Download Roberto Pugliese works selection

Roberto Pugliese
works selection
My research draws its energy mainly from two tendencies in art, sound art and that of the
kinetic and programmed art .Using mechanical equipments driven by software that interact
with the surrounding environment and the user, I intend to examine new points of research to
the phenomena attached to sound, analysis of the processes that use the human psyche
structures to differentiate natural from artificial ones (both acoustic and visual), on the
relationship between man and technology and the relationship between art and technology,
giving a role no less important to the visual aspect. The sound then becomes both the object
of research, of acoustic and visual means of expression, vital energy that animates the
inanimate, to guide the investigation and stimulate the psyche and the human perception.
The idea of creating an active relationship between work and user drives me to create
dimensions in which the sound is moving, creating different perspectives sound for the
listener. The art comes from a two-dimensional reality to create real sound and or visual
settings. In this way the user is totally immersed in the perceptual worlds that accompany
him in a sensorial experience.
Roberto Pugliese/Tamara Repetto
Inside/Outside
Sound installation (glass, speakers, cables, computer).
2011
The installation, consists of seventy blown glass balls of different sizes, each of which
contains the black cone of a speaker. The balls hang from the ceiling, each at a different
height, on clear nylon wire, letting the big black wires that take the sound to the speakers fall
onto the floor. This installation turns things around in a curious way: as we visit the
installation, we do not find ourselves looking at the glass balls hanging from the ceiling, but
at the jungle of alien flowers rising out of the floor, supported by thin black stems, with their
single organ watching us and talking to us at the same time. They tell us about the street,
about the tirelessly teeming city outside, and about the fact that we rush to them to see what
they have to say. The sounds conveyed by the speakers are gathered in real time by a
microphone outside the gallery and sampled by a computer which directs them to the glass
balls in eighteen separate channels. The result is a sort of chit-chat which is both familiar
and alien at the same time: familiar, because it is built on the basis of the sounds in the
environment we left behind us when we entered the gallery; and yet alien, because this
familiar sound (which we rarely listen to) is isolated, drawn to our attention, multiplied,
spatially distributed in different areas and subjected to the tiny variations produced by the
interaction of the cone with the glass ball, which becomes its sounding board.
Domenico Quaranta
Roberto Pugliese
Equilibrium Variant
(metal, Plexiglas, motors, electronic circuits)
80x30x30 cm
2011
The work aims to investigate the potential of Larsen effect* (feedback) using mobile devices
in a three-dimensional space. In a room there are stands, each of them support two robotic
arms. At the end of an arm is positioned a microphone and on the other end is placed a cone
(of different size and power). When a microphone is located in the vicinity of a cone, it
causes the system to go into feedback (Larsen phenomenon) and then into saturation
(breaking point). The phenomenon of feedback is different for each micro system (made up
of microphone and cone) because each cone has its own specific resonance due to its
physical structure and the materials it is made. Software created specifically, determines the
position of the robotic arms in the system in a dynamic manner and controls the distance of
the microphones from the audio cones in order to prevent the system to go into saturation. In
this way, each micro system seeks its own equilibrium, but this is physically impossible to
obtain. The spasmodic search for this balance creates a changeable visual and acoustic
dimension, constituted by the various speakers in feedback and which manifests itself in a
sonic manner forever changing and different. The Larsen effect that is usually perceived as
an annoying error, in this context becomes a means of character and artistic vitality. In
nature, the phenomenon of feedback is the ability of a system to regulate itself, taking into
account the effects arising from the change in the characteristics of the system and all living
organisms are subject. The project brings this phenomenon in the field of kinetics, utilising
robotic technology; an "artificial intelligence" that makes the machine a "slave" of the
processes belonging to the biological world, a "machine" that follows a typical behaviour of
natural organisms.
* The Larsen effect (named after the physicist Søren Larsen Absalon who first discovered
the principle), also known as acoustic feedback, is the typical shrill whistle that develops
when the sounds emitted from a loudspeaker is received back with sufficient "power booster"
by a microphone (or pickup of any electric musical instrument, like a guitar or bass) and sent
it back to the same speaker, in a closed circuit. The effect is usually triggered when the
microphone is too close to the speaker and captures the frequency emitted by the latter, at
any given time stronger than the other, which is then amplified and reproduced, in turn, with
gradually increasing amplitude, virtually unlimited, except for the fact that the amplifier goes
into saturation. We thank Ing. Walter Pugliese for technical contribution to the realization of
the work. Photos by Thomas Nitz
Roberto Pugliese
Equilibrium
(metal, Plexiglas, motors, electronic circuits, wall installation)
dimensions variable.
