Lecture 5 - [Part 1/3] Karlheinz Stockhausen - Four Criteria of Electronic Music (KONTAKTE), (1972) Tomás Olano 2013-02-06 | Duration: 55'19" http://tomasolano.com.arGiven at the Oxford Union on May 6th 1972. The title of the work "refers both to contacts between instrumental and electronic sound groups and to contacts between self-sufficient, strongly characterized moments. In the case of four-channel loudspeaker reproduction, it also refers to contacts between various forms of spatial movement".
Relatos - Tomás Olano Tomás Olano 2018-07-12 | Relatos (2017). Compositor: Tomás Olano (1983). Regência: Antônio Carlos Borges-Cunha (1952) Estreia mundial pela Orquestra Filarmônica da UFPR no Teatro da Reitoria (26/08/2017).http://tomasolanomusic.com
Elisión - Tomás Olano - Diabelli-Contest 2014/2015 Tomás Olano 2016-03-24 | Titel: ElisiónKomposition von Tomas Olano (http://tomasolanomusic.com | composer).Es spielt Tommaso Farinetti (performer).Thema des Wettbewerbs war die musikalische Bearbeitung eines musikalischen Themas, hier der Rhythmus eines Morsecodes. Der Morsecode steht für das neugriechische Wort "Irini". Es bedeutet "Friede". Zum Anlass nahmen wir, dass sich 2015 die Beendigung des 2. Weltkrieges zum 70sten Male jährt. Die unterschiedlichen Tonhöhen im hier gezeigten Notenbeispiel stellen keine Vorgabe dar. Sie verdeutlichen nur die unterschiedlichen Buchstaben des Codes. Die "Buchstaben" können wie im wirklichen Morsecode auch gleichmäßig jeweils mit einer Pause getrennt sein.Der Komponist war in Bezug auf Melodie und Harmoniegebung völlig frei.Voraussetzungen für eine wettbewerbsfähige Einsendung waren:Das Thema muss deutlich erkennbar seinDie Variation muss zwischen 6 und 8 Minuten dauernDas Werk muss für Klavier zu zwei Händen geschrieben sein.Das Abschlußkonzert fand unter dem Dach des Hauptsponsors "Münchner Künslerhaus" statt.Weitere Informationen: www.diabelli-contest.comVideoaufnahme von Tom Freiwah http://www.artcore-x.de.
Tomás Olano - Elisión (for piano solo) - Premiere Tomás Olano 2015-09-14 | Elisión by Tomás Olano.München Künstlerhaus, Germany. 18.04.2015 (Premiere).Composer: Tomás Olano (http://www.tomasolano.com) Performer: Tomasso Farinetti (http://www.tommasofarinetti.de)Score available: http://www.mediafire.com/download/pnu1nk1nbho8t8n/Elisi%C3%B3n+%28Tango%29+__Tom%C3%A1s+Olano+.pdfCopyright 2015. All rights reserved.
Joke - Stefano Scodanibbio Tomás Olano 2015-03-07 | From the Sei Studies by Stefano ScodanibbioNina DeCesare, bassOctober 3, 2013Duncan Hall, Shepherd School of Music
Impromptu de Santiago Santero, por Diego Macías Steiner Tomás Olano 2014-09-13 | Concierto del día 9 de septiembre de 2014 en el Salón Blanco Municipal de Tandil, en el marco de la Primera Jornada de Perfeccionamiento Instrumental, denominada "Piano (Argentino) Contemporáneo", a cargo de Prof. Diego Macías Steiner.Grabado con 2 micrófonos Sennheiser - e835sSensibilità - Ciclo de Master Class y Concierto.http://tomasolano.com
Barro Sublevado de Jorge Horst, por Diego Macías Steiner Tomás Olano 2014-09-12 | Concierto del día 9 de septiembre de 2014 en el Salón Blanco Municipal de Tandil, en el marco de la Primera Jornada de Perfeccionamiento Instrumental, denominada "Piano (Argentino) Contemporáneo", a cargo de Prof. Diego Macías Steiner.Grabado con 2 micrófonos Sennheiser - e835sSensibilità - Ciclo de Master Class y Concierto.http://tomasolano.com
Quenouille de Jorge Horst, por Diego Macías Steiner Tomás Olano 2014-09-12 | Concierto del día 9 de septiembre de 2014 en el Salón Blanco Municipal de Tandil, en el marco de la Primera Jornada de Perfeccionamiento Instrumental, denominada "Piano (Argentino) Contemporáneo", a cargo de Prof. Diego Macías Steiner.Grabado con 2 micrófonos Sennheiser - e835sSensibilità - Ciclo de Master Class y Concierto.http://tomasolano.com
Presencia y Nostalgia de Santiago Santero, por Diego Macías Steiner Tomás Olano 2014-09-12 | Concierto del día 9 de septiembre de 2014 en el Salón Blanco Municipal de Tandil, en el marco de la Primera Jornada de Perfeccionamiento Instrumental, denominada "Piano (Argentino) Contemporáneo", a cargo de Prof. Diego Macías Steiner.Grabado con 2 micrófonos Sennheiser - e835sSensibilità - Ciclo de Master Class y Concierto.http://tomasolano.com
Eusebius de Gerardo Gandini, por Diego Macías Steiner Tomás Olano 2014-09-12 | Concierto del día 9 de septiembre de 2014 en el Salón Blanco Municipal de Tandil, en el marco de la Primera Jornada de Perfeccionamiento Instrumental, denominada "Piano (Argentino) Contemporáneo", a cargo de Prof. Diego Macías Steiner.Grabado con 2 micrófonos Sennheiser - e835sSensibilità - Ciclo de Master Class y Concierto.http://tomasolano.com
Sensibilità - Ciclo de Master Class + Concierto Tomás Olano 2014-09-11 | Sensibilità - Ciclo de Master Class + Concierto.Tandil - Buenos Aires - Argentina.http://tomasolano.com
