gerelateerde werken

For Ships We Lost : for harpsichord and electronics / Andrius Arutiunian

Genre: Multimedia
Subgenre: Klavecimbel met multimedia
Bezetting: cemb tape

Pots 'n Pans Falling : for 6 amplified musicians and recorded child violinist / Edward Top

Genre: Multimedia
Subgenre: Gemengd ensemble (2-12 spelers) met multimedia
Bezetting: fl cl perc pf vn vc tape

Totem for Den Haag : for ensemble, electronics and video / Matthew Wright

Genre: Multimedia
Subgenre: Gemengd ensemble (2-12 spelers) met multimedia
Bezetting: sax-t sax-bar trb g-e perc pf tape

Elsewhere : for 2 pianos, 2 percussionists, audio and video / Yannis Kyriakides

Genre: Multimedia
Subgenre: Gemengd ensemble (2-12 spelers) met multimedia
Bezetting: 2pdf 2perc tape

compositie

Atomic B : for small ensemble, electronics and video / Andrius Arutiunian

Overige auteurs:
Arutiunian, Andrius (Componist)
Toelichting:
Atomic B for ensemble, electronics and two video screens, is connected to nuclear power issues and various histories that nuclear energy has accumulated since its beginning. The work takes its starting point at Visaginas – an “atomic” town built in 1975 as part of a newly constructed power plant in the Lithuanian territory of the former USSR. The town was designed to host the engineers, scientists and military personnel working in the power plant, and therefore it was considered a strategic and high-security zone. Taking post-soviet urbanistics and ecology as its starting point, the multimedia piece Atomic B explores the topics of both nuclear power and unstable utopian ideas.
The piece is based on two closely intertwined narratives. The work uses excerpts from a 1984 documentary film by G. Skvarnačius about the construction of the town of Visaginas and its nuclear power plant. This footage, using a typical soviet documentary style, documents the construction and the daily life of the town and its new inhabitants. While the film has a strong political agenda to present the effects of urbanisation and nuclear power in positive light, a certain uneasiness emerges from the cinematic aesthetics and various unnerving camera angles used.
In Atomic B this footage is reconstructed and recomposed, exposing its visual qualities and focusing on the camera movement as well as peripheral details and shots. The recomposed footage is juxtaposed with the text material constructed from various found texts, such as retold memories of various "atomic cities" inhabitants, shuffled with excerpts from texts on utopian cities and their architecture.