2011
The work is focused on the development of the phenomenon of acoustic feedback (Larsen
effect) in the three-dimensional space in which mobile devices operate. Supports made of
plexiglass in an L shaped form are fixed on a wall. On each support an arm is fixed and a
microphone is placed on the horizontal part of each arm, and an audio cone on the vertical
part. The audio cones are all of different sizes and powers. When a microphone is located in
the vicinity of a cone it induces the system to go into feedback mode bringing it to the
saturation of the signal, and subsequently to breaking point.. Since each speaker has a
specific resonance, due to his physical shape and to the material it is made of, the Larsen
effect is different for each micro system microphone / cone. Software developed by the artist
places the robotic arms in the space in a dynamic manner thus controlling the distance from
the speakers to prevent the system from going into saturation. In this way, each micro
system seeks - without finding it –its own equilibrium, which is physically impossible to
obtain. The Larsen effect, usually perceived as an annoying error, becomes the driving force
behind the work. The spasmodic search for the equilibrium creates a dynamic effect acoustic
and visual, obsessively changing, which is expressed in a structured and iridescent carpet of
sound.
* The Larsen effect (named after the physicist Søren Larsen Absalon who first discovered
the principle), also known as acoustic feedback, is the typical shrill whistle that develops
when the sounds emitted from a loudspeaker is received back with sufficient "power booster"
by a microphone (or pickup of any electric musical instrument, like a guitar or bass) and sent
it back to the same speaker, in a closed circuit. The effect is usually triggered when the
microphone is too close to the speaker and captures the frequency emitted by the latter, at
any given time stronger than the other, which is then amplified and reproduced, in turn, with
gradually increasing amplitude, virtually unlimited, except for the fact that the amplifier goes
into saturation.
Roberto Pugliese
Lussuosa macabra vanità
(iron, Plexiglas, mantel electromagnet, electronic circuits)
80x35x25cm
2011
The unconsidered and thoughtless quest of human beings for luxury causes the gruesome
killing of 40 million animals each year for the use of their fur. In most cases these animals
are reared in conditions obscene and then killed in a barbaric manner, without any respect.
Luxurious macabre vanity collects and expresses the pain metaphorically. A metal plate is
mounted on an iron stand and held suspended. A solenoid connected to a microcontroller,
sends current pulses that result in percussions on the metal plate.. A software program
developed by the artist manages the frequency of the pulses (and percussions) downloading
from the internet the latest available statistics on the number of animals killed for their fur.
Symbolically,every percussion produced represents the killing of an animal. The insistent
and penetrating sound becomes thus a warning to human vanities.
Roberto Pugliese
Orchestra Cinetica
(metal, Plexiglas, electromagnets mantle, electronic circuits)
120x70x20 cm, 3 min. AC Loop
2011
In a cabinet made of Plexiglas there are a number of mantle electromagnets * of a different
nature. Activating each device, controlled by a microprocessor and custom made software,
induces each devices to perform a fixed rhythmic section. By enabling each
electromechanical device to perform at once we create a kinetic orchestra capable to play a
musical score. The electromagnets are designed and manufactured for other needs; in this
case they are used to create expressive unusual and unsettling music.
*Electromechanical component that activates a piston when it receives an electrical impulse,
if it is placed near an object the piston creates a percussion on the latter making it resonate.
Roberto Pugliese
Unità minime di sensibilità
Interactive sound installation (speaker, circuits, computers, sound cards, cables, sensors,
software).
2011
“U.M.S. is a system that captures the energies of nature and channels them into a work of
art that becomes a living object, changeable and unpredictable. But far from splitting itself
which often happens in the art of technology, the work manifests itself powerfully expressing
his physicality and a sculptural quality, or even monumental. This is the case of small units of
sensitivity (2011), a large interactive installation of sound. Interactivity in this case is not with
the audience, enjoying the sound environment without being able to determine, but with
nature itself. A sensor placed outside the gallery it records data such as light, humidity,
temperature, atmospheric pressure and sends them via a wireless connection to a computer.
