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When I read the “Rural.scapes laboratory in residence” announcement my attention was attracted by the world “exploration”, that for me has a particular semantic network. Two areas of meaning were especially aroused. From one side there was the cognitive psychology and above all Ittelson’s study and theories about perception of environments; from the other side the collective and personal unconscious produced by scientific and narrative travels literature of 19th century.
According with perceptions theories, en environment could not be just observed, must be “explored”: in the meaning that, becoming part of it, we situate our action on it. To move oneself through it gives place to an interactive relationship and it is thorough action directed toward and in the environment that the subject receive a variety of sensory clues in the form of visual, auditory and tactile feedback. Any sensory modes can be excluded by this experience and often we are exposed to a large amount of information (central and secondary information) simultaneously. The surrounding environment it’s always perceived together with the part of it on which we are focused. Environment perception always implies actions toward a goal. By exploring, selecting and classifying environmental information, an individual manages to forge a subjective and relatively coherent representation, that, according to individual factors, setting characteristics and social relations, includes emotions, orientation, categorization, organization and manipulation. Usually everyday life environment are easy and economic from a cognitive point of view, because most of the perceptual and symbolic stimulus has been already culturally gained by subject grow in it. This is good from an existential point of view because there is less information to elaborate in perceiving our goals but at the same time the system becomes closed to experiencing new configuration of the same environment. But what’s happen in the moment in which the individual approach an unknown environment? Which role he should decide to act on it in order to start a relationship and an interrelation? If the perception of that environment it’s culturally elaborate starting from macro historical goals such as nutrition, habitability, social exchange what does means to perceive it from another point of view: for example sound or art? Which perspective open this if to be explored it’s for example a plants, stones or cooking? Which new possibilities open to have technologies and interfaces that empower our sensory systems?
I was thinking about this kind of stuff, trying to design a project to participate at the residence, and to understand my supposed role of European artist in a Brazilian half rural and half wild territory. A first answer arrived by discovering a 1927 scientific pamphlet written by Berta Lutz a zoologist born in Sao Paulo in 1894. This little treatment was about the flora of Serra de Bocaina, part of Rural Scape residence area, and the way in which was written, the historical moment and the biography of the author captured my attention. Many characteristics of Berta’s life seduced me. She was specialized in “dart frogs”; the ones used by Amerindians indigenous to poison the tips of blow dart, with their toxic secretion; but she wasn’t just a zoologist; together with the father Adolfo, she was interested to many biological aspect of her territory, especially in a period of many economical and political changes. The Cafe era was at the end with a severe crisis and a strong and general social instability. She was the first women hired by a institution, the Museu Nacional do Rio de Janeiro, a fact which achieved great repercussion in the country, because the access to public offices was barred to women at that time and for these reason in 1918, Berta spoke out for a feminist movement to begin. In 1934, the women of Brazil earned the right to vote due to Lutz and her organization. 
For me Berta and hers many interest became a sort of Virgilio, my personal guide to the territory I was going to approach; a guide not just from a scientific point of view but above all as example of engagement open to many aspects of the same environment. She suggest to me some attitudes to act in my exploration: a glance curious to every wonderful details of the unknown, a sort of need of accuracy in collecting, to categorize and to take notes of the items found, an inclination to socially share what discovered. I felt the necessity to practice things unusual for me, as drawing or invent languages of symbols to write down soundscapes.



Soundscape Notation Legenda by Enrico Ascoli 

Fazenda Santa Tereza (Brazil)  8:00 am - soundscape notation
Forest of Serra Da Bocaina (Brazil)  8:00 am - soundscape notation                                   Field recording: Forest of Serra Da Bocaina (Brazil)  8:00 am Aware of the fact that the way in which we cognitively represent en environment is what we are looking and acting on it I engaged my relationship with Rural.Scapes residence territory performing the character of a scientist of the beginning of 20th century intentioned to discover unprecedented sound and acoustic qualities into nature.  Wind through giant Guada bamboo recorded with piezo microphones Everyday I treked for long time through the hills around Fazenda Santa Tereza trying to map the points in which grassland was replaced by Atlantic forest areas, because, there, I was sure to find interesting stuff for my research. Actually all territory was full of surprises and some times I never arrived in the shadow green of my destinations because something unexpected get carried me away. For example, placing a piezo microphones inside of a “Formiga Sauva” anthill, met in one of my journey, I was completely raped by the unthinkable alien chatting of these red ants; so I spent the day investigating this phenomenon; comparing it with the sounds of other pecies, trying to understand how use this incredible sound in a music composition or installation. The same happen following flocks of different kind of birds, or handle and touching plants, seeds, insects or stones having, what Norman call “affordances” of an object, some characteristics in their shapes, structures or matter consistency, that suggested to me an hided possibility to discover a real or imaginary sound.
                                



Formiga Sauva - piezo microphones inside the hanthill 
  
Formiga Sauva - inside the hanthill, drawed sonogramme


  
Maritaka screams -  drawed sonogramme
Very preciuos it was to met Herbert, a young Brazilian biologist, born in that territory. He introduced me to one of the ancient parts of Serra da Bocaina forest, looking for frogs, snakes and interesting plants. One night he taught me how to massage the stomach of a Sapo Cururu, a poisonous big toad, to make him sing. Another day he showed me in the ground the dry fruits of Jequitibà, one of the biggest tree of Atlantic Forest, that I discovered having funny acoustic properties. 
 Sapo Cururu (rhinella Icterica) - massaging the stomach this toad start to call Jacutinga bird calls - the nosiest of the forest

Of course I recorded gigabyte of sounds using different techniques (this is my job) but, what really exited me was, in the evening, once came back to the Fazenda, to go over in my research manipulating my growing collection of strange objects.
Octavio Paz wrote in a famous essay on Marcel Duchamp that for over three thousand years the Chinese had established a sort of art that consisted of finding and collecting small stones at random. When a stone was chosen, once separated from the others, from the world, the work of art was born.
My “wunderkammer ” were done of pieces of the territory memory, containing fragment of the its DNA, of its life. They were as space temporal gates or inter-connectors and I needed to listen their voices. Some of them were beautiful but unsuccessful from an acoustic point of view; some other I came to know that they were quite common for the people of that area, but, also the simply fact to discovered a typical use of them, was really interesting because it was as if me and the culture of that territory had a lowest common denominator that linked us in giving sense to the world. Some of my samples instead reveal extraordinary musical properties such as the terrible spines of Brejauva (Astrocarium Aculeatissimum) a palm typical of that area. I started to used it directly in the forest trying to play it as a kalimba.


Brejauva (Astrocaryum aculeatissimum) -  “How to play” drawing The sound was warm and exotic like a marimba with many possibility in timber and pitch variations. I felt in love and this it cost me two days of pain and tingling at my fingers because as every indigenous told me later, that king of plants contains poison and it should be not touched; just the fruit are delicious. But this was great because finding a way to play the spines without using nude hands I could have partly modify the cognitive and cultural perception and notion that human being has all along of this palm so common in life of natives. One of the most ephemeral characteristic of environment is their specific mood: Ittelson call him climate. For me It’s similar to what is “timber” for the musical instruments. It’s their proper vibration; something difficult to describe and measure but that let to identify them immediately apart from the notes they are playing.  Brejauva was like a revelation because I felt it as it was the climate of the territory I was exploring: its soft hills, the humid darkness of the forest, the burning color of its soil, its exuberant fecundity, its incredible bio diversity, the warmness in the people glance, the African vibration of the black slaves that build that areas with sweat and blood. I showed my discovery to native people and their reactions gave me an emotional proof of this idea. For example Herbert, the young brasilian biologist, was so surprise to add a new notion, a “musical” one, to a plant that he knew so well from a scientific point of view, that was in that precise moment that he decide to took me Serra da Bocaina Forest to try to find other species with acoustic characteristics. During the open studio at the Fazenda Santa Tereza I had prepared a live performance with my objects but after one minute I was playing the children of my audience assaulted my set longing to make sound with what they knew as a dangerous branch of Brejauva. These and other reactions were so spontaneous that I felt as if my role of artist and performer was no more necessary because my supposed piece of art was already get back to his territory, no more as the every day evil plant but as something extraordinary and extremely pleasant.