Tarek Atoui - TodaysArt Tomás Olano 2014-07-14 | De origen libanés y residente en París desde 1998, donde estudió música electrónica y contemporánea en el Conservatorio Nacional de Reims, Tarek Atoui es un artista de culto en los círculos de la música vanguardista, intérprete y creador de sus instrumentos electrónicos. Desde que se graduó, en el año 2003, ha estado viajando por el mundo interpretando un arte sonoro que se basa en sincopados movimientos corporales que controlan sonidos que él mismo diseña. Sus shows acostumbran ser catárticos, parecidos a un ritual de la contemporaneidad. Atoui mezcla sonidos sintéticos con elementos captados del entorno, de la naturaleza, de la TV o la radio, voces diversas, conversaciones o el susurro de una ciudad. Sus obras son tanto la música como el componente performático de él haciendo esas ejecuciones posesas. En el año 2006 comenzó a trabajar con la herencia de la música árabe. Lo que presentará en Panorama Sur, The Metastable Circuit, es un instrumento autónomo que está constantemente generando narrativas y collages a partir de miles de sonidos que Tarek Atoui ha recopilado. Cuando es tocado, este instrumento va cambiando los sonidos y las funciones, haciendo que el artista deba improvisar sobre lo que escucha, casi como si fuera la primera vez.
Cinco Siglos Igual Leon Gieco (Solo Piano) [Partitura] Tomás Olano 2014-05-20 | Grabación midi de Cinco Siglos Igual, para piano. Partitura del arreglo: http://www.mediafire.com/download/iz5b4ib4zib77ap/cinco-siglos-igual-leon-gieco-partitura-piano-www.tomasolano.com.pdf
City Archives (1978) of Richard Foreman (b. 1937) Tomás Olano 2013-10-15 | City Archives (1978)1978, 28:16 min, color, sound http://tomasolano.com.arForeman produced City Archives, a labyrinthine collage of image and language, at the invitation of the Walker Art Center in Minneapolis. The tape centers on the perspective of an outsider — the foreigner as Other — towards a city and its artifacts. Foreman's signature visual and verbal puns and carefully composed compositions result in an often humorous dialogue on the role of documents as evidence, and the relationship of text and image. While questioning the positions from which one views information, Foreman constructs and then deconstructs the central metaphor of an archive as a receptacle of information and knowledge. -- EAI Camera: Marty Walter. Sound: Paul Shreve. With: Maja Bjornson, Jim Cada, Richard Foreman. Produced by the Walker Art Center/Minnesota Public Programming Corporation.
Strong Medicine (1981) of Richard Foreman (b. 1937) Tomás Olano 2013-10-14 | Strong Medicine (1981)Duration: 80 minutes November 25, 1981RICHARD FOREMAN'S 'STRONG MEDICINE'By VINCENT CANBY The New York Timeshttp://tomasolano.com.arRHODA, a slender, pale woman in a sensible dress and sensible shoes, is in a state. To describe her as being extremely upset would be an understatement, much like a psychiatrist's saying that someone who is in the process of committing suicide is suffering an anxiety attack. Slang is more accurate. Rhoda is very nearly out of her wig, though her hair is apparently her own.Rhoda seems to be in a tacky ballroom, the guest of honor at her own birthday party, surrounded by uncaring strangers, her chilly, know-it-all doctor and her patronizing husband, who forces her to dance with the doctor. ''Faster, faster,'' says her husband, but the music has stopped. The guests sing a drear version of ''For She's a Jolly Good Fellow'' and an equally unenthusiastic ''Happy Birthday.''Along with five or six other women, Rhoda crouches, one knee on the floor, as if to get ready-and-set for a foot race. When the ''Go!'' signal is given, the music starts up and the other wom en simply flop onto the floor. Rhoda tries to be patient, to understand, but obviously the system is designed to terrorize. Yet Rhoda will not be terrorized. With something of the unflappability of Lewis Carroll's Alice, she persists in seeing this dream through to the end.This is more or less the outline of ''Strong Medicine,'' the first film to be made by the playwright-director Richard Foreman, one of America's most highly acclaimed theater innovators, the founder and director of the Ontological-Hysteria Theater. The film opens today at the Film Forum.Like ''The Lovers' Exile,'' the filmed version of a production by Japan's Bunraku doll theater company now playing at the Public, ''Strong Medicine'' is more of a theatrical occasion than a cinematic one. Though Mr. Foreman, in notes supplied to the critic by the Film Forum, talks knowingly about the differences between theater ''space'' and screen ''space,'' ''Strong Medicine'' clearly is theater, but theater in which there are four walls instead of three.
