胶囊威尼斯｜阿莱西奥·德·吉罗拉莫：实时

胶囊威尼斯

CAPSULE VENICE

个展 Solo Show

阿莱西奥·德·吉罗拉莫：实时????????????????????

Alessio de Girolamo: Real Time
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展期 Dates?

2024.09.21 - 12.15

开幕 Opening

2024.09.21, 16:00 - 19:00?????

地址 Address

意大利威尼斯 Sestiere Dorsoduro 2525号 - 30123

scroll down for English

胶囊威尼斯荣幸呈现特别项目“实时”(Real Time)。这是画廊与意大利艺术家阿莱西奥·德·吉罗拉莫（Alessio de Girolamo，1980年生于意大利圣雷莫，现居意大利莱切）的首次合作。此次展览在威尼斯双年展 - 第68届国际当代音乐节期间，于胶囊威尼斯的花园小屋和附楼（即二号与三号项目空间）呈现。“实时”展现了艺术家近期使用同名软件 Real Time 进行的音频和视频实验。这款软件由米兰大学音乐信息学实验室LIM (Laboratorio di Informatica Musicale, Università degli Studi di Milano) 在过去数年间参与开发，标志着音乐生成方式上的重大突破。软件利用自然声景中最接近既定乐谱音符的元素，在不进行任何预采样或音高改变的情况下，创造出一首全新的乐曲。自然与人造在此相遇，并不可避免地发生冲突。该软件将原曲中的“弱音” (silenced note) 替换为声景中频率最接近的音符。自然声景是无意识的，是自发的，非数值的，回旋和随机的，而传统乐曲则是由作曲家带有意识和意图、以时间和数值逻辑创作而成的。软件突出了两者之间的差异，也代表了一种（有时无法实现的）调和这两种对立思维方式的尝试。

艺术家本次为胶囊威尼斯特别构思的项目围绕两个相互关联的系列作品展开。花园小屋中的《点唱机》（Joog Box，2024）是一台定制的覆有超级镜面不锈钢的点唱机。附楼中，视频作品《实时（威尼斯，2024年9月21日）》（2024）投影在墙上，一系列布面手绘乐谱交织其中（《实时/乐谱（威尼斯，2024年9月21日）》（2024）和《乐谱（威尼斯2024年9月21日，No.1）》（2024）。

十九世纪九十年代，点唱机最初问世时曾有许多别称，最普遍的是“投币机”(nickel-in-the-slot machines)。 而 “点唱机”(jukebox) 一词最早是在《时代》杂志关于“juke house”（译者注：十九世纪末美国南部一种通常由非裔美国人经营的场所）的内容中被提及。这个词的根源可追溯得更远。居住在卡罗莱纳州附近的海岛群上的格勒人 (Gullah) 最初于十八世纪在奴隶制的影响下迁居此地，他们的语言是克里奥尔语 (creole) 的一种，融合了英语和多种西非语言。在这种语言中，“joog/jook” 意味着“混乱无序”或“邪恶的生活方式”。“juke house”则是一种集舞厅、赌场和妓院于一体的场所。

作品《点唱机》的英文标题特意选用“Joog Box” 这个拼写。观者根据屏幕上罗列的曲目名称按下相应的按钮，播放的声音令人感到一种和谐的无序，像一种听觉上的脱轨，似乎与屏幕上的原曲关联甚微。艺术家所选的十二首曲目向从文艺复兴到浪漫主义的两百年历史间的作曲家致敬，他们都曾在某个时间点生活在威尼斯，或与这座城市的历史、与其他被选的作曲家有某种关联。

所选乐曲并不旨在成为一份完整的历史档案，它源自艺术家的个人品味和理解，跨越不同风格和时代，从威尼斯乐派的奠基人阿德里安·维拉尔特（Adrian Willaert，1490-1562）到克劳迪奥·蒙特威尔第（Claudio Monteverdi，1567-1643），从安东尼奥·维瓦尔第（Antonio Vivaldi，1678-1741）到路德维希·范·贝多芬（Ludwig van Beethoven，1770-1827）。观众听到的音乐来自一个颠覆传统作曲规范的特殊过程。