Beja Flor (Humming birds) sound installation drawing 
                                 Beja Flor (Humming birds) drone ans whooshes - forest of Serra da Bocaina

When I read the “Rural.scapes laboratory in residence” announcement my attention was attracted by the world “exploration”, that for me has a particular semantic network. Two areas of meaning were especially aroused. From one side there was the cognitive psychology and above all Ittelson’s study and theories about perception of environments; from the other side the collective and personal unconscious produced by scientific and narrative travels literature of 19th century.
According with perceptions theories, en environment could not be just observed, must be “explored”: in the meaning that, becoming part of it, we situate our action on it. To move oneself through it gives place to an interactive relationship and it is thorough action directed toward and in the environment that the subject receive a variety of sensory clues in the form of visual, auditory and tactile feedback. Any sensory modes can be excluded by this experience and often we are exposed to a large amount of information (central and secondary information) simultaneously. The surrounding environment it’s always perceived together with the part of it on which we are focused. Environment perception always implies actions toward a goal. By exploring, selecting and classifying environmental information, an individual manages to forge a subjective and relatively coherent representation, that, according to individual factors, setting characteristics and social relations, includes emotions, orientation, categorization, organization and manipulation. Usually everyday life environment are easy and economic from a cognitive point of view, because most of the perceptual and symbolic stimulus has been already culturally gained by subject grow in it. This is good from an existential point of view because there is less information to elaborate in perceiving our goals but at the same time the system becomes closed to experiencing new configuration of the same environment. But what’s happen in the moment in which the individual approach an unknown environment? Which role he should decide to act on it in order to start a relationship and an interrelation? If the perception of that environment it’s culturally elaborate starting from macro historical goals such as nutrition, habitability, social exchange what does means to perceive it from another point of view: for example sound or art? Which perspective open this if to be explored it’s for example a plants, stones or cooking? Which new possibilities open to have technologies and interfaces that empower our sensory systems?
I was thinking about this kind of stuff, trying to design a project to participate at the residence, and to understand my supposed role of European artist in a Brazilian half rural and half wild territory. A first answer arrived by discovering a 1927 scientific pamphlet written by Berta Lutz a zoologist born in Sao Paulo in 1894. This little treatment was about the flora of Serra de Bocaina, part of Rural Scape residence area, and the way in which was written, the historical moment and the biography of the author captured my attention. Many characteristics of Berta’s life seduced me. She was specialized in “dart frogs”; the ones used by Amerindians indigenous to poison the tips of blow dart, with their toxic secretion; but she wasn’t just a zoologist; together with the father Adolfo, she was interested to many biological aspect of her territory, especially in a period of many economical and political changes. The Cafe era was at the end with a severe crisis and a strong and general social instability. She was the first women hired by a institution, the Museu Nacional do Rio de Janeiro, a fact which achieved great repercussion in the country, because the access to public offices was barred to women at that time and for these reason in 1918, Berta spoke out for a feminist movement to begin. In 1934, the women of Brazil earned the right to vote due to Lutz and her organization.
For me Berta and hers many interest became a sort of Virgilio, my personal guide to the territory I was going to approach; a guide not just from a scientific point of view but above all as example of engagement open to many aspects of the same environment. She suggest to me some attitudes to act in my exploration: a glance curious to every wonderful details of the unknown, a sort of need of accuracy in collecting, to categorize and to take notes of the items found, an inclination to socially share what discovered. I felt the necessity to practice things unusual for me, as drawing or invent languages of symbols to write down soundscapes.
image
image
Soundscape Notation Legenda by Enrico Ascoli

image
Fazenda Santa Tereza (Brazil)  8:00 am - soundscape notation

image
Forest of Serra Da Bocaina (Brazil)  8:00 am - soundscape notation
                                
Field recording: Forest of Serra Da Bocaina (Brazil)  8:00 am

Aware of the fact that the way in which we cognitively represent en environment is what we are looking and acting on it I engaged my relationship with Rural.Scapes residence territory performing the character of a scientist of the beginning of 20th century intentioned to discover unprecedented sound and acoustic qualities into nature. 

Wind through giant Guada bamboo recorded with piezo microphones

Everyday I treked for long time through the hills around Fazenda Santa Tereza trying to map the points in which grassland was replaced by Atlantic forest areas, because, there, I was sure to find interesting stuff for my research. Actually all territory was full of surprises and some times I never arrived in the shadow green of my destinations because something unexpected get carried me away. For example, placing a piezo microphones inside of a “Formiga Sauva” anthill, met in one of my journey, I was completely raped by the unthinkable alien chatting of these red ants; so I spent the day investigating this phenomenon; comparing it with the sounds of other pecies, trying to understand how use this incredible sound in a music composition or installation. The same happen following flocks of different kind of birds, or handle and touching plants, seeds, insects or stones having, what Norman call “affordances” of an object, some characteristics in their shapes, structures or matter consistency, that suggested to me an hided possibility to discover a real or imaginary sound.
                               
Formiga Sauva - piezo microphones inside the hanthill
Formiga Sauva - inside the hanthill, drawed sonogramme

Maritaka screams -  drawed sonogramme

Very preciuos it was to met Herbert, a young Brazilian biologist, born in that territory. He introduced me to one of the ancient parts of Serra da Bocaina forest, looking for frogs, snakes and interesting plants. One night he taught me how to massage the stomach of a Sapo Cururu, a poisonous big toad, to make him sing. Another day he showed me in the ground the dry fruits of Jequitibà, one of the biggest tree of Atlantic Forest, that I discovered having funny acoustic properties. 



Sapo Cururu (rhinella Icterica) - massaging the stomach this toad start to call


Jacutinga bird calls - the nosiest of the forest

Of course I recorded gigabyte of sounds using different techniques (this is my job) but, what really exited me was, in the evening, once came back to the Fazenda, to go over in my research manipulating my growing collection of strange objects.
Octavio Paz wrote in a famous essay on Marcel Duchamp that for over three thousand years the Chinese had established a sort of art that consisted of finding and collecting small stones at random. When a stone was chosen, once separated from the others, from the world, the work of art was born.
My “wunderkammer ” were done of pieces of the territory memory, containing fragment of the its DNA, of its life. They were as space temporal gates or inter-connectors and I needed to listen their voices. Some of them were beautiful but unsuccessful from an acoustic point of view; some other I came to know that they were quite common for the people of that area, but, also the simply fact to discovered a typical use of them, was really interesting because it was as if me and the culture of that territory had a lowest common denominator that linked us in giving sense to the world. Some of my samples instead reveal extraordinary musical properties such as the terrible spines of Brejauva (Astrocarium Aculeatissimum) a palm typical of that area. I started to used it directly in the forest trying to play it as a kalimba.
image
Brejauva (Astrocaryum aculeatissimum) -  “How to play” drawing

The sound was warm and exotic like a marimba with many possibility in timber and pitch variations. I felt in love and this it cost me two days of pain and tingling at my fingers because as every indigenous told me later, that king of plants contains poison and it should be not touched; just the fruit are delicious. But this was great because finding a way to play the spines without using nude hands I could have partly modify the cognitive and cultural perception and notion that human being has all along of this palm so common in life of natives. One of the most ephemeral characteristic of environment is their specific mood: Ittelson call him climate. For me It’s similar to what is “timber” for the musical instruments. It’s their proper vibration; something difficult to describe and measure but that let to identify them immediately apart from the notes they are playing. 
Brejauva was like a revelation because I felt it as it was the climate of the territory I was exploring: its soft hills, the humid darkness of the forest, the burning color of its soil, its exuberant fecundity, its incredible bio diversity, the warmness in the people glance, the African vibration of the black slaves that build that areas with sweat and blood. I showed my discovery to native people and their reactions gave me an emotional proof of this idea. For example Herbert, the young brasilian biologist, was so surprise to add a new notion, a “musical” one, to a plant that he knew so well from a scientific point of view, that was in that precise moment that he decide to took me Serra da Bocaina Forest to try to find other species with acoustic characteristics. During the open studio at the Fazenda Santa Tereza I had prepared a live performance with my objects but after one minute I was playing the children of my audience assaulted my set longing to make sound with what they knew as a dangerous branch of Brejauva. These and other reactions were so spontaneous that I felt as if my role of artist and performer was no more necessary because my supposed piece of art was already get back to his territory, no more as the every day evil plant but as something extraordinary and extremely pleasant.

image
Beja Flor (Humming birds) sound installation drawing

                               
Beja Flor (Humming birds) drone ans whooshes - forest of Serra da Bocaina

Listen to: Nubicuculia by Enrico Ascoli
Nubicuculia” is the fourth track born re-elaborating the field-recording taken by the Paris-based artist Enrico Ascoli in the South of Italy during the artist-in-residence project Barsento Mediascape/Interferenze 2013. It’s a narrative dialogue between many different sound materials recorded exploring the territory, not with a documentary intent but looking for their timbrical and harmonic properties: musical seeds, full of a remote esotism, that come to light manipulating in a musical way ancient agricultural tools, the stone shingles of a “trullo” roof, the stalactites of a cavern, the rows of grapevines.  A very special thanks to Leandro Pisano and Enrico Coniglio for releasing this work, to Vito Santoiemma who allowed me to explore it’s universe of ancient tools, to Giuliano Mozzillo who has given a visual and dynamic soul to these sounds using the video documentation of the artist residence shooted by Antonello Carbone and himself.