Lava (1989) of Richard Foreman (b. 1937) Tomás Olano 2013-10-07 | Duration: 67 minutes Review/Theater; On a Feather-Strewn Stage, Multiple Flights of FancyBy MEL GUSSOWNew York TimesPublished: December 13, 1989http://tomasolano.com.ar In a program note to "Lava," Richard Foreman suggests that his new play "may at first seem even a bit more perplexing than the 'unbalancing acts' that are performed" in his other works. Theatergoers are forewarned and forearmed. For 20 years, this author and director has been offering ideographic emanations of his inner life. In a sense, he posts road maps without destinations. As with "Lava," the journey is intriguing, although the extent of the interest depends on one's willingness to indulge the playwright's fancifulness.The plays are mysteries, and some are so elusive as to defeat even the most diligent of private investigators. All a theatergoer can hope to do is to collect clues and leap to conclusions, especially difficult in the case of "Lava."
Piano Phase (solo) of Steve Reich Tomás Olano 2013-07-11 | Esta es la primera actuación de Piano Phase realizada por un solo ejecutante. Steve Reich estuvo presente durante la actuación. Esa misma noche también se ejecutó Music for 18 Musicians. El concierto se celebró el 28 de marzo de 2004 en Kulas Hall de Baldwin-Wallace College Conservatory de Berea, Ohio. El pianista era Rob Kovacs. Tenía 21 años en ese momento.
Bleu Shut (1971) for Robert Nelson Tomás Olano 2013-04-19 | Bleu Shut (1971)30 min., 16mm http://tomasolano.com.arHailed as a true masterpiece by connoisseurs, Bleu Shut is broken down minute by minute, with a clock ticking away its duration to save the audience the trouble of craning their necks to see how much film is left on the projector. Comprising "a boat game and entertainments", this landmark film is ingeniously artful and extremely entertaining as it brilliantly toys with audience expectation and participation.
The Awful Backlash (1967) for Robert Nelson Tomás Olano 2013-04-19 | The Awful Backlash (1967)http://tomasolano.com.arMade by Robert Nelson and William Allan "In their starkly minimal film, The Awful Backlash, directors Robert Nelson and William Allan, focus solely on a pair of hands as they begin to unravel what appears to be a tangled fishing line. Any further evidence of the title's confusing 'awfulness' Ð other than the literal disentanglement of the line remains, however, tentative, left as it were, literally, at a loose end. The viewer knows nothing of the incident that led to this backlash or entanglement; nor of the directors' initial motive for the title indeed not of any other attempt at blending an additional storyline beyond what is seen. There is, perhaps, one link with a reverse reaction Ð a sense of gradual recovery taking place, as the thread unfolds from a position of multiplicity back to a singular line." (Pamela Kember, Rethinking Refunctioning, 'Awful Backlash' catalogue, May 2000)
Oh Dem Watermelons (1965) for Robert Nelson Tomás Olano 2013-04-19 | Oh Dem Watermelons (1965)http://tomasolano.com.arWatermelons was commissioned by the San Francisco Mime Troupe as a short entertainment to be screened during intermission for its rather infamous 1965 Minstrel Show (Civil Rights from the Cracker Barrel), which assaulted racial stereotypes by wildly exaggerating them -- as performed by (mostly white) performers in blackface, yet. A relative latecomer to filmmaking, the 35-year-old Nelson had just begun fooling around with the medium, mostly in collaboration with then-wife Gunvor Nelson. To make Watermelons he drafted talent from the Mime Troupe and alma mater Mills College, where he'd also found a young composer named Steve Reich, later known (to his occasional annoyance) as the father of minimalism, and thus the person to be blessed or blamed for subsequent fellow travelers Philip Glass and John Adams. Reich's raucously repetitive choral arrangement of a Stephen Foster oldie (in which a slave mourns his deceased master) adds another satirical dimension to the color visuals, which direct the campus era's mood of anarchy and impudence toward the watermelon. Aiming to explode stereotypes and their symbols, the film finds melons used as bombs, footballs, baseballs, shooting targets, even as sensuous love objects. Watermelons are cut-and-pasted onto existing images (from Superman to a NASA missle) and sometimes animated there, à la Terry Gilliam's Monty Python 'toons. Fruits are chased by white male hordes, then turn around (via the magic of reverse projection) to chase them in return."
Kit Fitzgerald & David Sanborn Olympic Fragments (1980) Tomás Olano 2013-03-26 | Kit Fitzgerald & David Sanborn "Olympic Fragments" (1980)
Les Chemins perdus (1966-67) - Philippe Garrel Tomás Olano 2013-03-22 | Les Chemins perdus (1966-67) - Philippe GarrelDuration: 45minCast:Philippe GarrelJulian BeckJudith MalinaThe Living TheaterDonovan LeitchPete TownshendRoger DaltryJohn EntwhistleKeith MoonDescription:Series of three short 'Pop Films' directed between 1966 - 67 for French television by Philippe Garrel. Includes footage of The Living Theater in rehearsal, interviews with Julian Beck and Judith Malina, Donovan in concert and The Who in the studio recording 'Pictures of Lily'. Re-broadcast on INA in 1984.http://tomasolano.com.ar
Hallelujah (1969) - Mauricio Kagel Tomás Olano 2013-02-12 | Hallelujah 1969, 47 minutes, 16mmhttp://tomasolano.comHALLELUJAH is one of Kagel's major works, a surreal story about the mouth and it's many permutations. Hands, eyes, lips, tongues, etc are in quite a quandary without means of escape.
