ricardo.skafka.netOPACITY ZONE | Ricardo Da Silva: machine/analog film process, weird musical praxis

etc. OPACITY ZONE Search Primary Menu [bio] CINE-NOISE: LIVE CINEMA [perfo] CINE-NOISE: live cinema ENGLISH [perfo] Cine-noise: 16mm celluloid performance CINE-NOISE: Others PERFORMANCE TMP @ HBBC, Cully Jazz Festival 09 Thomas More Project @ Nouveau Monde [Fr] VIDEO ART FILM [film] TIQQUN: Offensive Opacity Zone [film] Alaharsh [film] Found Footage: Industry Of Fear WORKSHOPS [WORKSHOP] Animation sur pellicule 35mm [WORKSHOP] Dé-tournage: le projecteur comme instrument [WORKSHOP] Craig Baldwin: scavenging american myths and culture INSTALLATION SOUND DESIGN Pédagogie zHz Search for: art video , Discours critiques , Performance Electropia – Utopia Création originale pour la Fête de la Musique Yverdon 2023. Live concert, long version June 21 2023. Music: Grazia, Marco et Cédric Visuals: Ricardo Non classé ZHZ – Audiovisual set (2022) Non classé Livestreams ZHZ: prepairing a new audiovisual live set… Non classé ZHZ – Pandaimonia: cadavres exquis Collaborations à trois – à distance – durant la pandémie mondiale: https://zhznrj.bandcamp.com/ art video , featured , Performance ZHZ – Livestream sur Boiler Merde Date de l’émission: 10 mai 2020, 22:00. art video , featured , Film , Son ZHZ – Particles Latest doings during lockdown. Musical exquisite corpse done in three rounds! art video , NOISE , Performance , Son zHz: new ground within live improv electronics? Audio ——— [[[ Interactions d’événements sporadiques, changeants, éphémères ]]] ——— [[[ Electronique intriquée live de techno-déboussolée, pétillements de glitchs rythmiques & noise cosmique. ]]] ——— [[[ Condensations alchimiques tricéphales d’ordre, de chaos & d’équilibres quantiques.]]] ——— ——— [[[ Sporadic, changing & ephemeral interacted events ]]] ——— [[[ Live intricated electronics of disorientated techno, rythmic glitches’ twinklings & cosmic noise ]]] ——— [[[ Tricephal alchemical condensations of order, chaos & quantum equilibrium]]] ——— https://soundcloud.com/zhznrj/sets/zhz-2018 dada , featured , NOISE , Performance , Son ALEA: Concrete poetry and tribal noise June 3rd 2018, Live @ Sonorectures Festival, Geneva. ALEA: Duccio Castelli: Drums Ricardo da Silva: Electronics Son KUDETA: Low Intensity Operations KUDETA is: Sebastien Chaignat: Guitar // Ricardo da Silva: Modular synth Non classé DMK: Winter 2017-2018 Defekt Machine KTR6: Ivan Verda & Ricardo da Silva, live electronics NOISE , Performance , Son Ondulor #32, Feb. 22 2018: Solo Set featured , Performance , Son Defekt Machine KTR6 Defekt Machine KTR6 André Beurk : sampler + électronique Ricardo Da Silva : noise machines Ivan Verda : drum machine + électronique DMKTR6 c’est un cafard égaré dans un circuit à lampes, une clé à molette qui tombe dans les rouages huilés du travail à la chaîne, le naufrage d’un monde à la dérive, l’explosion cathartique et salutaire d’émotions longtemps contenues, la liberté de prendre des risques avec le son, la musique et le reste. featured , Son Colaborations récentes dans le son 2015-2016: art video , Film Ideology drift” collaboration: Yousuke Fuyama (Tokyo) ideology drift” by Ricardo Da silva (MV for Protos”) from Yousuke Fuyama on Vimeo . Workshops Animation sur pellicule 35mm, Passeport Vacances 2012 (extraits) (Très) courts-métrages réalisés par des enfants entre 10 et 15 ans dans le cadre des activités organisées par le Passeport Vacances de la Région lausannoise. Films réalisés sans caméra, en dessinant directement sur la pellicule. Chaque film représente environ une centaine de dessins, réalisés en un après-midi à la suite d’une brève introduction au principe de l’animation. Ateliers animés par Ricardo da Silva au sein du Cinéma Oblo, Lausanne, Av. de France 9. CINE-NOISE , NOISE , Son 8 Core: Krash Test Music Krash Computer Music: Collaborative improvisation with Nikola Mounoud (…) and myself. Made with MAX/MSP and Puredata, crash computers! Enjoy! CINE-NOISE , Discours critiques [Here & Now] CINE-NOISE: A conversation