Listen to: Nubicuculia by Enrico Ascoli

Nubicuculia” is the fourth track born re-elaborating the field-recording taken by the Paris-based artist Enrico Ascoli in the South of Italy during the artist-in-residence project Barsento Mediascape/Interferenze 2013. It’s a narrative dialogue between many different sound materials recorded exploring the territory, not with a documentary intent but looking for their timbrical and harmonic properties: musical seeds, full of a remote esotism, that come to light manipulating in a musical way ancient agricultural tools, the stone shingles of a “trullo” roof, the stalactites of a cavern, the rows of grapevines.

A very special thanks to Leandro Pisano and Enrico Coniglio for releasing this work, to Vito Santoiemma who allowed me to explore it’s universe of ancient tools, to Giuliano Mozzillo who has given a visual and dynamic soul to these sounds using the video documentation of the artist residence shooted by Antonello Carbone and himself.


A FAILING ATTEMPT TO CREATE THE BEST PLUTO EVER!
By Fabio Tonetto
Sound design Enrico Ascoli
 
- PICTOPLASMA (BERLIN) - OPENING SHORT :berlin.pictoplasma.com/festival/screenings
- NONSTOP BARCELONA - OFFICIAL SELECTION :nonstopbarcelona.com/seleccion-oficial/
- DENVER DIGERATI (DENVER, USA) : denverdigerati.com/
- NCF - New Culture Festival (MOSCOW) :newculturefest.ru/
- SICAF2014 (SEOUL) - OFFICIAL SELECTION :sicaf.org/community-notice-view.php?no=4
- LAGO FILMFESTIVAL (ITALY) - OFFICIAL SELECTION :lagofest.org/eng/lago-film-fest-2014/films-in-competition-2014/
- FILE ANIMA+ 2014 (SAU PAUOLO, BRAZIL) :filefestival.org/site_2007/pagina_conteudo_livre.asp?a1=308&a2=308&id=2

A FAILING ATTEMPT TO CREATE THE BEST PLUTO EVER!

By Fabio Tonetto

Sound design Enrico Ascoli

 

- PICTOPLASMA (BERLIN) - OPENING SHORT :
berlin.pictoplasma.com/festival/screenings

- NONSTOP BARCELONA - OFFICIAL SELECTION :
nonstopbarcelona.com/seleccion-oficial/

- DENVER DIGERATI (DENVER, USA) : 
denverdigerati.com/

- NCF - New Culture Festival (MOSCOW) :
newculturefest.ru/

- SICAF2014 (SEOUL) - OFFICIAL SELECTION :
sicaf.org/community-notice-view.php?no=4

- LAGO FILMFESTIVAL (ITALY) - OFFICIAL SELECTION :
lagofest.org/eng/lago-film-fest-2014/films-in-competition-2014/

- FILE ANIMA+ 2014 (SAU PAUOLO, BRAZIL) :
filefestival.org/site_2007/pagina_conteudo_livre.asp?a1=308&a2=308&id=2




A slow and surreal video|slideshow of nightmareish, grotesque and apparently static characters.
by donato sansone milkyeyes
sound Enrico Ascoli
gennaio 2014

A slow and surreal video|slideshow of nightmareish, grotesque and apparently static characters.

by donato sansone milkyeyes

sound Enrico Ascoli

gennaio 2014


BEAUTY Teaser from Enrico Ascoli - Sound Design on Vimeo.
Download the soundtrack: enricoascoli.bandcamp.com/track/beauty-soundtrack
A path of sighs through the emotions of life. A tribute to the art and her disarming beauty.
CREDITS: Director RINO STEFANO TAGLIAFIERRO
Assistant Director LAILA SONSINO
2nd Assistant Director CARLOTTA BALESTRIERI
Editing - Compositing - Animation RINO STEFANO TAGLIAFIERRO
Sound Design ENRICO ASCOLI
Art Direction RINO STEFANO TAGLIAFIERRO
Historiographer GIULIANO CORTI
Time 09’49”
Year 2014
Thanks MA&PA, ANNA, RAFFAELLA, CORRADO, VINICIO BORDIN, PAOLO RANIERI, KARMACHINA, ALBERTO MODIGNANI, AUGUSTA DESIRE GRECCHI, PAOLO BAZZANI, THOMAS MCEVOY
Video Websiterinostefanotagliafierro.com/beauty.html

BEAUTY Teaser from Enrico Ascoli - Sound Design on Vimeo.

Download the soundtrack: enricoascoli.bandcamp.com/track/beauty-soundtrack

A path of sighs through the emotions of life.
A tribute to the art and her disarming beauty.

CREDITS:
Director
RINO STEFANO TAGLIAFIERRO

Assistant Director
LAILA SONSINO

2nd Assistant Director
CARLOTTA BALESTRIERI

Editing - Compositing - Animation
RINO STEFANO TAGLIAFIERRO

Sound Design
ENRICO ASCOLI

Art Direction
RINO STEFANO TAGLIAFIERRO

Historiographer
GIULIANO CORTI

Time
09’49”

Year
2014

Thanks
MA&PA, ANNA, RAFFAELLA, CORRADO, VINICIO BORDIN, PAOLO RANIERI, KARMACHINA, ALBERTO MODIGNANI, AUGUSTA DESIRE GRECCHI, PAOLO BAZZANI, THOMAS MCEVOY

Video Website
rinostefanotagliafierro.com/beauty.html

Valentino Oz

Client: Valentino Garavani Production: Brw Filmland & Withstand Film Director: Virgilio Villoresi Producer: Davide Ferazza Animator: Dario Imbrogno DP: Marcello Dapporto Post: Carlo Cossignani Scenography: Michela Natella Color: Claudio@Band Music and Sound Design: Enrico Ascoli
Valentino video playlist

Valentino Oz

Client: Valentino Garavani
Production: Brw Filmland & Withstand Film
Director: Virgilio Villoresi
Producer: Davide Ferazza
Animator: Dario Imbrogno
DP: Marcello Dapporto
Post: Carlo Cossignani
Scenography: Michela Natella
Color: Claudio@Band
Music and Sound Design: Enrico Ascoli

Valentino video playlist


Director: Virgilio Villoresi Dop: Marcello Dapporto Animation: Dario Imbrogno, Virgilio Villoresi Gaffer: Giancarlo Morieri Set Designer: Michela Natella Producer: Davide Ferazza Production Assistant: Tommaso Dragoni Post production: Carlo Cossignani Music: Enrico Ascoli Prod: BRW/Withstand
Valentino video playlist

Director: Virgilio Villoresi
Dop: Marcello Dapporto
Animation: Dario Imbrogno, Virgilio Villoresi
Gaffer: Giancarlo Morieri
Set Designer: Michela Natella
Producer: Davide Ferazza
Production Assistant: Tommaso Dragoni
Post production: Carlo Cossignani
Music: Enrico Ascoli
Prod: BRW/Withstand

Valentino video playlist

Interferenze Festival 2013 - Barsento Mediascape
The artists invited to Barsento Mediascape will spend different days in the Barsento and Trulli area, focusing their attention on a series of cultural, social, architectural, natural and landscapes elements, in order to recognize, narrate and give shape to the identity of the territory upon which they are working. The aim is to produce an aesthetic experimentation that, through new frontier of art, communication and design,  is able to narrate the territory, giving it an innovative lecture and at the same time creating a new sensorial meaning. This new experiment follows the path of a research work on rurality started on 2003 during Interferenze New Art Festival. Through a series of format that put together new technology and territorial characteristics give shape to a new over-territorial yet qualitative dimension: the knowledge of the territory, internal or external to one’s action, offers a better and multiform possibility of development.
Improvvisation for old tools from Barsento tradition

Improvvisation for Trulli Stones Roof


Improvvisation for Stalactites at Grotta del Trullo

Interferenze Festival 2013 - Barsento Mediascape

The artists invited to Barsento Mediascape will spend different days in the Barsento and Trulli area, focusing their attention on a series of cultural, social, architectural, natural and landscapes elements, in order to recognize, narrate and give shape to the identity of the territory upon which they are working.
The aim is to produce an aesthetic experimentation that, through new frontier of art, communication and design,  is able to narrate the territory, giving it an innovative lecture and at the same time creating a new sensorial meaning.

This new experiment follows the path of a research work on rurality started on 2003 during Interferenze New Art Festival. Through a series of format that put together new technology and territorial characteristics give shape to a new over-territorial yet qualitative dimension: the knowledge of the territory, internal or external to one’s action, offers a better and multiform possibility of development.

Improvvisation for old tools from Barsento tradition

Improvvisation for Trulli Stones Roof


Improvvisation for Stalactites at Grotta del Trullo


TheBox-xxx from Enrico Ascoli - Sound Design on Vimeo.