MM51 / Nosferatu (1983) - Mauricio Kagel Tomás Olano 2013-02-11 | MM51 / Nosferatu (1983, 10' 00", video)http://tomasolano.com.ar MM51 does more than mark time, it mics it. Film within film as Murnau's silent "Nosferatu" leads an accompanist by the hand, and whose feet are quite literally tied to time. A tug of war between the vertical and the horizontal.
Duo (1967-68) - Mauricio Kagel Tomás Olano 2013-02-11 | Duo (1967, 26 minutes, video)htpp://tomasolano.com.ar DUO and SOLO are psycho-dramas of musicians, and audiences worst nightmares, a series of absurd scenarios, electric guitar solos on the subway, mannequins hogging bathroom stalls and conductors lost in a melting environment of absolute resistance.
Antithese (1965) - Mauricio Kagel Tomás Olano 2013-02-11 | Antithese (1965, 19 minutes, 16mm)http://tomasolano.com.ar ANTITHESE is an awe inspiring bit of comic paranoia concerning the duties of a studio engineer and his psychic meltdown.
Blues Blue (1981, excerpt) - Mauricio Kagel Tomás Olano 2013-02-11 | BLUE'S BLUE stars Kagel as a couch potato living in a small dark room with three other musicians who attempt to channel the muse of the titular bluesman, in a desperate attempt to rouse themselves from their malaise. http://tomasolano.com.ar
Solo (1967) - Mauricio Kagel Tomás Olano 2013-02-11 | (1967, 26 minutes, video)http://tomasolanomusic.comDUO and SOLO are psycho-dramas of musicians, and audiences worst nightmares, a series of absurd scenarios, electric guitar solos on the subway, mannequins hogging bathroom stalls and conductors lost in a melting environment of absolute resistance.
Lecture 7 [Part 3/3] Karlheinz Stockhausen - MANTRA (1973) British Lectures Tomás Olano 2013-02-09 | Lecture 7, Part 3 - MANTRA - Q and A (1973)Duration: 59'14" http://tomasolano.com.arGiven on July 19th 1973 at the Imperial College in London. Mantra is a composition by the German composer Karlheinz Stockhausen. It was composed in 1970 and premiered in autumn of the same year in Donaueschingen. The work is scored for two ring-modulated pianos; each player is also equipped with a chromatic set of crotales (antique cymbals) and a wood block, and one player is equipped with a short-wave radio producing morse code or a magnetic tape recording of morse code.
Lecture 7 [Part 2/3] Karlheinz Stockhausen - MANTRA (1973) British Lectures Tomás Olano 2013-02-09 | Lecture 7, Part 2 - MANTRA (1973)Duration: 59'28" http://tomasolano.com.arGiven on July 19th 1973 at the Imperial College in London. Mantra is a composition by the German composer Karlheinz Stockhausen. It was composed in 1970 and premiered in autumn of the same year in Donaueschingen. The work is scored for two ring-modulated pianos; each player is also equipped with a chromatic set of crotales (antique cymbals) and a wood block, and one player is equipped with a short-wave radio producing morse code or a magnetic tape recording of morse code.
Lecture 7 [Part 1/3] Karlheinz Stockhausen - MANTRA (1973) British Lectures Tomás Olano 2013-02-09 | Lecture 7, Part 1 - MANTRA (1973)Duration: 55'56" http://tomasolanomusic.comGiven on July 19th 1973 at the Imperial College in London. Mantra is a composition by the German composer Karlheinz Stockhausen. It was composed in 1970 and premiered in autumn of the same year in Donaueschingen. The work is scored for two ring-modulated pianos; each player is also equipped with a chromatic set of crotales (antique cymbals) and a wood block, and one player is equipped with a short-wave radio producing morse code or a magnetic tape recording of morse code.
Lecture 6 - TELEMUSIK (1972) Karlheinz Stockhausen Tomás Olano 2013-02-09 | Duration: 58'27" Given at Essex University on May 7th 1972. http://tomasolano.comThe substance of the work consists of recordings of a variety of traditional ethnic musics from around the world, together with electronically generated sounds. More than twenty of these recorded fragments are intermodulated on tape with electronic sounds and with each other to produce "odd hybrid-types"—modulating, for example, "the chant of monks in a Japanese temple with Shipibo music from the Amazon, and then further impos[ing] a rhythm of Hungarian music on the melody of the monks. In this way, symbiotic things can be generated, which have never before been heard".
Lecture 5 - [Part 3/3] Karlheinz Stockhausen - Four Criteria of Electronic Music (KONTAKTE), (1972) Tomás Olano 2013-02-06 | Duration: 36'17" http://tomasolano.com.arGiven at the Oxford Union on May 6th 1972. The title of the work "refers both to contacts between instrumental and electronic sound groups and to contacts between self-sufficient, strongly characterized moments. In the case of four-channel loudspeaker reproduction, it also refers to contacts between various forms of spatial movement".
