Andrea Cera

Andrea Cera (born 1969 in Vicenza) is an Italian electroacoustic composer, sound designer and sound installation artist.

Biography

Cera graduated with MA degree (Diploma) in Piano and Music Composition at the Conservatorio Cesare Pollini in Padova (Italy). He studied computer music at the Annual Programme of Composition and Musical Computing – IRCAM, in Paris.[1]

Since 2000, Cera has worked with several choreographers including Hervé Robbe at the Centre Chorégraphique National du Havre, Edmond Russo and Shlomi Tuizer,[2] Pascal Montrouge, Les Ballets de Monte Carlo.

Installation sites have included Centre Georges Pompidou, Fresnoy Studio in Lille-Tourcoing, institutions and art centres in Italy and France. One example of his work is Reactive Ambient Music (2005). This installation is a sort of a waiting room where reused external sounds of other installations are mixed with music material and influenced by an automatic generated program.[3] In 2004 he realized NightRun, an interactive installation based on the screaming of the visitors. They are here (2008) is an interactive video and sound installation created for the 104 centre in Paris, in collaboration with IRCAM.

Andrea Cera has worked on several research projects with IRCAM (Paris), NOTAM (Oslo), Integra Project, DIST (Genova). In 2011 he presented Urban Musical Game,[4] in collaboration with researchers from the Real-Time Musical Interactions team at IRCAM – Centre Pompidou, the design agency NoDesign and Phonotonic. For this installation, they used augmented sports balls to manipulate and transform an interactive music environment.[5]

Since 2009, Andrea Cera has developed sound design tools. Examples of his work are the collaborations with a car manufacturer (Renault) and IRCAM research team in sound perception and design (sounds for the electric vehicle),[6][7] and Phonotonic.[8][9]

Andrea Cera’s music is concerned primarily with hybridization (popular and avant-garde, normal and extreme states of mind, human and monstrous) and two-faced and ambiguous acoustic situations: " L’hybride, le monstre, le zombie, le double sont à la fois l’objet de mes pièces et le modèle de leur stratégie sociale ".[10]

Works

Music for choreographies (selection)

  • Hervé Robbe, Permis de construire (2000), music : Andrea Cera
  • Hervé Robbe, Mutating Score (2005), music : Andrea Cera
  • Edmond Russo, Shlomi Tuizer, Airports (Tenses 1) (2005), music : Andrea Cera
  • Hervé Robbe, Wave 03 (2007), music : Andrea Cera
  • Edmond Russo, Shlomi Tuizer, Les Avenants (Tenses 2-3) (2007), music : Andrea Cera
  • Hervé Robbe, REW (2008), music : Andrea Cera
  • Hervé Robbe, Next days (2010), music: Andrea Cera - The Kevi and Deni Project
  • Edmond Russo, Shlomi Tuizer, Tempéraments (2014), music : Andrea Cera
  • Yan Duyvendak, Sound of Music (2015), music : Andrea Cera

Sound Installations (selection)

  • Innig (2002)
  • NightRun (2004)
  • Nature (2005)
  • Undertones (2005)
  • Reactive ambient music (2005)
  • They are here (2008)
  • Urban Musical Game (2011)

Instrumental, mixed and electroacoustic music (selection)

  • Deliverance (1998) soprano saxophone and real time electronics
  • MIDIfreaks corridor Catapults (2004) for big-band
  • Dueling zombies (2007), for ensemble and real time electronics
  • Zoom-Up (2010), networked music for two keyboards and real time electronics
  • War Games (2014), for 50 percussion players (festival "Le Printemps des Arts" in Monaco Monte-Carlo)
  • A Christmas Eve (2015), by ricci/forte, music by Andrea Cera
  • Sound of Music (2015), conception and artistic direction: Yan Duyvendak, music: Andrea Cera, texts: Christophe Fiat.
  • PPP ULTIMO INVENTARIO PRIMA DI LIQUIDAZIONE (hommage à Pier Paolo Pasolini) (2016), by ricci/forte, music by Andrea Cera
  • TroiloVsCressida (2017), by ricci/forte, sound files by Andrea Cera.