Dadomani studio: idea,production,animation supervision,direction Direction: Dadomani|Imbrogno Patrizio Saccò: director of photography Dario Imbrogno: animation Enrico Ascoli: music and sound design Voices: Joseph Miceli Tv jingle: “4 note motrici” directed by Enrico Ascoli
The Box and Dox spend their entire lives sitting on the couch in front of the TV. Both are afflicted with a very powerful addiction to television. This addiction plays out in their behaviors and reactions, which are polar opposites of each other. The Box uses the TV to fall asleep, while Dox is a victim of his unstoppable instinct of channel surfing. They both need TV, albeit for different purposes. Falling into his habitual deep sleep, The Box loses contact with reality, letting himself go completely into the dream world. This is where the character’s rational mind makes room for the unknown and unknowing world of his subconscious. The Box’s brain, like an unprotected fortress, lies defenseless as it is accosted by dangerous outside stimuluses. The TV’s audio signal is the enemy that creeps in between the cognitive synapses of the sleeping protagonist, influencing his dreams and controlling his consciousness. The Box, like a sponge, passively absorbs all the audio stimuluses that come from the outside; reworking them and unknowingly transmitting them back into reality as interactive hallucinations uncontrolled and interacting freely with their surrounding environment…

TheBox-xxx from Enrico Ascoli - Sound Design on Vimeo.

Dadomani studio: idea,production,animation supervision,direction
Direction: Dadomani|Imbrogno
Patrizio Saccò: director of photography
Dario Imbrogno: animation
Enrico Ascoli: music and sound design
Voices: Joseph Miceli
Tv jingle: “4 note motrici” directed by Enrico Ascoli

The Box and Dox spend their entire lives sitting on the couch in front of the TV. Both are afflicted with a very powerful addiction to television. This addiction plays out in their behaviors and reactions, which are polar opposites of each other. The Box uses the TV to fall asleep, while Dox is a victim of his unstoppable instinct of channel surfing. They both need TV, albeit for different purposes.
Falling into his habitual deep sleep, The Box loses contact with reality, letting himself go completely into the dream world. This is where the character’s rational mind makes room for the unknown and unknowing world of his subconscious.
The Box’s brain, like an unprotected fortress, lies defenseless as it is accosted by dangerous outside stimuluses. The TV’s audio signal is the enemy that creeps in between the cognitive synapses of the sleeping protagonist, influencing his dreams and controlling his consciousness.
The Box, like a sponge, passively absorbs all the audio stimuluses that come from the outside; reworking them and unknowingly transmitting them back into reality as interactive hallucinations uncontrolled and interacting freely with their surrounding environment…


OPIUM: facing the lips of dawn (Trailer) an installation by Enrico Ascoli FUORI SALONE 2013 - Via Paolo Sarpi 10 - Milano                         winner of Milano Design Award 2013 | sound design category

OPIUM: facing the lips of dawn (Trailer)
an installation by Enrico Ascoli
FUORI SALONE 2013 - Via Paolo Sarpi 10 - Milano                         winner of Milano Design Award 2013 | sound design category


UOVOKids teaser
video by Donato Sansone
sound by Enrico Ascoli
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UOVOKids teaser

video by Donato Sansone

sound by Enrico Ascoli

return to the Home page

COPIES RéCENTES de PAYSAGES ANCIENS 
Rä di Martino - 2012 - HD Video, Arab with subtitles, Dugong Production music and sound design by Enrico Ascoli
Abandoned movie sets are used again, the actors are two local kids, born not far from the film studios, now almost abandoned, near Ouarzazate.. The two kids re-enact a few lines from movies that have been shot there, an American horror movie, Lawrence of Arabia… and all around natura and the incontaminated landscapes of the Draa Valley stand outside of time. 
 


 




 
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COPIES RéCENTES de PAYSAGES ANCIENS

Rä di Martino - 2012 - HD Video, Arab with subtitles, Dugong Production
music and sound design by Enrico Ascoli

Abandoned movie sets are used again, the actors are two local kids, born not far from the film studios, now almost abandoned, near Ouarzazate.. The two kids re-enact a few lines from movies that have been shot there, an American horror movie, Lawrence of Arabia… and all around natura and the incontaminated landscapes of the Draa Valley stand outside of time.

 

 

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DISSENT (trailer): by Helmut Dosantos & Vincenzo Mistretta Mix by Enrico Ascoli, piano score by Luigi Esposito, music by Enrico Ascoli
DISSENT (short film):
May 26, 2012: The Indie Fest, California / USA (won: “Award of Excellence”) May 28, 2012: Los Angeles Movie Awards, California / USA (won: “Honorable Mention”) June 2, 2012: The Mexico International Film Festival, Mexico (won: “Bronze Palm Award”) June 8, 2012: The Accolade Awards, California / USA (won: “Award of Excellence”) June 22, 2012: The Philadelphia Independent Film Festival, Philadelphia (PA) / USA Aug 17, 2012 - Aug 24, 2012: AOF International Film Festival, California / USA Sept 23, 2012 - Sept 29, 2012: Vegas Cine Fest, Nevada / USA
March 2013 . Best Director at St. Tropez International Film Festival
March 2013 - Best Music Nomination at Madrit International Film Festival
CAST: Edward Lund – GUY BALOTINE Karla Welles – JESSICA PARK Jason Apollo Lund – JIM MALOY Gerry – NORMAN SHAM Mr. Bell – GERRY MAHER Helen – JESSICA WEGRZYN
Producers HELMUT DOSANTOS & VINCENZO MISTRETTA Executive Producer LUDOVIC BONLEUX Co-Producer MAXIME de TRÉGLODÉ Associate Producer BÉBARS BASLAN Production Managers MONIKA PAVLIKOVÁ-BYRNE & LUDOVIC BONLEUX Original Music by LUIGI ESPOSITO Soundtrack ENRICO ASCOLI (ambient music sound design) Sound Designer GABRIEL COLL BARBERIS C.A.S. Director of Photography VINCENZO MISTRETTA & FERNANDO MUÑOZ
 SFX Photography LÉO HINSTIN & LUIS ADÁN ZAYAS Production Designer HELMUT DOSANTOS Set Designers DENNIS MAHER & ARTURO GALVÁN Costume Designer ADRIANA RUÍZ
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DISSENT (trailer):
by Helmut Dosantos & Vincenzo Mistretta
Mix by Enrico Ascoli, piano score by Luigi Esposito, music by Enrico Ascoli

DISSENT (short film):

May 26, 2012: The Indie Fest, California / USA (won: “Award of Excellence”)
May 28, 2012: Los Angeles Movie Awards, California / USA (won: “Honorable Mention”)
June 2, 2012: The Mexico International Film Festival, Mexico (won: “Bronze Palm Award”)
June 8, 2012: The Accolade Awards, California / USA (won: “Award of Excellence”)
June 22, 2012: The Philadelphia Independent Film Festival, Philadelphia (PA) / USA
Aug 17, 2012 - Aug 24, 2012: AOF International Film Festival, California / USA
Sept 23, 2012 - Sept 29, 2012: Vegas Cine Fest, Nevada / USA

March 2013 . Best Director at St. Tropez International Film Festival

March 2013 - Best Music Nomination at Madrit International Film Festival

CAST:
Edward Lund – GUY BALOTINE
Karla Welles – JESSICA PARK
Jason Apollo Lund – JIM MALOY
Gerry – NORMAN SHAM
Mr. Bell – GERRY MAHER
Helen – JESSICA WEGRZYN

Producers HELMUT DOSANTOS & VINCENZO MISTRETTA
Executive Producer LUDOVIC BONLEUX
Co-Producer MAXIME de TRÉGLODÉ
Associate Producer BÉBARS BASLAN
Production Managers MONIKA PAVLIKOVÁ-BYRNE & LUDOVIC BONLEUX
Original Music by LUIGI ESPOSITO
Soundtrack ENRICO ASCOLI (ambient music sound design)
Sound Designer GABRIEL COLL BARBERIS C.A.S.
Director of Photography VINCENZO MISTRETTA & FERNANDO MUÑOZ

SFX Photography LÉO HINSTIN & LUIS ADÁN ZAYAS
Production Designer HELMUT DOSANTOS
Set Designers DENNIS MAHER & ARTURO GALVÁN
Costume Designer ADRIANA RUÍZ

