of the ‘Giants of the GRM’ Forcucci dives deep into the sound matter at hand. The composer was invited to produce a soundtrack for a documentary movie. But, he didn’t have any information as to the nature of the moving picture. Forcucci was only given around six minutes of field recording to work with. And that too came without any further context. Deep listening brought forth images which formed a mental movie for Forcucci. The Waste Land is his soundtrack for exactly that inner motion, aurally pictured.
Forcucci manages to project clear images out of the fogs of sounds he juxtaposes. With Voices from the Coal Mine he works the resonant properties of real, tactile spaces into recombinant virtual ‘rooms’, taking cues and inspiration from Alvin Lucier. The piece also ushers in vibrant and touching memories of the miners and their voices – stretched out, drowned out, purified to base resonances. The deep darkness of Forcucci’s sonic excavations brings to mind Pietro Riparbelli’s explorations of resonance and reverberations.
With the last work on the tape Forcucci’s ear bridges nature on the coast of Normandy (matter of factly recorded and presented like Chris Watson) and urban flâneur sound walking through the city of Paris (not unlike BJ Nilsen’s London work Eye of Microphone). Reporting and observation with Forcucci’s keen ear – again – questions the listener’s habitual modes of hearing verging on listening and therewith anchors itself firmly and with bravura in the formidable lineage of the INA-GRM. (SSK)
— Address: http://www.cronicaelectronica.org/
March 12 2017
October 14 – December 4 2016
In residency in the Lofoten Islands. Preparing new projects for 2017…. and walking the walk… a lot.
October 11 2016
Presenting recent works at Laser Zurich / sponsored by Leonardo the International Society for Arts, Sciences, and Technology (Leonardo/ISAST)
Outcomes of the one month scientific delirium madness 2.0 residency in San Francisco California, conducted from June to July 2015. Published in Leonardo Journal June 2016.
May 11 – July 2 2016
In Sao Paulo in residency at the Red Bull Station working on new projects and presenting work in Brazil until end of July.
April 18 – May 6 2016
In Olso developing work at NOTAM with support from Vandaler Residency
Presented on January 22 2016 at Centre Dürrenmatt in Neuchâtel / Switzerland
L. Forcucci, 2014, A l’Ecoute du Bruit, In Barbanti R. and Mariétan P. (eds.) Sonorités 9 2015, Nimes: Champ Social Editions
From the series ‘I can’t go Back to Yesterday Because I was a Different Person Then.’ Picture Published in Transnational Dialogues Journal / November 2014
Touching the Audience Published in Proceedings of the Electroacoustic Music Studies Network Conference / Electroacoustic Music Beyond Performance / Berlin / Germany / June 2014
Released on Subrosa records 1. Fog Horns 2. L’Ecume des Jours 3. Winds After 12 hours of flight and some sleep deprivation, I landed in San Francisco in Spring 2011. Because or thanks to my state of consciousness, a distinct and beautiful sound appeared. It took a while to understand if that was real or just my imagination: The sound of the fog horns. Later, after emerging from my own fog, I drove thru Big Sur to Los Angeles on the Highway one. The sound haunted me while driving and I quickly heard it again when back in San Francisco. I went closer to the horns, (sound) walked and recorded sonic material on the coast. The results are imaginary landscapes recombined as a road movie. The material was then composed in Berlin during the summer of 2012 at the studio of T.U. University in Berlin and at Atomic Baby studio, where turntables, scratch, cuts and echoplex (by Goo Le Gooster) and electronic cello (by Michael Kott) were added.
Delighted to somehow start again. Next month, June 2, I will give a talk about my research linking sonic arts and neuroscience with Jo Wei, Curator, researcher, and founder of Pan Bio-art Studio. All welcome ! (It s online and safe)
Alerta ! is a poem of the Brazilian author Oswald de Andrade about dictatorship during the 1960-1980’s in Brazil, resistance and love; the composition is a process based work: The poem told by the composer Jorge Antunes was recorded in Recife (Br); graphic scores were then given to a cellist (Noémy Braun), and a percussionist (Lucas Gonseth) in La Chaux-de-Fonds (CH); the resulting material was recorded and recombined, brought forward in Switzerland, in Portugal, in the USA, until its unknown final form.
The recent compositions Alerta ! will be presented mid June at the New York Electroacoustic Music Festival 2020. The work is based on a poem from the Brazilian author Oswald de Andrade.