Workshop

Sabato 10.09


 

circo9

ore 15.00 – 17.00

Scuola di Circo En Piste / Laboratorio di giocoleria e equilibrismo

enpiste1-cerchio

dai 4 anni

Il circo riunisce tutte le arti in una comunità dove ognuno scopre il proprio talento, ma dove tutti collaborano, con costanza e concentrazione


Xdai 4 ann

P1000792-3

ore 15.00 – 16.30

Taiji Quan con il maestro Sauro Somigli – ASD Renshen

Per adulti

Scoprire questa pratica nella pace e nella natura

Coltivare l’energia vitale e migliorare la salute di mente, corpo e spirito


 

solarsys

ore 16.30 – 17.30

Laboratorio “Costruiamo il nostro Sistema Solare”

Per bambini e bambine di 6-10 anni

con Alessandra Zanazzi, Associazione Googol in collaborazione con il progetto Space Awareness http://www.space-awareness.org/it/
Armati di carta, scotch e colori costruiremo i pianeti di un sistema solare in scala, impareremo a decorarli e colorarli a seconda delle loro caratteristiche: ci sono pianeti giganti e nani, di gas e di roccia, coperti di nubi e senza atmosfera, e … non dimentichiamo l’unico pianeta con enormi distese di acqua liquida!

In caso di bel tempo l’attività si svolge all’aperto


 

scherma 5
ore 17.30 – 18.30

La sfida! Vieni a provare la scherma!

Per bambini e ragazzi dai 6 ai 12 anni

A cura del Circolo Scherma Polisportiva Attraverso – Elena Cazzato, istruttrice nazionale di scherma

In questa antica disciplina si incontrano il rigore della scienza e la creatività dell’arte. Nel delicato confronto con sé e con l’avversario, sempre al confine con potenzialità e limite, una scuola di coraggio che insegna ad osare ed accettare, perdere e vincere.

Alessandra Zanazzi

Giovedì 8.09 / ore 21:00 – night sky observation

Sabato 10.09 / ore 16:30 – Lab We build our solar system

zanazzi

Alessandra Zanazzi has a Master Degree in Physics (Astrophysics). Since 1996 she is working in the field of education and communication in Astronomy and Science. For fourteen years she has worked for Fondazione IDIS – Città della Scienza (the main Italian Science Centre), where she’s been Responsible of Planetarium and education and communication activities in Astronomy. She has written many planetarium shows, and she’s been organizing many education and laboratory activities, teachers’ training,
conferences and events. Also she collaborated in design of many science hands on exhibitions (on Astronomy, Environment, … ).
She has been involved in writing and carrying out many European Projects about science education and communication. In particular, she’s been international project leader of the Leonardo Da Vinci “Communication in Science” project (ended in 2008) and of “TIME for Nano” (EU FP7- NMP-2008-CSA-2). Since 2010 she collaborates with INAF – Osservatorio Astrofisico di Arcetri, where she is National Project Manager of the EU-UNAWE project (EU FP7th). She participates in Science Festivals and events, carrying out conferences, planetarium shows, science activities with children.

in collaboration with Associazione GoogolSpace Awareness Project

 

nightsky

In Touch with the Sky

A meadow, the sun and—above it all—blue sky.  Every night, stars shine upon every human being on Earth—and it does not matter if he or she is an adult or child, rich or poor, happy or sad, careful or not, or living in town or countryside
is possible that children living in town have never seen a cow or a chick, and children from tropical countries have never touched the snow—but somewhere, somehow they have all seen the sky.  And it does not matter if it is bright, crystal clear or cloudy—what matters is that all have seen it.

In relating to the sky, we are reduced to the use of just one sense: the sight.  We can’t take advantage of any other kinds of perception because, apparently, the sky does not talk, does not have a scent, is not touchable.  How, then can we be “in touch” with it—and why should we?

Perhaps most importantly, because the future world of our children will be closely bound up with the sky.  The coming scientific and technological progresses will surely take them to travel through the galaxies or walk on faraway planets—as the Italian writer and pedagogue Gianni Rodari foresaw and described in his books:

“Dear children, … I wrote, as it should be, many space and astronautical rhymes, since it’s going to be you who will who will walk across the stars: some of you will be spacecraft admirals, others will be radio-telegraphers on board.  By that time, I will be very old and I will feel satisfied by sitting on a bench in a garden and looking up at you from the Earth.”