Lecture 5 - [Part 2/3] Karlheinz Stockhausen - Four Criteria of Electronic Music (KONTAKTE), (1972) Tomás Olano 2013-02-06 | Duration: 44'33" http://tomasolano.com.arGiven at the Oxford Union on May 6th 1972. The title of the work "refers both to contacts between instrumental and electronic sound groups and to contacts between self-sufficient, strongly characterized moments. In the case of four-channel loudspeaker reproduction, it also refers to contacts between various forms of spatial movement".
Lecture 4 [Part 2/2] Karlheinz Stockhausen - Intuitive Music (IT) (1972) Tomás Olano 2013-02-06 | Duration: 48'46" http://tomasolano.comGiven on February 15th 1972 at the Institute of Contemporary Arts, London.This is the second part of the lecture originally entitled Live Electronic Music and Intuitive Music. Intuitive music is a form of musical improvisation based on instant creation in which fixed principles or rules may or may not have been given. It is a type of process music where instead of a traditional music score, verbal or graphic instructions and ideas are provided to the performers. The concept was introduced in 1968 by the German composer Karlheinz Stockhausen.
Lecture 4 [Part 1/2] Karlheinz Stockhausen - Intuitive Music (IT) (1972) Tomás Olano 2013-02-06 | Duration: 34'01" http://tomasolano.com.arGiven on February 15th 1972 at the Institute of Contemporary Arts, London.This is the second part of the lecture originally entitled Live Electronic Music and Intuitive Music. Intuitive music is a form of musical improvisation based on instant creation in which fixed principles or rules may or may not have been given. It is a type of process music where instead of a traditional music score, verbal or graphic instructions and ideas are provided to the performers. The concept was introduced in 1968 by the German composer Karlheinz Stockhausen.
Lecture 3 [Part 3/3] - Moment-Forming and Integration (MOMENTE) (1972) Tomás Olano 2013-02-05 | Duration: 25'39" Given on February 14th 1972 at the Institute of Contemporary Arts, London. http://tomasolano.com.arA "cantata with radiophonic and theatrical overtones", it is described by the composer as "practically an opera of Mother Earth surrounded by her chicks". It was Stockhausen's first piece composed on principles of modular transposability, and his first musical form to be determined from categories of sensation or perception rather than by numerical units of musical terminology, which marks a significant change in the composer's musical approach from the abstract forms of the 1950s.
Lecture 3 [Part 2/3] Moment-Forming and Integration (MOMENTE) (1972) Tomás Olano 2013-02-05 | Duration: 17'16" Given on February 14th 1972 at the Institute of Contemporary Arts, London. http://tomasolano.com.arA "cantata with radiophonic and theatrical overtones", it is described by the composer as "practically an opera of Mother Earth surrounded by her chicks". It was Stockhausen's first piece composed on principles of modular transposability, and his first musical form to be determined from categories of sensation or perception rather than by numerical units of musical terminology, which marks a significant change in the composer's musical approach from the abstract forms of the 1950s.
Lecture 3 [Part 1/3] Moment-Forming and Integration (MOMENTE) (1972) Tomás Olano 2013-02-05 | Duration: 55'33" Lecture 3 - Moment-Forming and Integration (MOMENTE)Given on February 14th 1972 at the Institute of Contemporary Arts, London. http://tomasolano.com.arA "cantata with radiophonic and theatrical overtones", it is described by the composer as "practically an opera of Mother Earth surrounded by her chicks". It was Stockhausen's first piece composed on principles of modular transposability, and his first musical form to be determined from categories of sensation or perception rather than by numerical units of musical terminology, which marks a significant change in the composer's musical approach from the abstract forms of the 1950s.
Lecture 2 - Karlheinz Stockhausen - The British Lectures - Live Electronic Music (MIKROPHONIE 1) Tomás Olano 2013-02-05 | Karlheinz Stockhausen - The British Lectures - Lecture 2 - Live Electronic Music (MIKROPHONIE 1)Duration: 57'35" http://tomasolano.com.ar Given on February 15th 1972 at the Institute of Contemporary Arts, London. This is the first part of the lecture entitled "Live Electronic Music and Intuitive Music" Mikrophonie is the title given by Karlheinz Stockhausen to two of his compositions, written in 1964 and 1965, in which "normally inaudible vibrations . . . are made audible by an active process of sound detection (comparable to the auscultation of a body by a physician); the microphone is used actively as a musical instrument, in contrast to its former passive function of reproducing sounds as faithfully as possible"
Promised Lands (1974) Tomás Olano 2013-02-02 | Duration: 86:25 Susan Sontag (1933-2004)twitter.com/tomasolanohttp://tomasolanomusic.comThis is Susan Sontag's documentary about Israel, shot during the Yom Kippur war. Much of it is strictly observational, though there are some effectively didactic juxtapositions -- and several talking heads from across the Israeli political spectrum. Some might object that the Palestinians, whose fate is discussed in terms both cynical and sympathetic, don't have their own voice in the film, but the limits of the films can also be said to give it a formal coherence. Those who know Sontag's work in general will find her usual searching intelligence, compassion, and fearlessness here.