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When I read the “Rural.scapes laboratory in residence” announcement my attention was attracted by the world “exploration”, that for me has a particular semantic network. Two areas of meaning were especially aroused. From one side there was the cognitive psychology and above all Ittelson’s study and theories about perception of environments; from the other side the collective and personal unconscious produced by scientific and narrative travels literature of 19th century.
According with perceptions theories, en environment could not be just observed, must be “explored”: in the meaning that, becoming part of it, we situate our action on it. To move oneself through it gives place to an interactive relationship and it is thorough action directed toward and in the environment that the subject receive a variety of sensory clues in the form of visual, auditory and tactile feedback. Any sensory modes can be excluded by this experience and often we are exposed to a large amount of information (central and secondary information) simultaneously. The surrounding environment it’s always perceived together with the part of it on which we are focused. Environment perception always implies actions toward a goal. By exploring, selecting and classifying environmental information, an individual manages to forge a subjective and relatively coherent representation, that, according to individual factors, setting characteristics and social relations, includes emotions, orientation, categorization, organization and manipulation. Usually everyday life environment are easy and economic from a cognitive point of view, because most of the perceptual and symbolic stimulus has been already culturally gained by subject grow in it. This is good from an existential point of view because there is less information to elaborate in perceiving our goals but at the same time the system becomes closed to experiencing new configuration of the same environment. But what’s happen in the moment in which the individual approach an unknown environment? Which role he should decide to act on it in order to start a relationship and an interrelation? If the perception of that environment it’s culturally elaborate starting from macro historical goals such as nutrition, habitability, social exchange what does means to perceive it from another point of view: for example sound or art? Which perspective open this if to be explored it’s for example a plants, stones or cooking? Which new possibilities open to have technologies and interfaces that empower our sensory systems?
I was thinking about this kind of stuff, trying to design a project to participate at the residence, and to understand my supposed role of European artist in a Brazilian half rural and half wild territory. A first answer arrived by discovering a 1927 scientific pamphlet written by Berta Lutz a zoologist born in Sao Paulo in 1894. This little treatment was about the flora of Serra de Bocaina, part of Rural Scape residence area, and the way in which was written, the historical moment and the biography of the author captured my attention. Many characteristics of Berta’s life seduced me. She was specialized in “dart frogs”; the ones used by Amerindians indigenous to poison the tips of blow dart, with their toxic secretion; but she wasn’t just a zoologist; together with the father Adolfo, she was interested to many biological aspect of her territory, especially in a period of many economical and political changes. The Cafe era was at the end with a severe crisis and a strong and general social instability. She was the first women hired by a institution, the Museu Nacional do Rio de Janeiro, a fact which achieved great repercussion in the country, because the access to public offices was barred to women at that time and for these reason in 1918, Berta spoke out for a feminist movement to begin. In 1934, the women of Brazil earned the right to vote due to Lutz and her organization. 
For me Berta and hers many interest became a sort of Virgilio, my personal guide to the territory I was going to approach; a guide not just from a scientific point of view but above all as example of engagement open to many aspects of the same environment. She suggest to me some attitudes to act in my exploration: a glance curious to every wonderful details of the unknown, a sort of need of accuracy in collecting, to categorize and to take notes of the items found, an inclination to socially share what discovered. I felt the necessity to practice things unusual for me, as drawing or invent languages of symbols to write down soundscapes.



Soundscape Notation Legenda by Enrico Ascoli 

Fazenda Santa Tereza (Brazil)  8:00 am - soundscape notation
Forest of Serra Da Bocaina (Brazil)  8:00 am - soundscape notation                                   Field recording: Forest of Serra Da Bocaina (Brazil)  8:00 am Aware of the fact that the way in which we cognitively represent en environment is what we are looking and acting on it I engaged my relationship with Rural.Scapes residence territory performing the character of a scientist of the beginning of 20th century intentioned to discover unprecedented sound and acoustic qualities into nature.  Wind through giant Guada bamboo recorded with piezo microphones Everyday I treked for long time through the hills around Fazenda Santa Tereza trying to map the points in which grassland was replaced by Atlantic forest areas, because, there, I was sure to find interesting stuff for my research. Actually all territory was full of surprises and some times I never arrived in the shadow green of my destinations because something unexpected get carried me away. For example, placing a piezo microphones inside of a “Formiga Sauva” anthill, met in one of my journey, I was completely raped by the unthinkable alien chatting of these red ants; so I spent the day investigating this phenomenon; comparing it with the sounds of other pecies, trying to understand how use this incredible sound in a music composition or installation. The same happen following flocks of different kind of birds, or handle and touching plants, seeds, insects or stones having, what Norman call “affordances” of an object, some characteristics in their shapes, structures or matter consistency, that suggested to me an hided possibility to discover a real or imaginary sound.
                                



Formiga Sauva - piezo microphones inside the hanthill 
  
Formiga Sauva - inside the hanthill, drawed sonogramme


  
Maritaka screams -  drawed sonogramme
Very preciuos it was to met Herbert, a young Brazilian biologist, born in that territory. He introduced me to one of the ancient parts of Serra da Bocaina forest, looking for frogs, snakes and interesting plants. One night he taught me how to massage the stomach of a Sapo Cururu, a poisonous big toad, to make him sing. Another day he showed me in the ground the dry fruits of Jequitibà, one of the biggest tree of Atlantic Forest, that I discovered having funny acoustic properties. 
 Sapo Cururu (rhinella Icterica) - massaging the stomach this toad start to call Jacutinga bird calls - the nosiest of the forest

Of course I recorded gigabyte of sounds using different techniques (this is my job) but, what really exited me was, in the evening, once came back to the Fazenda, to go over in my research manipulating my growing collection of strange objects.
Octavio Paz wrote in a famous essay on Marcel Duchamp that for over three thousand years the Chinese had established a sort of art that consisted of finding and collecting small stones at random. When a stone was chosen, once separated from the others, from the world, the work of art was born.
My “wunderkammer ” were done of pieces of the territory memory, containing fragment of the its DNA, of its life. They were as space temporal gates or inter-connectors and I needed to listen their voices. Some of them were beautiful but unsuccessful from an acoustic point of view; some other I came to know that they were quite common for the people of that area, but, also the simply fact to discovered a typical use of them, was really interesting because it was as if me and the culture of that territory had a lowest common denominator that linked us in giving sense to the world. Some of my samples instead reveal extraordinary musical properties such as the terrible spines of Brejauva (Astrocarium Aculeatissimum) a palm typical of that area. I started to used it directly in the forest trying to play it as a kalimba.


Brejauva (Astrocaryum aculeatissimum) -  “How to play” drawing The sound was warm and exotic like a marimba with many possibility in timber and pitch variations. I felt in love and this it cost me two days of pain and tingling at my fingers because as every indigenous told me later, that king of plants contains poison and it should be not touched; just the fruit are delicious. But this was great because finding a way to play the spines without using nude hands I could have partly modify the cognitive and cultural perception and notion that human being has all along of this palm so common in life of natives. One of the most ephemeral characteristic of environment is their specific mood: Ittelson call him climate. For me It’s similar to what is “timber” for the musical instruments. It’s their proper vibration; something difficult to describe and measure but that let to identify them immediately apart from the notes they are playing.  Brejauva was like a revelation because I felt it as it was the climate of the territory I was exploring: its soft hills, the humid darkness of the forest, the burning color of its soil, its exuberant fecundity, its incredible bio diversity, the warmness in the people glance, the African vibration of the black slaves that build that areas with sweat and blood. I showed my discovery to native people and their reactions gave me an emotional proof of this idea. For example Herbert, the young brasilian biologist, was so surprise to add a new notion, a “musical” one, to a plant that he knew so well from a scientific point of view, that was in that precise moment that he decide to took me Serra da Bocaina Forest to try to find other species with acoustic characteristics. During the open studio at the Fazenda Santa Tereza I had prepared a live performance with my objects but after one minute I was playing the children of my audience assaulted my set longing to make sound with what they knew as a dangerous branch of Brejauva. These and other reactions were so spontaneous that I felt as if my role of artist and performer was no more necessary because my supposed piece of art was already get back to his territory, no more as the every day evil plant but as something extraordinary and extremely pleasant.