Gianni Rodari, introduction to “Filastrocche in cielo e in terra”

Learning-Places for Children

By the age of two, children are already aware of the sky.  They know that the sun shines in it.  They are amazed when they can see the Moon before it gets dark .  They formulate hypothesis and remarks with great ability, and they come back to check if various phenomena occur regularly or if they change with the passing of time.  The observation of the sky requires, more than any other scientific research, a great deal of time and patience.  For this reason, it should become part of one’s daily routine.  It is essential to create situations and suitable conditions where this type of observation can occur.

Text by Lara Albanese

Tenebrae

1. Aria

2. Nastri

3. Corde

4. Aria per Nastri

5. Tutti

tenebrae

Il progetto Tenebrae è basato su alcuni frammenti tratti dal brano Tenebrae factae sunt, contenuto nel Responsoria et alia adOfficium Hebdomadae Sanctae spectantia, composto nel 1611 da Carlo Gesualdo da Venosa. 

Il materiale originale è sottoposto a un processo di dilatazione temporale che altera la relazione tra le diverse linee melodiche. Una seconda trasformazione avviene in maniera quasi spontanea, tramite una manipolazione analogica del suono su supporti magnetici, dove sono registrati estratti strumentali eseguiti dai musicisti del gruppo. La bassa qualità della registrazione su nastro conferisce al suono una grana distintiva, deformandolo ulteriormente ed esasperandone la trasformazione.

Cristina Abati: viola (3, 5); Marco Baldini: tromba (1, 5); Maurizio Costantini: contrabbasso (3, 5); Daniela Fantechi: fisarmonica (1,5); Luca Giorgi: sinewaves (1, 3, 5), registratori a nastro (2,3,4); Michele Lanzini: violoncello (3, 5); Edoardo Ricci: clarinetto basso (1, 5); Luisa Santacesaria: harmonium (1, 5). 

Registrato in presa diretta da Damiano Meacci e Blutwurst negli studi di Tempo Reale tra dicembre 2015 e gennaio 2016.

Mixato e masterizzato da Damiano Meacci. 

Il materiale sonoro di Nastri, suonato da Baldini (tromba) e Santacesaria (harmonium), è registrato su supporto magnetico da Luca Giorgi. Aria per nastri è invece Aria registrata su nastro. Il lavoro compositivo a partire dai frammenti di Carlo Gesualdo è stato realizzato da Daniela Fantechi.

Gyohei Zaitsu

Butoh – Amnesie der Landschaft

Sabato 17.09.2016 / ore 21:00

 

Gyohei_Zaitsu_Butoh

By Duc (i.e. pixiduc) Paris, France

Gyohei Zaitsu is born 1977 in Tokyo/JAPAN and has been installed in Paris since 1999. His improvisations take place in the most diverse range of venues and he has performed many improvised and experimental solo pieces mostly in Europe and Japan. He works on both solo and group creations as a choreographer while continuing to follow his personal research on the body, the nature, the dream and its way of being in the world. Gyohei Zaitsu collaborates often with musicians and also works in the theater and cinema field. He gives the Butoh dance research workshop regularly in Paris and different places in Europe.

The body is a place where forces jostle and intersect.
Where do these forces come from?
I do not know.
The body exists beyond my comprehension.
And each time I dance, the memory is renewed.
Life dances. I cannot impede it.

more information: www.katatsumuri.fr

Rolf Sudmann

Recorded Music for Amnesie der Landschaft

Sabato 17.09.2016 / ore 21:00

Rolf_Sudmann-600x675

Rolf Sudmann, born in 1961 in Bielefeld, Germany studied chemestry, physics, mathematics at Bielefeld University, music (piano and tuba) at Hochschule für Musik und Theater, Hannover, pedagogics and psychology at Bielefeld University. He worked as composer, pianist and performance artist in several national and international projects, movies and radio plays. In 1996 he started playing the theremin and other vintage electronic instruments.
He worked together with Michael Griener, Rudi Mahall,Axel Dörner Benny Bailey, Gerd Lisken, Jochen Bohnes, Pierre Dorge, Joe Sachse, Marty Cook, Laura Andel – Oli Bott Jazzorchestra, Die Kometen, Roland HH Biswurm (Das Seelenmargarine-Taxi), Work in Progress (synthesizer in Stockhausens Ylem), Antje Vowinckel, theremin-soloist in the premiere of Steffen Schleiermachers Concerto for Theremin and Symphony Orchestra, Jacques Remus (gesture controlled music at Exit-Festival, Paris/Maubeuge), German-Chinese projects with Xu Fengxia, Zhang Zhenfang, Li Jingxia, Wu Wei, Yu Jun, etc..