Other Projects (selection)

  • Pink Squirrels (2015), text/sound: Andrea Cera; video: Dimitrije Roggero. Video, Landing Page

Discography

Music videos

Bibliography
  • Misdariis Nicolas – Cera, Andrea (2017). "Recherche-projet en design sonore : le cas emblématique du véhicule électrique", Sciences du design 2017/1, n° 5, Presses Universitaires de France, ISBN 9782130788577.
  • Cera, Andrea (2013), "Loops, Games and Playful Things". Contemporary Music Review, Volume 32, Issue 1, 2013, DOI:10.1080/07494467.2013.774122, pp. 29–39.
  • Misdariis, Nicolas – Cera, Andrea (2013), "Sound signature of Quiet Vehicles: state of the art and experience feedbacks". Internoise, 2013, Innsbruck, Austria, 15–18 September 2013, pp. 1–10.
  • Misdariis, Nicolas – Cera, Andrea – Levallois, E. – Locqueteau, C (2012). "Do electric cars have to make noise? An emblematic opportunity for designing sounds and soundscapes", Acoustics 2012 (Nantes - France, 23-27 avril 2012).
  • Rasamimanana, Nicolas – Fléty, Emmanuel – Bevilacqua, Frédéric – Cera, Andrea – Petrevski, Uros – Frechin, Jean-Louis (2012). "The urban musical game: using sport balls as musical interfaces", CHI EA '12 Proceedings of the 2012 ACM annual conference (Conference on Human Factors in Computing Systems), Pages 1027-1030 ACM New York, NY, USA (draft version : http://articles.ircam.fr/textes/Rasamimanana12a/index.pdf)
  • Cera, Andrea (2008). "Music that listens to what’s going to happen: internet enhanced, self-adapting soundscapes". ICMC International Computer Music Conference, Ann Arbor, MI: MPublishing, University of Michigan Library, August 2008.
  • Cera, Andrea (2007). "Entretien avec Andrea Cera" (propos recueillis par Emanuele Quinz). En : Trance, Paris, École nationale supérieure des Beaux-Arts – Anomos, Mosign, 2007, ISBN 978 284056 245 0, pp. 108–113.
  • Cera, Andrea (2007), "Noir miroir. Ambiguïtés topographiques, sociales et interactives de la musique". Musique in situ, Circuit. Musiques contemporaines, vol. XVII, n. 3, Montréal, Les presses de l’université de Montréal, 2007, ISBN 978 2 76062074 2, pp. 29–38.

Notes
  1. Official IRCAM Archives (referenced 10/09/15).
  2. Edmond Russo and Shlomi Tuizer Official Site,
  3. Andrea Cera. Reactive Ambient Music. Real time translation of everyday noises into music: A video (referenced 10/09/15).
  4. Urban Musical Game.
  5. A. Cera (2013) "Loops, Games and Playful Things" Contemporary Music Review, Volume 32, Issue 1, 2013, pp. 29–39 (referenced 05/06/17).
  6. Misdariis Nicolas – Cera, Andrea (2017). "Recherche-projet en design sonore : le cas emblématique du véhicule électrique", Sciences du design 2017/1, n° 5 (referenced 05/06/17).
  7. Misdariis Nicolas – Cera, Andrea – Levallois, E. – Locqueteau, C (2012). "Do electric cars have to make noise? An emblematic opportunity for designing sounds and soundscapes", Acoustics 2012 (Nantes - France, 23-27 avril 2012) (referenced 05/06/17).
  8. Phonotonic (referenced 23/05/15).
  9. Phonotonic Video - Pick an object, dance and make music. (referenced 05/06/17).
  10. A. Cera (2007) "Noir miroir. Ambiguïtés topographiques, sociales et interactives de la musique" Musique in situ, Circuit. Musiques contemporaines, vol. XVII, n. 3, Les presses de l’université de Montréal, 2007, pp. 29-38, p. 29. (referenced 05/06/17).
gollark: If you can't remember 32-byte hex strings, are you actually a person or just an amalgamation of bees in human form?
gollark: Firefox's built-in one is decent.
gollark: Which is GCed.
gollark: Honestly, it might actually be faster in Haskell.
gollark: I took a bunch of shortcuts by continuously `clone`ing things.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.