Beja Flor (Humming birds) sound installation drawing 
                                 Beja Flor (Humming birds) drone ans whooshes - forest of Serra da Bocaina

When I read the “Rural.scapes laboratory in residence” announcement my attention was attracted by the world “exploration”, that for me has a particular semantic network. Two areas of meaning were especially aroused. From one side there was the cognitive psychology and above all Ittelson’s study and theories about perception of environments; from the other side the collective and personal unconscious produced by scientific and narrative travels literature of 19th century.
According with perceptions theories, en environment could not be just observed, must be “explored”: in the meaning that, becoming part of it, we situate our action on it. To move oneself through it gives place to an interactive relationship and it is thorough action directed toward and in the environment that the subject receive a variety of sensory clues in the form of visual, auditory and tactile feedback. Any sensory modes can be excluded by this experience and often we are exposed to a large amount of information (central and secondary information) simultaneously. The surrounding environment it’s always perceived together with the part of it on which we are focused. Environment perception always implies actions toward a goal. By exploring, selecting and classifying environmental information, an individual manages to forge a subjective and relatively coherent representation, that, according to individual factors, setting characteristics and social relations, includes emotions, orientation, categorization, organization and manipulation. Usually everyday life environment are easy and economic from a cognitive point of view, because most of the perceptual and symbolic stimulus has been already culturally gained by subject grow in it. This is good from an existential point of view because there is less information to elaborate in perceiving our goals but at the same time the system becomes closed to experiencing new configuration of the same environment. But what’s happen in the moment in which the individual approach an unknown environment? Which role he should decide to act on it in order to start a relationship and an interrelation? If the perception of that environment it’s culturally elaborate starting from macro historical goals such as nutrition, habitability, social exchange what does means to perceive it from another point of view: for example sound or art? Which perspective open this if to be explored it’s for example a plants, stones or cooking? Which new possibilities open to have technologies and interfaces that empower our sensory systems?
I was thinking about this kind of stuff, trying to design a project to participate at the residence, and to understand my supposed role of European artist in a Brazilian half rural and half wild territory. A first answer arrived by discovering a 1927 scientific pamphlet written by Berta Lutz a zoologist born in Sao Paulo in 1894. This little treatment was about the flora of Serra de Bocaina, part of Rural Scape residence area, and the way in which was written, the historical moment and the biography of the author captured my attention. Many characteristics of Berta’s life seduced me. She was specialized in “dart frogs”; the ones used by Amerindians indigenous to poison the tips of blow dart, with their toxic secretion; but she wasn’t just a zoologist; together with the father Adolfo, she was interested to many biological aspect of her territory, especially in a period of many economical and political changes. The Cafe era was at the end with a severe crisis and a strong and general social instability. She was the first women hired by a institution, the Museu Nacional do Rio de Janeiro, a fact which achieved great repercussion in the country, because the access to public offices was barred to women at that time and for these reason in 1918, Berta spoke out for a feminist movement to begin. In 1934, the women of Brazil earned the right to vote due to Lutz and her organization.
For me Berta and hers many interest became a sort of Virgilio, my personal guide to the territory I was going to approach; a guide not just from a scientific point of view but above all as example of engagement open to many aspects of the same environment. She suggest to me some attitudes to act in my exploration: a glance curious to every wonderful details of the unknown, a sort of need of accuracy in collecting, to categorize and to take notes of the items found, an inclination to socially share what discovered. I felt the necessity to practice things unusual for me, as drawing or invent languages of symbols to write down soundscapes.
image
image
Soundscape Notation Legenda by Enrico Ascoli

image
Fazenda Santa Tereza (Brazil)  8:00 am - soundscape notation

image
Forest of Serra Da Bocaina (Brazil)  8:00 am - soundscape notation
                                
Field recording: Forest of Serra Da Bocaina (Brazil)  8:00 am

Aware of the fact that the way in which we cognitively represent en environment is what we are looking and acting on it I engaged my relationship with Rural.Scapes residence territory performing the character of a scientist of the beginning of 20th century intentioned to discover unprecedented sound and acoustic qualities into nature. 

Wind through giant Guada bamboo recorded with piezo microphones

Everyday I treked for long time through the hills around Fazenda Santa Tereza trying to map the points in which grassland was replaced by Atlantic forest areas, because, there, I was sure to find interesting stuff for my research. Actually all territory was full of surprises and some times I never arrived in the shadow green of my destinations because something unexpected get carried me away. For example, placing a piezo microphones inside of a “Formiga Sauva” anthill, met in one of my journey, I was completely raped by the unthinkable alien chatting of these red ants; so I spent the day investigating this phenomenon; comparing it with the sounds of other pecies, trying to understand how use this incredible sound in a music composition or installation. The same happen following flocks of different kind of birds, or handle and touching plants, seeds, insects or stones having, what Norman call “affordances” of an object, some characteristics in their shapes, structures or matter consistency, that suggested to me an hided possibility to discover a real or imaginary sound.
                               
Formiga Sauva - piezo microphones inside the hanthill
Formiga Sauva - inside the hanthill, drawed sonogramme

Maritaka screams -  drawed sonogramme

Very preciuos it was to met Herbert, a young Brazilian biologist, born in that territory. He introduced me to one of the ancient parts of Serra da Bocaina forest, looking for frogs, snakes and interesting plants. One night he taught me how to massage the stomach of a Sapo Cururu, a poisonous big toad, to make him sing. Another day he showed me in the ground the dry fruits of Jequitibà, one of the biggest tree of Atlantic Forest, that I discovered having funny acoustic properties. 



Sapo Cururu (rhinella Icterica) - massaging the stomach this toad start to call


Jacutinga bird calls - the nosiest of the forest

Of course I recorded gigabyte of sounds using different techniques (this is my job) but, what really exited me was, in the evening, once came back to the Fazenda, to go over in my research manipulating my growing collection of strange objects.
Octavio Paz wrote in a famous essay on Marcel Duchamp that for over three thousand years the Chinese had established a sort of art that consisted of finding and collecting small stones at random. When a stone was chosen, once separated from the others, from the world, the work of art was born.
My “wunderkammer ” were done of pieces of the territory memory, containing fragment of the its DNA, of its life. They were as space temporal gates or inter-connectors and I needed to listen their voices. Some of them were beautiful but unsuccessful from an acoustic point of view; some other I came to know that they were quite common for the people of that area, but, also the simply fact to discovered a typical use of them, was really interesting because it was as if me and the culture of that territory had a lowest common denominator that linked us in giving sense to the world. Some of my samples instead reveal extraordinary musical properties such as the terrible spines of Brejauva (Astrocarium Aculeatissimum) a palm typical of that area. I started to used it directly in the forest trying to play it as a kalimba.
image
Brejauva (Astrocaryum aculeatissimum) -  “How to play” drawing

The sound was warm and exotic like a marimba with many possibility in timber and pitch variations. I felt in love and this it cost me two days of pain and tingling at my fingers because as every indigenous told me later, that king of plants contains poison and it should be not touched; just the fruit are delicious. But this was great because finding a way to play the spines without using nude hands I could have partly modify the cognitive and cultural perception and notion that human being has all along of this palm so common in life of natives. One of the most ephemeral characteristic of environment is their specific mood: Ittelson call him climate. For me It’s similar to what is “timber” for the musical instruments. It’s their proper vibration; something difficult to describe and measure but that let to identify them immediately apart from the notes they are playing. 
Brejauva was like a revelation because I felt it as it was the climate of the territory I was exploring: its soft hills, the humid darkness of the forest, the burning color of its soil, its exuberant fecundity, its incredible bio diversity, the warmness in the people glance, the African vibration of the black slaves that build that areas with sweat and blood. I showed my discovery to native people and their reactions gave me an emotional proof of this idea. For example Herbert, the young brasilian biologist, was so surprise to add a new notion, a “musical” one, to a plant that he knew so well from a scientific point of view, that was in that precise moment that he decide to took me Serra da Bocaina Forest to try to find other species with acoustic characteristics. During the open studio at the Fazenda Santa Tereza I had prepared a live performance with my objects but after one minute I was playing the children of my audience assaulted my set longing to make sound with what they knew as a dangerous branch of Brejauva. These and other reactions were so spontaneous that I felt as if my role of artist and performer was no more necessary because my supposed piece of art was already get back to his territory, no more as the every day evil plant but as something extraordinary and extremely pleasant.

image
Beja Flor (Humming birds) sound installation drawing

                               
Beja Flor (Humming birds) drone ans whooshes - forest of Serra da Bocaina

Listen to: Nubicuculia by Enrico Ascoli
Nubicuculia” is the fourth track born re-elaborating the field-recording taken by the Paris-based artist Enrico Ascoli in the South of Italy during the artist-in-residence project Barsento Mediascape/Interferenze 2013. It’s a narrative dialogue between many different sound materials recorded exploring the territory, not with a documentary intent but looking for their timbrical and harmonic properties: musical seeds, full of a remote esotism, that come to light manipulating in a musical way ancient agricultural tools, the stone shingles of a “trullo” roof, the stalactites of a cavern, the rows of grapevines.  A very special thanks to Leandro Pisano and Enrico Coniglio for releasing this work, to Vito Santoiemma who allowed me to explore it’s universe of ancient tools, to Giuliano Mozzillo who has given a visual and dynamic soul to these sounds using the video documentation of the artist residence shooted by Antonello Carbone and himself.

Listen to: Nubicuculia by Enrico Ascoli

Nubicuculia” is the fourth track born re-elaborating the field-recording taken by the Paris-based artist Enrico Ascoli in the South of Italy during the artist-in-residence project Barsento Mediascape/Interferenze 2013. It’s a narrative dialogue between many different sound materials recorded exploring the territory, not with a documentary intent but looking for their timbrical and harmonic properties: musical seeds, full of a remote esotism, that come to light manipulating in a musical way ancient agricultural tools, the stone shingles of a “trullo” roof, the stalactites of a cavern, the rows of grapevines.