 

trautonium

The Trautonium

The Trautonium was an important electronic musical instrument developed by the electrical engineer Freidrich Trautwein in Germany in 1930. Trautwein designed the first version of the instrument with the aim of freeing the performer from the restrictions of fixed (Piano) intonation. To achieve this, he removed the usual piano-style manual in his design and replaced it with a fingerboard consisting of a metal wire stretched over a rail, marked with a chromatic scale. By pressing the wire, the performer touches the rail below and completes a circuit generating a tone. A similar technique, copied by the Trautwein, was a feature of Bruno Hellberger’s Hellertion in 1929 and some time later in the Ondes Martenot.

trautwein

The position of the player’s finger on the wire determines the resistance in the wire which in turn controls the pitch of the oscillator. This unusual approach allowed a great deal of expressive flexibility; by pressing harder on the wire, the player could subtly change the volume, and by moving the finger from side to side the instrument could produce violin like glissandi or more subtle vibrato effects. Overall volume was controlled by a foot-pedal allowing the performer to vary the volume and envelope of the notes.

The first Trautonium was a fairly simple monophonic vacuum tube ‘synthesiser’  generating sound from a single thyratron RK1 tube oscillator. However, by passing this tone through a series of resonant filters this simple sawtooth waveform could be coloured with a wide range of timbre characteristics. This unique form of subtractive synthesis (i.e. filtering down an existing complex waveform rather than creating a complex waveform from combinations of simple sine waves) produced a tone that was distinctive and unusual when compared to the rather plain sound of other valve instruments in the 1920-30’s.

The commercial version of the Trautonium or ‘Volkstrautonium’ was manufactured and marketed by Telefunken in 1932. But, probably due to the unpopularity of a new, somewhat complicated keyboard-less instrument and high purchase price (c400 Reichs Marks;  equivalent of two and a half months of a worker’s salary  or more than five times the price of radio), only around thirteen items were sold and by 1938 it was discontinued. Despite the lack of domestic commercial interest, a number of composers wrote works for the instrument including Paul Hindemith ( who, switching allegiances from Jörg Mager’s Sphäraphon, learnt to play the Trautonium)  ‘Concertina for Trautonium and Orchestra’ , Höffer, Genzmer, Julius Weismann and most notably Oskar Sala. Sala became a virtuoso on the machine and eventually took over the development of the Trautonium producing his own variations- the ‘Mixtur-Trautonium’, The ‘Concert-Trautonium’ and the ‘Radio – Trautonium’. After the commercial failure of the instrument Trautwein abandoned further development to Oskar Sala who continued to work with the Trautonium until his death in 2002. Trautwein also produced an ‘Amplified Harpsichord’ in 1936 and ‘Electronic Bells’ in 1947.

 

Lab estivo

A reinterpretation of  ATLAS ECLIPTICALIS / John Cage

workshop conducted by Fie Schouten 05.09 – 09.09 / ore 09 – 16

for children from 6 – 12 years

sternenkarte-1

ATLAS ECLIPTICALIS

This work was originally used as music for the choreographed piece by Merce Cunningham entitled Aeon, with stage decors and costume design by Robert Rauschenberg. It was later used for Cunningham’s first “Events” performance, Museum Event #1.”

Atlas Eclipticalis was composed on a commission from the Montreal Festival Society. Like Winter Music, a work with which it is often performed, each event contains from one to ten notes, divided randomly into two groups. Pitches are notated clearly, though in a somewhat unusual way, i.e. the sizes of notes determine amplitudes. Durations are notated above the events. Tempo is not given, but rather is determined by the conductor.

To compose this piece, Cage used the Atlas Eclipticalis 1950.0 (an atlas of the stars published in 1958 by Antonín Becvár [1901-1965], a Czech astronomer), superimposing musical staves over its star-charts. In any performance, this score may be played in whole or in part by any number of players, up to the full 86 specified.

In addition to Winter Music, Atlas Eclipticalis may also be performed simultaneously with Song Books. Cage also indicated the possibility of attaching contact microphones to some or all of the instruments, thus amplifying their sounds. In this case, an assistant to the conductor is required, creating his score using Cartridge Music. Atlas Eclipticalis is the first part of a trilogy of which Variations IV is part 2 and 0’00” is part 3


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