SADI SAM BARRETO CARDOSO BERTOLDI
MUSIC_SOUND ART
Sample Text
"Investigation of archaic harmony" Project manager: Sam Barreto Cardoso Bertoldi (2016/2018) Project coordinator: Sam Berreto Cardoso Bertoldi
"That of himself and of related things he does one thing in the highest degree." - Platone Everything that, albeit in the sensible form which no human can ever ignore, manages to express in some way the negation of the distinction between unity and multiplicity, between identity and difference, is "good and beautiful". And for this same reason it can also be said to be true. Only where the one and the many re-play in the same harmony is it true music.The "true" manages to indulge in listening, and listening always becomes a philosophical experience, allowing the correct recognition of the original aporia - the one that always and in any case testifies to being one of identity and difference. "A music that must therefore well imitate the indescribable harmony produced by the perfect circular movement of a cosmos that lacks nothing, precisely as it was artfully generated in such a way that it" underwent and did all things in and of itself ", and which must itself make itself a perfect mobile image of eternity. Therefore your eternal time, which will never end, which can never be said to be completed or ultimately definable; that is, which always has a past behind it, and always a future in its destiny. From previous projects, postponed in correlated performances with audiences of various age types (eg Sonorika "reworking of emotional nuances" - 2012 Florence Regional Palace of Tuscany), through a survey that introduced an exhibition of art, the concept of color related to emotion.A work aimed at highlighting pictorial details, using a selection of acousmatic sounds that had frequencies corresponding to color, the instinct of the gesture used by the artist and the emphasis of the concept that inspired the painter himself to create it.An exhibition of sounds, composed and superimposed in total improvised immersion, which helped the listener and the visual interlocutor immerse themselves in memories that subjectively ranged through completely different realities according to the various sensitivities. From memories of grandmother's cakes, to the scents of the sea, or to images of remote anxieties, it has been highlighted that in the musical psychology of performances, the musician is not only a performer of abstractions, but also a channel of profound and sacred re-enactment. for each individual who approaches to listening.An indefinable narrative extended to every corner of life lived.This project evolves, therefore as much research, but with a targeted symbology and even more free from de-environmental finished products.It is added that in the creation of the instrument, there is the use of "augmented" instrumentation, that is technically the instrument has an added modification to the sonic expressiveness, calculated through algorithms and logical programming, capable of transforming the sound and breaking it down in order to further minimize the expressive language of chord and tonal form.An added freedom, to transform, postpone and concretize a reality not marked by easily distinguishable musical canons. An emotional musicalization, both for the performer and for the listener exposed to the proposed experience.
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