Software converts this information into sound, simulating oscillating circuits, and thus
producing sinus waves, the smallest waves obtainable in audio. In the exhibition area,
hundreds of speakers supported by long cables - a black willow - transport changes from
outside to inside, making them noticeable and in fact "transmuting them". The digital
language, in fact, while simplifying and fragmenting the complexity and continuity of natural
processes, one that the American artist Robert Mallary defined, in the sixties, allows "the
translation between different forms of energy" ( transductive art) Valentina Tanni 2011
Roberto Pugliese
Unità minime di sensibilità Variant
Interactive sound installation (speaker, circuits, computers, sound cards, cables, metal,
internet connection).
2011
The work focuses on the development of an environment in which the sound changes
according to the climatic conditions. Fixed on a wall of a room there are audio speakers. The
speakers together with other elements form part of minimum unity of audio production.
These units as well as the cones are formed by software run by a computer which simulates
the oscillatory circuits (circuits that produce sinus waves, the smallest waves obtainable in
audio) and of a signal amplification circuit (which increases signal strength, thus the volume).
The software made ad hoc handles parameters of amplitude and frequency of the sinus
wave reproduced by each minimum unit according to values obtained from a web site which
in real-time brings information on atmospheric conditions of the city of Bologna (atmospheric
pressure, humidity and temperature) .
Critici ostinati ritmici
Installazione sonora interattiva( legno, circuiti, microcontrollori, elettromagneti a mantello,
sensori, cavi ).
2010
Lʼinstallazione prevede lʼutilizzo di un tronco dʼalbero cavo sul qualie sono stati fissati dei
solenoidi che, sollecitati attraverso un impulso di corrente, lo traducono sonoramente in un
click. Il software che gestisce la riproduzione temporale degli impulsi è collegato ad un sito
internet sul quale, in tempo reale, vengono aggiornate delle statistiche sullo stato della
deforestazione a livello globale. Queste vengono elaborate e successivamente disegnate
sottoforma di impulsi da distribuire ai vari solenoidi nel tempo. In base alle statistiche, ogni
click prodotto da un solenoide rappresenta lʼabbattimento di un albero.
Roberto Pugliese/Tamara Repetto
Totem sonoro
Sound installation (aluminium, wood, speakers, cable, DVD player, amp).
2010
The work was carried out using panels of aluminium recycled from cars and industrial scrap,
in which recycled speakers discarded from electronic equipment were embedded, supported
by aluminium rings, The resulting composition reproduced for 6-channels has as a base
audio material the noises recorded during its making, the composition is then processed and
assembled.
Roberto Pugliese/Tamara Repetto
Otto minuti trentadue secondi
Sound installation (aluminium, wood, speakers, cable, DVD player, amplifiers).
2010
The work was carried out using panels of aluminium recycled from cars and industrial scrap,
in which recycled speakers discarded from electronic equipment were embedded, supported
by aluminium rings, The resulting composition reproduced for 6-channels has as a base
audio material the noises recorded during its making, the composition is then processed and
assembled.
Roberto Pugliese/Tamara Repetto
Dieci minuti trentatre secondi
Sound installation (Plexiglas, speakers, cable, DVD player, amplifiers).
2010
In a Plexiglas box (180x110cm) in which recycled speakers discarded from electronic
equipment were embedded, supported by aluminium rings, The resulting composition
reproduced for 6-channels has as a base audio material the noises recorded during its
making, the composition is then processed and assembled.
Roberto Pugliese/Tamara Repetto
Nove minuti quarantadue secondi
Sound installation (aluminium, wood, speakers, cable, DVD player, amplifiers).
2010
The work was carried out using panels of aluminium recycled from cars and industrial scrap,
in which recycled speakers discarded from electronic equipment were embedded, supported
by aluminium rings, The resulting composition reproduced for 6-channels has as a base
audio material the noises recorded during its making, the composition is then processed and
assembled.
Roberto Pugliese/Daniela Di Maro
Ivy noise variant
Roberto Pugliese/Daniela Di Maro
Ivy noise
Interactive sound installation (speaker, circuits, computers, sound cards, cables,
microphones).
2009
Electric cables climb on the walls following trends not at random, but defined by a careful
study of the growth of the ivy plant. Black lines that form organic shapes on the white walls,
branches from which bloom unusual flowers: speakers of various sizes. From some of these
buds comes a unique carpet of sound that acts as a background to acoustic improvisation,
which is determined by human presence. Any noise is picked up by a series of microphones,
sampled in real time by software developed ad hoc, and played back through the speakers.
Voices, footsteps, movements, are the food, the lymph of the installation.
Mara De Falco
Roberto Pugliese
Dʼimpulso
interactive sound installation (mp3 players, loudspeakers, computers, sound cards, cables,
microphones).