Unguided Tour AKA Letter from Venice (1983) Tomás Olano 2013-02-01 | Duration: 70:11 Susan Sontag (1933-2004)http://tomasolano.com.arUnguided Tour, Susan Sontag's fourth and final film, was based on her short story of the same title. Also known as "Letter from Venice," the film features Lucinda Childs and Claudio Cassinelli and tells of a relationship that is fragmenting as they tour the decaying ruins of a hallucinatory Venice.
Duett för kannibaler AKA Duet for Cannibals (1969) Tomás Olano 2013-02-01 | Susan Sontag (1933-2004)New York TimesSeptember 25, 1969The Screen: Susan Sontag's 'Duet for Cannibals' at FestivalBy ROGER GREENSPUNhttp://tomasolano.com.arTHE special providence that protects movie critics decrees that when they do take up honest work they often make surprisingly good movies. Godard and Truffaut, come to mind at once, but also a whole line of "Cahiers du Cinèma" critics including Chabrol, Rivette, and Eric Rohmer.In America, we have Peter Bogdanovitch ("Targets") and now Susan Sontag with "Duet for Cannibals," which played last night at the New York Film Festival. Miss Sontag's credits extend, of course, a considerable distance beyond movie criticism, but she has been one of the best of critics, and I have heard some of her colleagues remark, with disarming generosity, that she has proven herself so good at making movies you'd never guess she had written about them.Except for some bandages out of Godard, two wigs out of Antonioni, and a leading lady out of Bernardo Betrolucci (Adriana Asti, who is more interesting here than she was in "Before the Revolution"), "Duet for Cannibals" doesn't seem to owe much to anybody except to Miss Sontag and her own idomatic, uncluttered sense of the medium.The film is in Swedish, made in Sweden for a Swedish producer, but the subtitles are Miss Sontag's, and I suspect that as much has been gained as lost in the various translations and transpositions required in realizing the project.The cannibals are a middle-aged radical German political activist and the theoretician, Bauer—Hans Erborg—living with his young Italian wife Francesca—Miss Asti—in Sweden. Their victims are a young Swede who goes to work as Bauer's secretary, and his mistress, who eventually finds herself working as the Bauers's cook and companion. For all the movie tells us, Bauer's credentials are real enough (down to a chrome-plated cigarette lighter—gift of Bertolt Brecht), but everything in his present life partakes of fraud calculated to intrigue, upset, and entrap his assistant.His erratic and violent behavior, the temptation palpably and leeringly offered of his beautiful young wife, eventually the intellectual challenge of what move he will make next, engage the young man and put him repeatedly off balance.Before it is all over the girl is at work too, making love to the master, accepting advances from the mistress, feeding and being fed by both of them, and lying between them in their connubial bed.There are too many insane people in the world, comments the young hero after he is attacked by a madman on a city street, and of course he includes the Bauers, who also attack—and win—because they try anything and stand by nothing.Nevertheless, I don't think "Duet for Cannibals" means to be a parable about the power of the insane over the sane, or the strong over the weak, or even the inventively absurd over the rational and passionate. I don't know what it does mean to be, and I am content for a while to rest with its moods and its complicated, often funny motions.But if the movie fails—as I think it does—to open up beyond the strength and the tact of its specific scenes, it invites that failure in the limitations of its own point of view and in its insistence on insoluble mystery to the point where mystery grows boring without getting less mysterious.The young couple's final escape offrs relief of a rather low level—mostly that the charade is over for them and us. The personal games increase in intensity, but nothing very much is at stake, and personality is never deeper than the next level of plausible disguise."Duet for Cannibals" will be shown again at Alice Tully Hall on Friday at 6:30 P.M.DUET FOR CANNIBALS, screenplay by Susan Sontag; directed by Miss Sontag; produced by Goran Lindgren; production company, Sandrews, distribution in the United States by Grove Press, Inc. At the New York Film Festival, Alice Tully Hall, Lincoln Center. Running time: 105 minutes. Francesca . . . . . Adriana Asti Bauer . . . . . Lars Ekborg Tomas . . . . . Gosta Ekman Ingrid . . . . . Agneta Ekmanner
() (2003) of Morgan Fisher (b. 1942) Tomás Olano 2013-01-31 | Morgan Fisher (b. 1942)Duration: 20 min. http://tomasolano.com.ar/"Fisher's most film, (), succeeds astonishingly where Frampton's parallel effort, Hapax Legomena: Remote Control (1972) failed; it uses aleatory methods to release the narrative unconscious of a set of randomly selected films. () is made up entirely of "inserts" from feature films organized according to Oulipian principles. Inserts were usually shot by assistants when star actors, large crews, or expensive sets were not needed. These include details of weapons, wounds, letters, signs, tombstones, machinery, games of chance, timepieces, money, and even intimate caresses. Fisher culled the inserts from a number of films he collected for that purpose and edited them together under constraints he does not fully reveal; he places the inserts from a given film in the order in which they appeared in that film, but two inserts from the same film never follow each other directly in his assemblage. Alternating among them we catch glimpses of violence, intrigue, high-stakes gambling, and sexual adventure." (P. Adams Sitney, Medium shots: the films of Morgan Fisher, in: ArtForum, January 2006)
