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THE PRESS Generation Z exhibition is a part of an ongoing project by Andrei Smirnov and Liubov Pchelkina that is attempting to reconstruct the censored history and culture of the Russian artistic Utopia of the s — a kind of 'network culture' of revolutionaries in art who realized seemingly unrealizable projects in sound, invented new musical machines, and who explored concepts and methods that offered a promising basis for future scientific and cultural development.
The exhibition offers an introduction to some of the key figures of the period and their areas of research. Living in famine, extreme cold and poverty, creative people were dreaming about the future country, where everything would be different — a perfect man, a universal language, real machines.
We call them Generation Z. The letter Z is in many ways emblematic of the period. Z is for zigzag, the spark; it is the symbol of energy, of radio transmissions, of electrical charges and of lightning.
At the same time it is evocative of the anarchical, adventurous ideas and projects that went on during this period and that would have been i nconceivable in other times — projects that were often anonymous and many of which have largely been forgotten.
Many were inspired by the analytical minds of Renaissance. In Lunacharsky, the people's commissar of education, officially proclaimed that the arts should be developed on an experimental basis. As he told the composer Sergei Prokofiev: These new trends strongly affected Russian political and social spheres, and also played a role in the communal transformation of public consciousness.
While some ideas were little more than science fiction at the time, many projects and proposals were more immediately viable or were actively seeking to develop the technology necessary to deliver them. LEON THEREMIN While the history of Russian post-revolutionary avant-garde art and music is fairly well documented, the inventions and discoveries, names and destinies of the community of researchers of sound, creators of musical machines and noise orchestras and founders of new musical technologies have been largely forgotten except, perhaps, Leon Theremin, well known as an inventor of the first commercially produced electronic musical instrument, the Theremin As a physicist, musician and engineer he worked on the development of innumerable projects, often trying to combine music with colour, with gesture, scent and touch.
Having worked at the crossroads of creative technology and espionage, it is hardly possible today to imagine any synthesizers, burglar alarms or automatic doors without his pioneering research.
Shortly after that Theremin's chief professor Ioffe has patented the Thereminvox and managed an international trip for Theremin. Most of his inventions he did in US between and In his New York studio he has developed numerous musical instruments and scientific gadgets. Among them commercial RCA Thereminsthe Rhythmicon - first rhythm machine ever made, the Terpsitone — a musical platform for dancers to control sound through the motion of their bodies.
His intension was to develop an electronic music studio in Soviet Russia. It is not surprising that all equipment was confiscated by Soviet customs. Leon Theremin was removed from his position and kicked out of the Moscow State Conservatory. State Institute for Musical Science GIMN While the career of Theremin the physicist began at the Institute for Physics and Technology in Petrograd, his musical career has begun in Moscow, at the State Institute for Musical Science GIMN which was founded in Moscow in in an attempt to centralize all activities related to musical science including disciplines such as acoustics, musicology, psychology, physiology, construction of new musical instruments and ethnomusicology.
Nikolai Garbuzov was elected director. From the beginning GIMN was oriented towards academic research. Numerous research projects were conducted, articles published and experimental devices built, including a harmonium in natural overtone scale, and a quarter-tone harmonium with two keyboards.
Sergei Rzevkin built his radio-harmonium on cathode valves, which was the second electronic musical instrument to be built in Russia after the invention of the theremin.
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It was a sort of three-voice oscillator, capable of producing polyphonic chords in any temperament. Nikolai Garbuzov built a device to study the phenomena of synopsia colour hearing.
As many of these experts were involved in similar research or had different aesthetic views, their responses were often negative, based on biased opinions and self-interest rather than scholarship, discourse and the greater good.
As he put it: In the beginning I wrote down words, but then I attempted to capture all of these noises with letters. But I was not satisfied experimenting with available prerecorded sounds'. Being frustrated, he has switched to film to o rganize not the audible, but the visible world.
It was Vertov who in did the first field sound recording by means of portable sound-on-film equipment, specially built for him by inventor A.
Shorin, allowed him to record actual urban sounds: During the s and s Avraamov experimented with 'prepared' pianos, harmoniums and various noise sources as well as a symphony orchestra to develop new approaches to organizing sound that are very similar to recent techniques of electroacoustic and spectral music.
He explored new genres of music devised for urban contexts and presented around the built environment, including the acclaimed Symphony of Sirens.Title for essay about domestic violence no gun for asmir essay successful failures essays why brown university essay ms words of Research essay thesis sample conclusion economic topic for research paper recession persuasive essay conclusion writer free?
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