2007
This work revolves around the relationship between sound, space and commercial systems
of sound reproduction. In a hall with white walls and ceilings, aseptic, rather reflective, a
number of mp3 players are connected to a series of speakers (speakers of different size,
type and power), facing the walls of the hall at various points of the room. The sound
reproduced by the MP3 players is entirely synthetic and of an impulsive nature, generated in
part by pseudo-random functions and partly by deterministic methods. Since the speakers
are facing the wall, the sound emitted is reflected and spreads around the hall in a nondirectional fashion. A computer dynamically adjusts the plot of the pulse in relation to the
resonances that occur around the hall. A self-regulating system is created which manifests
itself as an acoustically changing environment, full of sonic micro-events (a sort of artificial
rain)
CURRICULUM VITAE ROBERTO PUGLIESE
born in Naples (16 September 1982), lives and works in Naples
contact number: mobile +39.3287188068;
e-mail: [email protected]
website: www.robertopugliese.com
EDUCATION AND TRAINING
He graduated in Electronic Music in 2008, from ” Conservatory of San Pietro a Majella”
ARTISTIC ACTIVITY
SOLO SHOW
2011
Inside/Outside, Guidi&Schoen, Genova
Unexpected Machines, Galerie Mario Mazzoli, Berlin
Soniche vibrazioni computazionali, Studio la città, Verona
2010
Ivy Noise, IED, Madrid
Critici ostinati ritmici, Galleria V.M.21, Roma
2009
Linfa sintetica, Ciocca Arte Contemporanea, Milano
Ivy noise, Akneos Gallery, Napoli
Entanglement 2, le decisioni delle particelle, Fondazione Idis, Città della Scienza, Napoli
GROUP SHOW
2011
Dolomiti Contemporanee, Sospirolo(BL)
And like this you keep them alive/ on love, Neu Berliner Raume, Berlin
Nel frattempo, curated by Lucio Pozzi, Valeggio sul Mincio( Verona )
Senso Orario, artistic residence curated by Valentina Tanni, Voltaggio(AL)
Lʼimmagine del suono, Villa Bottini, Lucca
2010
Condotti cronoarmonici, Galerie Mario Mazzoli, Berlin
Galaxia Medicea, Palazzo Mediceo, Seravezza
Il respiro della Città, Villa Maiuri, Ercolano Napoli
Rumore bianco, Galleria Quattrocentometriquadri, Ancona
2009
Airswap, Not Gallery, Napoli,
Disembedded. Terremoto Invisibile, Civitella Archeological Museum, Chieti
Ivy Noise variant, Church of
SantʼApollonia, Salerno
Biennal of Young art, Fabbrica, Gambettola (FC), Curated by Department of Visual Art
University in Bologna
2008
Second Biennal of Young Art, Academy of Fine Arts, Bologna, curated by Renato Barilli.
VROOM: Mobile Video Art Room, Milano
Videoart Yearbook, III curated by Renato Barilli
Limmaginecontinua, Bannata Contemporary Art Center, Enna
Audiovisiva 5.0, Milano
ViDea2, several locations
Dʼimpulso, MLAC La Sapienza University, Rome
“Emu Fest 2008”, Rome, curated by del Conservatory of Music S. Cecilia
“Dissonansen.08 Settimana Di Musica Contemporanea”, Basilica di Santa Maria Maggiore
alla Pietrasanta, Napoli
2007
Videoart Yearbook, II curated by Renato Barilli several locations
ART FAIRS
2011
Preview, Galerie Mario Mazzoli, Berlin
Arte Fiera, Galleria Studio la città, Bologna
2010
Art Verona, Galleria Luca Cavana, Verona
Volta, Galleria V.M.21, Basel
Miart , Galleria Pio Monti, Milan
Musical Review
2009
Dissonansenʼ09 Settimana Di Musica Contemporanea, Conservatory of San Pietro a Majella,
Naples
Opus 9.2, Saison de la création musicale, Bordeaux
2007 Futura ʻ07, Festival International Dʼart Acousmatique, Paris
37° Festival international Synthèse 2007, Musique et Créations Electroniques, IMEB center,
Bourges
2006
I Venerdì Musicali, Conservatory of San Pietro a Majella, Napoli,
DIDACTICS
2008-2011
Currently a Senior Lecturer at the course “Laboratory of digital music and Laboratory of
Electroacustic”, in Conservatory of San Pietro a Majella, Naples.