Librations    Wave Farm Transmission Arts Residency     +    Pioneer Works Residency      August 23 - September 15, 2019  Samuel Hertz and Carmelo Pampillonio’s  Librations  is a performance/composition using an Earth-Moon-Earth (EME) radio communications relay, which transmits signals to the Moon that are then reflected back to Earth—a moonbounce.  Librations  is realized in cooperation with broadcast engineers at the Pisgah Astronomical Research Institute (PARI) in Rosman, North Carolina and the TLM-18 Project Diana Site (ISEC) in Wall Township, New Jersey with transceiving partners located at Dwingeloo Radio Telescope (Dwingeloo, NL), Astropeiler Stockert Radio Telescope (Bad Münstereifel, DE), and OK1KIR EME Team (Prague, CZ). Initial project support was initiated through joint residencies at Wave Farm and Pioneer Works and continues through 2020 with a composition residency at  Elektronmusikstudion  (Stockholm, SE). Culminating in a composition, radio broadcast, multi-media essay, and series of workshops, this inter-continental transmission collaboration stands as an open field of negotiations between the Earth, the Moon, the sonic/energetic traces reflected between them, and the repurposed technological interfaces involved in the project’s execution.

Librations
Wave Farm Transmission Arts Residency
+ Pioneer Works Residency
August 23 - September 15, 2019

Samuel Hertz and Carmelo Pampillonio’s Librations is a performance/composition using an Earth-Moon-Earth (EME) radio communications relay, which transmits signals to the Moon that are then reflected back to Earth—a moonbounce. Librations is realized in cooperation with broadcast engineers at the Pisgah Astronomical Research Institute (PARI) in Rosman, North Carolina and the TLM-18 Project Diana Site (ISEC) in Wall Township, New Jersey with transceiving partners located at Dwingeloo Radio Telescope (Dwingeloo, NL), Astropeiler Stockert Radio Telescope (Bad Münstereifel, DE), and OK1KIR EME Team (Prague, CZ). Initial project support was initiated through joint residencies at Wave Farm and Pioneer Works and continues through 2020 with a composition residency at Elektronmusikstudion (Stockholm, SE). Culminating in a composition, radio broadcast, multi-media essay, and series of workshops, this inter-continental transmission collaboration stands as an open field of negotiations between the Earth, the Moon, the sonic/energetic traces reflected between them, and the repurposed technological interfaces involved in the project’s execution.

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Aerocene Symposium, Palais de Tokyo   (2018) In October 2018, Pampillonio contributed to the Aerocene’s Aero-Acoustics workshops which were part of Tomás Saraceno’s “Carte Blanche” exhibition “ On Air ”, curated by Rebecca Lamarche-Vadel. To complement composer Alvin Lucier’s “Moon bounce concert”, he provided an “Appalachian bounce”, wherein the live signal from pulsar PSR J1652+2651 was sonified and broadcasted from Pisgah, NC, to Paris, France. In addition to this, Pampillonio also provided the text score  Pulsar Concerto , which consisted of extended listening/sensing practices concerning anthropocentric senses of time and scale.

Aerocene Symposium, Palais de Tokyo (2018)
In October 2018, Pampillonio contributed to the Aerocene’s Aero-Acoustics workshops which were part of Tomás Saraceno’s “Carte Blanche” exhibition “On Air”, curated by Rebecca Lamarche-Vadel. To complement composer Alvin Lucier’s “Moon bounce concert”, he provided an “Appalachian bounce”, wherein the live signal from pulsar PSR J1652+2651 was sonified and broadcasted from Pisgah, NC, to Paris, France. In addition to this, Pampillonio also provided the text score Pulsar Concerto, which consisted of extended listening/sensing practices concerning anthropocentric senses of time and scale.

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Liminalities , Revolve, Asheville, NC (2018)   An immersive 5.2 audio installation focused on articulating our embeddedness within geophysical and atmospheric vibrations. Very Low Frequency (VLF) electromagnetic waves from the ionosphere and magnetosphere were transduced into acoustic waves and broadcast in the listening space. This was combined with natural infrasonic emissions: ‘tactile’ sounds which are felt more than heard. These nonhuman forces, always already surging and resonating through us, articulate the physical cusp of both the sensory and the epistemic, as they impinge upon the liminal regions at the cusp of human perception and familiarity. As shadows of distant natural events, data from these hidden forces is used to monitor the effects of anthropogenic climate change. As these forces are rendered sensible, the natural encroaches upon the social, as the global terrain acts as a vibratory beacon allowing us to experience the gestures of the earth. In closing the distance between percipient and event,  Liminalities  asks how radical of an act of intimacy it might be to open ourselves up and feel the collective din of geophysical forces, as a process of  becoming-storm . The opening night included a reading of my essay titled after the piece, and a performance by Berlin-based researcher, sound artist, and lecturer  Samuel Hertz .