with Ricardo Da Silva Ricardo da Silva is a founding member of the film collective CINE-NOISE which he describes as a variable geometry project involving sound artists and experimental film performers.” Through their work and actualizations the group tries to bring noise music aesthetics into cinema and cinematics into noise music.” Having initially worked in an independent movie theatre where he got his hands on 50s-era projectors and learned to project film, Ricardo developed a broad interest in experimental cinema- he cites the likes of Norman McLaren and Stan Brakhage. A lack of funds and a determination to create visual experiences with scarce means, the artist collected found footage from theaters forced to liquidate old stock as well as projectors. Ricardo and I met in a Tokyo club, in a corner dimly lit by the operation of his projectors, and since then, our correspondence centered on the nature of his visual production and practice. What do you feel when engaging with the visual culture of the day? Abstract expressionism- as I see it in your work- may allude to intense emotion for one… Abstract expressionism presupposes that you can have direct access to the material you are working with. Abstract expressionism is hard to achieve if you are working with too much machine-interfaces. I gave more attention to film since it permitted me to get my hands on things, film is a physical place where video is just signal and data flow. Engaging oneself with film at this particular historical moment is swimming against the flow. Supposing you have a cell phone, everyone can make their own film and publish it online and that’s alright because the means are more accessible than ever yet it is all mediated by the interfaces that are brought to you, at your disposal. There’s a mythology within the presumption that open access technology might be hiding something, noting its corporate conditions of production, the corporate controls on the usage you might have of a device and the footprint, for example. In this particular historical moment, technologies are shifting and celluloid film is on the verge of disappearance but this also means that previously high-end and expensive means are much more affordable and/or disposable for free- if you are sneaking into garbage cans. There might be something in this practice like recycling and redemption of our cultural background but you have also to reconsider ways to produce, and find alternatives to produce for less. It’s all cinema povera. With no acting, no narrative- abstract cinema is still tightly connected to the technicalities of cinema yet emotional works, or experiences are created. Is there a narrative or any central totems to any of your work? Yes, but very basic ones: what is cinema as a ritual with a start, a climax and an end? Those inner structural and parafilmic schematics are to be requestioned, reconfigured and disrupted. Some usage of found footage implies connectivity to preexisting film culture which is to be reconditioned, fragmented, distorted and blown. But images are signs as well, and through our method of animating in a live setting these images meet the spectator and it becomes open-ended set of emotions. The audience is invited to interpret this unusual animation-form and dive into a kind of visual stasis, a kind of parenthesis to our will to decipher meaning in signs, albeit open-ended rather than dictated, like a meditation. We try to bring the audience to this kind of state of mind by constructing a sense of length, slowly evolving abstract and/or materialistic forms, colors, audio-visual noise patterns built on the fly before your eyes and ears. Abstraction in this kind of performance is intimately combined with the set of cinema: film looping, mechanical movement, lenses and human intervention on the cinema machinery. How does sound get taken care of- what soundtrack emerges? Sound is produced within the process of CINE-NOISE : The projectors make noise, the sound lamp-preamp outputs sound from the...