由麦克风录制的动物、自然和人类的声音被传输到Real Time 软件中。软件识别出声音的频率，并尝试根据频率，不断地将输入的声音与原曲中的音符进行匹配，在此期间原曲以MIDI格式无声地运行着。每当软件检测并解码（而不进行操控）声景中与原始乐曲音符最相似的声音时，被捕获的声音会被链接到原曲中相应的音符。由此，自然声景中的声音替代了原本的管弦乐。当原曲中的一些部分无法匹配合适的自然声景时，便会留下空白。原曲介入了声景所奏的乐曲，造成一种断裂感。

这种音乐语言的语法完全颠覆了传统作曲的意图，它由随机性支配，偶然的概率事件和无意的奇迹决定了自然声景与原始音符的配对。相比传统的作曲，这个过程或许与表演的关系更为密切。用马克斯·纽豪斯（Max Neuhaus）的话来说，声景中的所有元素都成了“音波活动的催化剂”。最终结果是集体参与的产物，关注各个参与者之间的关系（无论参与者是人类还是其他），而非某个特定的主题或对象。一切都卷入了这种交互中。

投影在附楼空间内的视频拍摄于威尼斯的Giardini周边，画面中川流不息的“催化剂”再创了安东尼奥·维瓦尔第(Antonio Vivaldi) 的《春天》（La Primavera）。在这里，观者见证了乐曲和时间的开放性。在这个永无止境的过程中，依赖数理作曲的人类思维与超然数字和时间概念之外的生命和自然的流动相遇。这种实时、无意识的创作为作品带来了意外的元素，超越美学与和谐的标准范式，因为真正的“决策者”丝毫没有意识到自己正参与创作一首作品，他们只是存在着。这标志着一种新的作者身份。

对于听觉的纯粹主义者来说，声景中的自然和人类元素是系统故障，是对原曲神圣性的疯狂侵蚀。实际上，它是扭转视角的手段，把音乐从和谐与安抚的工具转变为一种意识，对两种彼此独立、不可调和的系统的意识。阿莱西奥·德·吉罗拉莫的作品从外部展示了一个完整的思维体系，基于循环性而非数值关系的作曲方式仅是其中一个切面。当频率契合时，一种新声音诞生了。这个漏洞便是其特征。

文：玛瑙（Manuela Lietti)

Alessio de Girolamo 阿莱西奥·德·吉罗拉莫 | Real Time (Venice, Sept. 21, 2024) 实时（威尼斯，2024年9月21日）| 2024 | single-channel audio and video projection 单频声音和视频投影 | 5'52"

Capsule Venice is delighted to present Real Time, the gallery’s first collaboration with Italian artist Alessio de Girolamo (b. 1980, Sanremo, Italy; currently lives and works in Lecce, Italy).  Hosted in the annex gallery space and the garden shed (Project Rooms 2 and 3) during La Biennale di Venezia - 68th International Festival of Contemporary Music, Real Timeunveils the artist’s most recent audio and video experiments with the eponymous software Real Time. Developed over the past few years in close collaboration with LIM - Laboratorio di Informatica Musicale (Music Informatics Laboratory) at Università degli Studi di Milano, the software Real Time represents a significant breakthrough in the way that a musical composition is conceived. It uses the elements of the natural soundscape closest to the notes of a chosen musical score, without any pre-sampling or pitch alteration, to create a brand-new score in which the natural and the artificial meet and inevitably clash. This software replaces the “silenced notes” in the original track with the closest acoustic frequencies. Real Time highlights the breach between the spontaneous, non-numeric, circular, and aleatoric patterns followed by musical composition as a product of an unaware soundscape and the time-based, numerical logic of traditional musical composition that resulted from a composer’s awareness and intention. The software thus represents an (occasionally impossible) attempt to reconcile these two antithetical systems of thought.

The project specifically conceived for Capsule Venice revolves around two interconnected bodies of work: Joog Box (2024), a custom-made juke box covered in super-mirror stainless steel displayed in the garden shed, and two main projections Real Time (Venice, Sept. 21, 2024) (2024) intertwined with a series of hand-drawn scores on canvas Real Time / Music Score (Venice, Sept. 21, 2024) (2024), and Music Score (Venice, Sept. 21, 2024 No.1) (2024), all arranged in the annex gallery space. 