Liminalities, Revolve, Asheville, NC (2018)
An immersive 5.2 audio installation focused on articulating our embeddedness within geophysical and atmospheric vibrations. Very Low Frequency (VLF) electromagnetic waves from the ionosphere and magnetosphere were transduced into acoustic waves and broadcast in the listening space. This was combined with natural infrasonic emissions: ‘tactile’ sounds which are felt more than heard. These nonhuman forces, always already surging and resonating through us, articulate the physical cusp of both the sensory and the epistemic, as they impinge upon the liminal regions at the cusp of human perception and familiarity. As shadows of distant natural events, data from these hidden forces is used to monitor the effects of anthropogenic climate change. As these forces are rendered sensible, the natural encroaches upon the social, as the global terrain acts as a vibratory beacon allowing us to experience the gestures of the earth. In closing the distance between percipient and event, Liminalities asks how radical of an act of intimacy it might be to open ourselves up and feel the collective din of geophysical forces, as a process of becoming-storm. The opening night included a reading of my essay titled after the piece, and a performance by Berlin-based researcher, sound artist, and lecturer Samuel Hertz.

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Pisgah Astronomical Research Institute   As a member of their Science Advisory Committee, Pampillonio is currently working with researchers at the Pisgah Astronomical Research Institute (PARI) to render audible the live feeds of various research instruments, in order to uncover their poetic-sensory qualities and provide radical reinterpretations of both natural events and repurposed technologies. This involves transducing their 26m radio telescope, Earth-Moon-Earth (EME) receiver, and seismometer, as well as converting data on their VLF receivers. Done in conjunction with the USC Lithospheric Seismology program, the South Carolina Seismic Network, and the GA Tech Low Frequency Radio Group.

Pisgah Astronomical Research Institute
As a member of their Science Advisory Committee, Pampillonio is currently working with researchers at the Pisgah Astronomical Research Institute (PARI) to render audible the live feeds of various research instruments, in order to uncover their poetic-sensory qualities and provide radical reinterpretations of both natural events and repurposed technologies. This involves transducing their 26m radio telescope, Earth-Moon-Earth (EME) receiver, and seismometer, as well as converting data on their VLF receivers. Done in conjunction with the USC Lithospheric Seismology program, the South Carolina Seismic Network, and the GA Tech Low Frequency Radio Group.

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Make Noise   Pampillonio was invited to create a series of Reels for Make Noise’s Morphagene synthesizer module. Titled “Geophysical Vibrations”, the Reels are an arrangement of documentary practices featuring transduced seismic waves, amphoric resonances, VLF impulses from lightning strikes, and the captured electromagnetic fields emitted from all the technological instruments and interfaces involved in the work. The project also involves the creation of a short  documentary  where Pampillonio considers the surface of the Earth as a sounding board, and discusses the socio-ecological dimensions of the featured sounds.

Make Noise
Pampillonio was invited to create a series of Reels for Make Noise’s Morphagene synthesizer module. Titled “Geophysical Vibrations”, the Reels are an arrangement of documentary practices featuring transduced seismic waves, amphoric resonances, VLF impulses from lightning strikes, and the captured electromagnetic fields emitted from all the technological instruments and interfaces involved in the work. The project also involves the creation of a short documentary where Pampillonio considers the surface of the Earth as a sounding board, and discusses the socio-ecological dimensions of the featured sounds.

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Site of Negotiation (John Cage Room) (2018)
A collaborative project between the Media Arts Project, Revolve and Make Noise that was presented at the Black Mountain College Museum + Arts Center’s 2018 {Re}Happening. The 7-hour piece was scored by 3 movements featuring live coding, sound, performance and visuals. Pairs of performers were isolated in separate rooms and responded to streams of dynamic visual cues, the sequence and content of which were determined by chance operations selected by custom software. The center room itself acted as a site of negotiation — between the performers, and between the performers, audience, and space.

 
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Black Mountain College Museum + Arts Center (2017-2018)
Writer, editor, and host of the Black Mountain College Radio podcast.