Poème Symphonique for 100 metronomes [György Ligeti] Tomás Olano 2013-01-31 | György Ligeti (1923-2006)Video from an ARTE (France) broadcast of Poème Symphonique for 100 metronomes.http://tomasolano.com.ar/Translation of the french narration:Poème symphonique was composed by György Ligeti in 1962. We are presenting this work this evening. The concert, which we went to record in Rome, was presented by an orchestra of 100 performers. This rebroadcast is a television premiere. At the end of the concert, we will offer a brief explanation, but first listen and watch. The concert begins in one minute.[the piece is performed]Since its world premiere in the Netherlands in 1963, Poème symphonique for 100 metronomes has been very rarely performed in public. The complicated scenographic staging, the detailed preparation by hand, the need for around ten technicians to activate more or less simultaneously the 100 metronomes, makes the demand for performances limited. Thirty-two years after the premiere, the sculptor and installation artist Gilles Lacombe heard a recording of the work. Impressed, he decided to invent a machine able to perform the piece automatically. After six months, he set up this ingenious device. Ever since, Poème symphonique can be performed accurately, at any time, and in public. Please understand that at its world premiere in 1963, the concert was filmed by Dutch television. On that night, after the final tick-tock of the metronome, there was a heavy silence, followed by booing, screaming, and threats. The concert was never broadcast. (translation from ionarts)
The South Bank Show: J.G. Ballard (ITV, 2006) Tomás Olano 2013-01-30 | Duration: 49'15" Melvyn Bragg and Ballard discuss his experiences as a medical student (encouraging everyone to spend some time studying anatomy), through to his discovery of science fiction.Ballard talks about the influence of the Surrealist painters on his early novels, which all dealt with natural catastrophe (The Drowned World, The Crystal World, The Drought) and the death of his wife and the effect this had on his fiction.They talk also about Crash, Ballard's most controversial novel, which inspired one publisher's reader to write "This author is beyond psychiatric help. Do not publish" - which Ballard took as a huge compliment!Ballard in turn talks about the obsessions that have distinguished his fiction since he first started writing, the nature of his "cautionary tales" and his new book, Kingdom Come.Contributors include long-time Ballard fans Will Self, Iain Sinclair and Martin Amis, with Self claiming that Ballard is "this country's most significant post-war novelist."http://tomasolano.com.arJames Graham Ballard (18 de noviembre de 1930 - 19 de abril de 2009 ) fue un escritor británico de ciencia ficción. Un gran número de sus escritos describen distopías.Sus primeros cuentos datan de 1956 y en los años 60 se convierte en uno de los autores de referencia de la llamada nueva ola de la ciencia ficción inglesa. Su literatura desarrolla la problemática del siglo XX, ya sean las catástrofes medioambientales o el efecto en el hombre de la evolución tecnológica.En su primera novela, El mundo sumergido (1962), imagina las consecuencias de un calentamiento global que provoca que los casquetes polares se derritan. Le siguieron El viento de ninguna parte (1962), La sequía (1965) y El mundo de cristal (1966), ambientada en un área boscosa de África occidental que está, literalmente, cristalizándose.En 1973 publicó Crash, una meditación turbadora y explícita sobre la relación entre el deseo sexual y los coches, y que provocó un un tenso debate sobre los límites de la censura contra la «obscenidad» cuando David Cronenberg la adaptó al cine en 1996. La película estuvo a punto de no poder ser estrenada en Inglaterra.[cita requerida] Tras Crash llegaron La isla de cemento (1974), Rascacielos (1975), Compañía de sueños ilimitada (1979) y Hola América (1981).En 1984 Ballard llegó a un público mucho más amplio con la obra autobiográfica El imperio del sol, la historia de un niño en tiempos de guerra, que luego continuó en La bondad de las mujeres (1991). El día de la creación, otra novela situada en África, se publicó en 1987 y Desbocado en 1988.Sus siguientes novelas fueron Fuga al paraíso (1994), un relato apocalíptico que transcurre en un atolón del Pacífico, Noches de cocaína (1996) y Super-Cannes (2000), ambas reelaboraciones de la novela negra clásica en una decadente Costa del Sol, la primera, y en la Riviera, la segunda. Ballard fue también un autor de relatos muy prolífico y, en 1996, apareció su colección de ensayos y reseñas Guía del milenio para el usuario.
Writers in Conversation: J.G. Ballard (1985) Tomás Olano 2013-01-30 | Duration: 43'22" An interview and audience Q&A with Ballard during his promotion of EMPIRE OF THE SUN.http://tomasolano.com.arJames Graham Ballard (18 de noviembre de 1930 - 19 de abril de 2009 ) fue un escritor británico de ciencia ficción. Un gran número de sus escritos describen distopías.Sus primeros cuentos datan de 1956 y en los años 60 se convierte en uno de los autores de referencia de la llamada nueva ola de la ciencia ficción inglesa. Su literatura desarrolla la problemática del siglo XX, ya sean las catástrofes medioambientales o el efecto en el hombre de la evolución tecnológica.En su primera novela, El mundo sumergido (1962), imagina las consecuencias de un calentamiento global que provoca que los casquetes polares se derritan. Le siguieron El viento de ninguna parte (1962), La sequía (1965) y El mundo de cristal (1966), ambientada en un área boscosa de África occidental que está, literalmente, cristalizándose.En 1973 publicó Crash, una meditación turbadora y explícita sobre la relación entre el deseo sexual y los coches, y que provocó un un tenso debate sobre los límites de la censura contra la «obscenidad» cuando David Cronenberg la adaptó al cine en 1996. La película estuvo a punto de no poder ser estrenada en Inglaterra.[cita requerida] Tras Crash llegaron La isla de cemento (1974), Rascacielos (1975), Compañía de sueños ilimitada (1979) y Hola América (1981).En 1984 Ballard llegó a un público mucho más amplio con la obra autobiográfica El imperio del sol, la historia de un niño en tiempos de guerra, que luego continuó en La bondad de las mujeres (1991). El día de la creación, otra novela situada en África, se publicó en 1987 y Desbocado en 1988.Sus siguientes novelas fueron Fuga al paraíso (1994), un relato apocalíptico que transcurre en un atolón del Pacífico, Noches de cocaína (1996) y Super-Cannes (2000), ambas reelaboraciones de la novela negra clásica en una decadente Costa del Sol, la primera, y en la Riviera, la segunda. Ballard fue también un autor de relatos muy prolífico y, en 1996, apareció su colección de ensayos y reseñas Guía del milenio para el usuario.