Even though the first jukeboxes were known by many names back in the 1890s, mostly “nickel-in-the-slot machines,” the roots of the word “jukebox” go much further back than its first reference inTime magazine to the jook houses of the period. Specifically, the term originated in the Sea Islands, just off the Carolinas, where Gullah, a creole of several West African languages and English that grew up around slaves, was brought to the region in the eighteenth century. In Gullah, the word “joog/jook” meant “disorderly” or “living wickedly.” A jook house was a sort of dance hall, gaming room, and brothel, all rolled into one. 

Joog Box was purposely selected, with this spelling, as the title for the piece on view. On first hearing, the sounds emitted when a visitor pushes the button of the juke box is a anarchy of harmonies, an auditory derailment that seems barely related to the scores listed on the screen, representing the original scores from which the compositions depart. The twelve tracks selected pay homage to the work of composers spanning two hundred years, from the Renaissance to the Romanticism, who once lived and worked in Venice or who are somehow related to the city’s history or to one another. 

This selection does not aspire to be a philologically complete, strictly historical survey; it is rooted first of all in the artist’s own taste and understanding and it offers scores spanning a wide range of styles and eras, from the founder of the Venetian school Adrian Willaert (1490-1562) to Claudio Monteverdi (1567-1643), from Antonio Vivaldi (1678-1741) to Ludwig van Beethoven (1770-1827). What the audience hears comes from a specific process that overturns the usual compositional grammar.

The soundscape—including animal, natural, and human sounds—was recorded using a microphone, then transmitted to the Real Time software, which identifies the sound frequencies of the landscape and attempts to make a continuous match between the frequencies and notes of the original scores that run silently in MIDI format. Whenever the software detects and decodes —without manipulating— the sounds or noises in the soundscape that are most like the notes in the original score, the relevant note in the soundscape is captured by the software and linked to the relevant notes in the chosen piece. In this way, the sounds from the natural soundscape replace the original orchestra. When no sound is found, there remains a void, causing a feeling of disjunction where the original score interferes with the one performed by the soundscape. 

The syntax of this musical discourse completely reverses the intentionality of the traditional way of composing; it is now replaced by randomness, by a fortuitous, chance incident, an unintentional miracle that determines the matching of natural frequencies with notes from the original score. This process has more in common with performing than traditional composing. All of the components involved in the soundscapes become “catalysers of sonic activity” to use the words of Max Neuhaus. What results is a score that is the product of collective endeavor, prioritizing relationships among agents, whether human or not, rather than a given subject or object. Everything is involved in a participatory exchange. 

The videos projected in the annex gallery space combine images captured in the Giardini area, which portray“catalysers”moving in space as they create a new version of Antonio Vivaldi’s La Primavera (Spring). Here, the audience witnesses a visualization of the openness of the score, of time, of a never-ending process, in which the flow of life and nature—which has no consciousness of numbers or timelines—encounters the rigid logic of humans who rely on numbers to compose. This real-time, unconscious composition brings an unexpected aspect to the work going beyond standards of beauty or harmony, because the actual “actors” have no sense of being involved in creating a new piece, they just do it by existing, thus revealing a new sense of authorship. 

For listening purists, the natural and human element of the soundscape is a bug in the system; it is a crazy monad, almost interfering with the sacredness of the original score. In reality it is the means that allows a reversal of perspective from music conceived as a tool for harmony and consolation to music as awareness of the existence of two separate systems, distinct and, irreconcilable. Alessio de Girolamo’s work shows from the outside how a whole system of thought not just of composition that employs a circularity and is not based on numerical relationships operates. When the frequencies adhere, a new sound is born. The bug is the feature. 

关于艺术家 ABOUT THE ARTIST

胶囊上海当前展览

Current Exhibition at Capsule Shanghai

伊丽莎白·耶格：蔑视????

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将展出至2024年10月26日

Until October 26, 2024?

展览现场，伊丽莎白·耶格：蔑视，胶囊上海，中国上海；由凌卫政拍摄