A very special thanks to Leandro Pisano and Enrico Coniglio for releasing this work, to Vito Santoiemma who allowed me to explore it’s universe of ancient tools, to Giuliano Mozzillo who has given a visual and dynamic soul to these sounds using the video documentation of the artist residence shooted by Antonello Carbone and himself.


A FAILING ATTEMPT TO CREATE THE BEST PLUTO EVER!
By Fabio Tonetto
Sound design Enrico Ascoli
 
- PICTOPLASMA (BERLIN) - OPENING SHORT :berlin.pictoplasma.com/festival/screenings
- NONSTOP BARCELONA - OFFICIAL SELECTION :nonstopbarcelona.com/seleccion-oficial/
- DENVER DIGERATI (DENVER, USA) : denverdigerati.com/
- NCF - New Culture Festival (MOSCOW) :newculturefest.ru/
- SICAF2014 (SEOUL) - OFFICIAL SELECTION :sicaf.org/community-notice-view.php?no=4
- LAGO FILMFESTIVAL (ITALY) - OFFICIAL SELECTION :lagofest.org/eng/lago-film-fest-2014/films-in-competition-2014/
- FILE ANIMA+ 2014 (SAU PAUOLO, BRAZIL) :filefestival.org/site_2007/pagina_conteudo_livre.asp?a1=308&a2=308&id=2

A FAILING ATTEMPT TO CREATE THE BEST PLUTO EVER!

By Fabio Tonetto

Sound design Enrico Ascoli

 

- PICTOPLASMA (BERLIN) - OPENING SHORT :
berlin.pictoplasma.com/festival/screenings

- NONSTOP BARCELONA - OFFICIAL SELECTION :
nonstopbarcelona.com/seleccion-oficial/

- DENVER DIGERATI (DENVER, USA) : 
denverdigerati.com/

- NCF - New Culture Festival (MOSCOW) :
newculturefest.ru/

- SICAF2014 (SEOUL) - OFFICIAL SELECTION :
sicaf.org/community-notice-view.php?no=4

- LAGO FILMFESTIVAL (ITALY) - OFFICIAL SELECTION :
lagofest.org/eng/lago-film-fest-2014/films-in-competition-2014/

- FILE ANIMA+ 2014 (SAU PAUOLO, BRAZIL) :
filefestival.org/site_2007/pagina_conteudo_livre.asp?a1=308&a2=308&id=2




A slow and surreal video|slideshow of nightmareish, grotesque and apparently static characters.
by donato sansone milkyeyes
sound Enrico Ascoli
gennaio 2014

A slow and surreal video|slideshow of nightmareish, grotesque and apparently static characters.

by donato sansone milkyeyes

sound Enrico Ascoli

gennaio 2014


BEAUTY Teaser from Enrico Ascoli - Sound Design on Vimeo.
Download the soundtrack: enricoascoli.bandcamp.com/track/beauty-soundtrack
A path of sighs through the emotions of life. A tribute to the art and her disarming beauty.
CREDITS: Director RINO STEFANO TAGLIAFIERRO
Assistant Director LAILA SONSINO
2nd Assistant Director CARLOTTA BALESTRIERI
Editing - Compositing - Animation RINO STEFANO TAGLIAFIERRO
Sound Design ENRICO ASCOLI
Art Direction RINO STEFANO TAGLIAFIERRO
Historiographer GIULIANO CORTI
Time 09’49”
Year 2014
Thanks MA&PA, ANNA, RAFFAELLA, CORRADO, VINICIO BORDIN, PAOLO RANIERI, KARMACHINA, ALBERTO MODIGNANI, AUGUSTA DESIRE GRECCHI, PAOLO BAZZANI, THOMAS MCEVOY
Video Websiterinostefanotagliafierro.com/beauty.html

BEAUTY Teaser from Enrico Ascoli - Sound Design on Vimeo.

Download the soundtrack: enricoascoli.bandcamp.com/track/beauty-soundtrack

A path of sighs through the emotions of life.
A tribute to the art and her disarming beauty.

CREDITS:
Director
RINO STEFANO TAGLIAFIERRO

Assistant Director
LAILA SONSINO

2nd Assistant Director
CARLOTTA BALESTRIERI

Editing - Compositing - Animation
RINO STEFANO TAGLIAFIERRO

Sound Design
ENRICO ASCOLI

Art Direction
RINO STEFANO TAGLIAFIERRO

Historiographer
GIULIANO CORTI

Time
09’49”

Year
2014

Thanks
MA&PA, ANNA, RAFFAELLA, CORRADO, VINICIO BORDIN, PAOLO RANIERI, KARMACHINA, ALBERTO MODIGNANI, AUGUSTA DESIRE GRECCHI, PAOLO BAZZANI, THOMAS MCEVOY

Video Website
rinostefanotagliafierro.com/beauty.html

Valentino Oz

Client: Valentino Garavani Production: Brw Filmland & Withstand Film Director: Virgilio Villoresi Producer: Davide Ferazza Animator: Dario Imbrogno DP: Marcello Dapporto Post: Carlo Cossignani Scenography: Michela Natella Color: Claudio@Band Music and Sound Design: Enrico Ascoli
Valentino video playlist

Valentino Oz

Client: Valentino Garavani
Production: Brw Filmland & Withstand Film
Director: Virgilio Villoresi
Producer: Davide Ferazza
Animator: Dario Imbrogno
DP: Marcello Dapporto
Post: Carlo Cossignani
Scenography: Michela Natella
Color: Claudio@Band
Music and Sound Design: Enrico Ascoli

Valentino video playlist


Director: Virgilio Villoresi Dop: Marcello Dapporto Animation: Dario Imbrogno, Virgilio Villoresi Gaffer: Giancarlo Morieri Set Designer: Michela Natella Producer: Davide Ferazza Production Assistant: Tommaso Dragoni Post production: Carlo Cossignani Music: Enrico Ascoli Prod: BRW/Withstand
Valentino video playlist

Director: Virgilio Villoresi
Dop: Marcello Dapporto
Animation: Dario Imbrogno, Virgilio Villoresi
Gaffer: Giancarlo Morieri
Set Designer: Michela Natella
Producer: Davide Ferazza
Production Assistant: Tommaso Dragoni
Post production: Carlo Cossignani
Music: Enrico Ascoli
Prod: BRW/Withstand

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Interferenze Festival 2013 - Barsento Mediascape
The artists invited to Barsento Mediascape will spend different days in the Barsento and Trulli area, focusing their attention on a series of cultural, social, architectural, natural and landscapes elements, in order to recognize, narrate and give shape to the identity of the territory upon which they are working. The aim is to produce an aesthetic experimentation that, through new frontier of art, communication and design,  is able to narrate the territory, giving it an innovative lecture and at the same time creating a new sensorial meaning. This new experiment follows the path of a research work on rurality started on 2003 during Interferenze New Art Festival. Through a series of format that put together new technology and territorial characteristics give shape to a new over-territorial yet qualitative dimension: the knowledge of the territory, internal or external to one’s action, offers a better and multiform possibility of development.
Improvvisation for old tools from Barsento tradition

Improvvisation for Trulli Stones Roof


Improvvisation for Stalactites at Grotta del Trullo

Interferenze Festival 2013 - Barsento Mediascape

The artists invited to Barsento Mediascape will spend different days in the Barsento and Trulli area, focusing their attention on a series of cultural, social, architectural, natural and landscapes elements, in order to recognize, narrate and give shape to the identity of the territory upon which they are working.
The aim is to produce an aesthetic experimentation that, through new frontier of art, communication and design,  is able to narrate the territory, giving it an innovative lecture and at the same time creating a new sensorial meaning.

This new experiment follows the path of a research work on rurality started on 2003 during Interferenze New Art Festival. Through a series of format that put together new technology and territorial characteristics give shape to a new over-territorial yet qualitative dimension: the knowledge of the territory, internal or external to one’s action, offers a better and multiform possibility of development.

Improvvisation for old tools from Barsento tradition

Improvvisation for Trulli Stones Roof


Improvvisation for Stalactites at Grotta del Trullo


TheBox-xxx from Enrico Ascoli - Sound Design on Vimeo.