The Atrocity Exhibition (JG Ballard and the Motorcar) [1970] Tomás Olano 2013-01-30 | Duration: 17 minutes Directed by Harely Cokliss (no imdb page exists) and features Ballard talking about some of the ideas which would coalesce into his novel Crash, published in 1973. Intercut with footage of test motor crashes and Ballard himself are semi-dramatised scenes with actress Gabrielle Drake. Remarkably effective and disturbing.http://tomasolano.com.arPLEASE NOTE:Unfortunately this second film is incomplete (the tape ran out) - I have been unable to find a running time listed anywhere, but it looks like it's between 2 and 5 mins short (the whole program of both films was no more than about 25 / 30 mins long).James Graham Ballard (18 de noviembre de 1930 - 19 de abril de 2009 ) fue un escritor británico de ciencia ficción. Un gran número de sus escritos describen distopías.Sus primeros cuentos datan de 1956 y en los años 60 se convierte en uno de los autores de referencia de la llamada nueva ola de la ciencia ficción inglesa. Su literatura desarrolla la problemática del siglo XX, ya sean las catástrofes medioambientales o el efecto en el hombre de la evolución tecnológica.En su primera novela, El mundo sumergido (1962), imagina las consecuencias de un calentamiento global que provoca que los casquetes polares se derritan. Le siguieron El viento de ninguna parte (1962), La sequía (1965) y El mundo de cristal (1966), ambientada en un área boscosa de África occidental que está, literalmente, cristalizándose.En 1973 publicó Crash, una meditación turbadora y explícita sobre la relación entre el deseo sexual y los coches, y que provocó un un tenso debate sobre los límites de la censura contra la «obscenidad» cuando David Cronenberg la adaptó al cine en 1996. La película estuvo a punto de no poder ser estrenada en Inglaterra.[cita requerida] Tras Crash llegaron La isla de cemento (1974), Rascacielos (1975), Compañía de sueños ilimitada (1979) y Hola América (1981).En 1984 Ballard llegó a un público mucho más amplio con la obra autobiográfica El imperio del sol, la historia de un niño en tiempos de guerra, que luego continuó en La bondad de las mujeres (1991). El día de la creación, otra novela situada en África, se publicó en 1987 y Desbocado en 1988.Sus siguientes novelas fueron Fuga al paraíso (1994), un relato apocalíptico que transcurre en un atolón del Pacífico, Noches de cocaína (1996) y Super-Cannes (2000), ambas reelaboraciones de la novela negra clásica en una decadente Costa del Sol, la primera, y en la Riviera, la segunda. Ballard fue también un autor de relatos muy prolífico y, en 1996, apareció su colección de ensayos y reseñas Guía del milenio para el usuario.
Lecture 1 [PARTE 3/4] Stockhausen Karlheinz - English Lectures (1972) Tomás Olano 2013-01-26 | Karlheinz Stockhausen (1928-2007)The British Lectures - Lecture 1, Part 3 - (Musical Forming) (1972)Duration: 37'39"http://tomasolano.com.ar Lecture 1 - (Musical Forming) (138 minutes) given on February 13th 1972 at the Institute of Contemporary Arts, London. Excerpts from KONTRA-PUNKTE, GRUPPEN, GESANG DER JÜNGLINGE, ZEITMAßZE, ZYKLUS, KREUZSPIEL, MANTRA, CARRÉ
Lecture 1 [PARTE 2/4] Stockhausen Karlheinz - English Lectures (1972) Tomás Olano 2013-01-26 | Karlheinz Stockhausen (1928-2007)The British Lectures - Lecture 1, Part 2 - (Musical Forming) (1972)Duration: 29'43"Lecture 1 - (Musical Forming) (138 minutes) given on February 13th 1972 at the Institute of Contemporary Arts, London. Excerpts from KONTRA-PUNKTE, GRUPPEN, GESANG DER JÜNGLINGE, ZEITMAßZE, ZYKLUS, KREUZSPIEL, MANTRA, CARRÉ
![Lecture 5 - [Part 1/3] Karlheinz Stockhausen - Four Criteria of Electronic Music (KONTAKTE), (1972)](https://i.ytimg.com/vi/7xyGtI7KKIY/sddefault.jpg)