Dadomani studio: idea,production,animation supervision,direction Direction: Dadomani|Imbrogno Patrizio Saccò: director of photography Dario Imbrogno: animation Enrico Ascoli: music and sound design Voices: Joseph Miceli Tv jingle: “4 note motrici” directed by Enrico Ascoli
The Box and Dox spend their entire lives sitting on the couch in front of the TV. Both are afflicted with a very powerful addiction to television. This addiction plays out in their behaviors and reactions, which are polar opposites of each other. The Box uses the TV to fall asleep, while Dox is a victim of his unstoppable instinct of channel surfing. They both need TV, albeit for different purposes. Falling into his habitual deep sleep, The Box loses contact with reality, letting himself go completely into the dream world. This is where the character’s rational mind makes room for the unknown and unknowing world of his subconscious. The Box’s brain, like an unprotected fortress, lies defenseless as it is accosted by dangerous outside stimuluses. The TV’s audio signal is the enemy that creeps in between the cognitive synapses of the sleeping protagonist, influencing his dreams and controlling his consciousness. The Box, like a sponge, passively absorbs all the audio stimuluses that come from the outside; reworking them and unknowingly transmitting them back into reality as interactive hallucinations uncontrolled and interacting freely with their surrounding environment…

TheBox-xxx from Enrico Ascoli - Sound Design on Vimeo.

Dadomani studio: idea,production,animation supervision,direction
Direction: Dadomani|Imbrogno
Patrizio Saccò: director of photography
Dario Imbrogno: animation
Enrico Ascoli: music and sound design
Voices: Joseph Miceli
Tv jingle: “4 note motrici” directed by Enrico Ascoli

The Box and Dox spend their entire lives sitting on the couch in front of the TV. Both are afflicted with a very powerful addiction to television. This addiction plays out in their behaviors and reactions, which are polar opposites of each other. The Box uses the TV to fall asleep, while Dox is a victim of his unstoppable instinct of channel surfing. They both need TV, albeit for different purposes.
Falling into his habitual deep sleep, The Box loses contact with reality, letting himself go completely into the dream world. This is where the character’s rational mind makes room for the unknown and unknowing world of his subconscious.
The Box’s brain, like an unprotected fortress, lies defenseless as it is accosted by dangerous outside stimuluses. The TV’s audio signal is the enemy that creeps in between the cognitive synapses of the sleeping protagonist, influencing his dreams and controlling his consciousness.
The Box, like a sponge, passively absorbs all the audio stimuluses that come from the outside; reworking them and unknowingly transmitting them back into reality as interactive hallucinations uncontrolled and interacting freely with their surrounding environment…


OPIUM: facing the lips of dawn (Trailer) an installation by Enrico Ascoli FUORI SALONE 2013 - Via Paolo Sarpi 10 - Milano                         winner of Milano Design Award 2013 | sound design category

OPIUM: facing the lips of dawn (Trailer)
an installation by Enrico Ascoli
FUORI SALONE 2013 - Via Paolo Sarpi 10 - Milano                         winner of Milano Design Award 2013 | sound design category


UOVOKids teaser
video by Donato Sansone
sound by Enrico Ascoli
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UOVOKids teaser

video by Donato Sansone

sound by Enrico Ascoli

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COPIES RéCENTES de PAYSAGES ANCIENS 
Rä di Martino - 2012 - HD Video, Arab with subtitles, Dugong Production music and sound design by Enrico Ascoli
Abandoned movie sets are used again, the actors are two local kids, born not far from the film studios, now almost abandoned, near Ouarzazate.. The two kids re-enact a few lines from movies that have been shot there, an American horror movie, Lawrence of Arabia… and all around natura and the incontaminated landscapes of the Draa Valley stand outside of time. 
 


 




 
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COPIES RéCENTES de PAYSAGES ANCIENS

Rä di Martino - 2012 - HD Video, Arab with subtitles, Dugong Production
music and sound design by Enrico Ascoli

Abandoned movie sets are used again, the actors are two local kids, born not far from the film studios, now almost abandoned, near Ouarzazate.. The two kids re-enact a few lines from movies that have been shot there, an American horror movie, Lawrence of Arabia… and all around natura and the incontaminated landscapes of the Draa Valley stand outside of time.

 

 

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DISSENT (trailer): by Helmut Dosantos & Vincenzo Mistretta Mix by Enrico Ascoli, piano score by Luigi Esposito, music by Enrico Ascoli
DISSENT (short film):
May 26, 2012: The Indie Fest, California / USA (won: “Award of Excellence”) May 28, 2012: Los Angeles Movie Awards, California / USA (won: “Honorable Mention”) June 2, 2012: The Mexico International Film Festival, Mexico (won: “Bronze Palm Award”) June 8, 2012: The Accolade Awards, California / USA (won: “Award of Excellence”) June 22, 2012: The Philadelphia Independent Film Festival, Philadelphia (PA) / USA Aug 17, 2012 - Aug 24, 2012: AOF International Film Festival, California / USA Sept 23, 2012 - Sept 29, 2012: Vegas Cine Fest, Nevada / USA
March 2013 . Best Director at St. Tropez International Film Festival
March 2013 - Best Music Nomination at Madrit International Film Festival
CAST: Edward Lund – GUY BALOTINE Karla Welles – JESSICA PARK Jason Apollo Lund – JIM MALOY Gerry – NORMAN SHAM Mr. Bell – GERRY MAHER Helen – JESSICA WEGRZYN
Producers HELMUT DOSANTOS & VINCENZO MISTRETTA Executive Producer LUDOVIC BONLEUX Co-Producer MAXIME de TRÉGLODÉ Associate Producer BÉBARS BASLAN Production Managers MONIKA PAVLIKOVÁ-BYRNE & LUDOVIC BONLEUX Original Music by LUIGI ESPOSITO Soundtrack ENRICO ASCOLI (ambient music sound design) Sound Designer GABRIEL COLL BARBERIS C.A.S. Director of Photography VINCENZO MISTRETTA & FERNANDO MUÑOZ
 SFX Photography LÉO HINSTIN & LUIS ADÁN ZAYAS Production Designer HELMUT DOSANTOS Set Designers DENNIS MAHER & ARTURO GALVÁN Costume Designer ADRIANA RUÍZ
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DISSENT (trailer):
by Helmut Dosantos & Vincenzo Mistretta
Mix by Enrico Ascoli, piano score by Luigi Esposito, music by Enrico Ascoli

DISSENT (short film):

May 26, 2012: The Indie Fest, California / USA (won: “Award of Excellence”)
May 28, 2012: Los Angeles Movie Awards, California / USA (won: “Honorable Mention”)
June 2, 2012: The Mexico International Film Festival, Mexico (won: “Bronze Palm Award”)
June 8, 2012: The Accolade Awards, California / USA (won: “Award of Excellence”)
June 22, 2012: The Philadelphia Independent Film Festival, Philadelphia (PA) / USA
Aug 17, 2012 - Aug 24, 2012: AOF International Film Festival, California / USA
Sept 23, 2012 - Sept 29, 2012: Vegas Cine Fest, Nevada / USA

March 2013 . Best Director at St. Tropez International Film Festival

March 2013 - Best Music Nomination at Madrit International Film Festival

CAST:
Edward Lund – GUY BALOTINE
Karla Welles – JESSICA PARK
Jason Apollo Lund – JIM MALOY
Gerry – NORMAN SHAM
Mr. Bell – GERRY MAHER
Helen – JESSICA WEGRZYN

Producers HELMUT DOSANTOS & VINCENZO MISTRETTA
Executive Producer LUDOVIC BONLEUX
Co-Producer MAXIME de TRÉGLODÉ
Associate Producer BÉBARS BASLAN
Production Managers MONIKA PAVLIKOVÁ-BYRNE & LUDOVIC BONLEUX
Original Music by LUIGI ESPOSITO
Soundtrack ENRICO ASCOLI (ambient music sound design)
Sound Designer GABRIEL COLL BARBERIS C.A.S.
Director of Photography VINCENZO MISTRETTA & FERNANDO MUÑOZ

SFX Photography LÉO HINSTIN & LUIS ADÁN ZAYAS
Production Designer HELMUT DOSANTOS
Set Designers DENNIS MAHER & ARTURO GALVÁN
Costume Designer ADRIANA RUÍZ

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About:

Sound Designer / Music Producer

::: works in animation film, sound art, live performance, advertising, contemporary art, theatre and cognitive research
::: Music and sound design for the following animation short film, winner and screed in the most important Animation Festival around the world : "videogioco", "topoglassato al cioccolato" by Donato Sansone, and "The Box - Poltergeist" by Dadomani Studio
::: among many others, collaborations with NIKE, Bacardi, Illy, Fiat, Telecom Italia, Mila Schön.
::: music, sound effects and sound installations for Italy's most important Video Production Studios, Interaction Design Studios, Advertising Agency.
::: professor in sound design and music psychology at the European Institut of Design (IED) in Milan and CSC animation in Turin
::: together with contemporary artists take part in Prague Biennale, Art Basel, Rijksakademie Amsterdam, Royal College of Arts London, Fondazione Bevilacqua la Masa Venice, Museion in Bolzano.
::: live perfomances and sound installation at various festivals like Benicassim, Stream Festival, toShare, Interferenze festival, E-ArtQuake Festival, MyAtelier.

Following: