- Moscow, Moscow City, Russian Federation
Andrey Smirnov
Moscow State Conservatory, Center for Electroacoustic Music, Faculty Member
- The Rodchenko Moscow School of Photography and Multimedia, Multimedia, Faculty Memberadd
- Andrey Smirnov is a researcher and senior lecturer at the Centre for Electroacoustic Music at Moscow State Conservato... moreAndrey Smirnov is a researcher and senior lecturer at the Centre for Electroacoustic Music at Moscow State Conservatory, lecturer at the Rodchenko School for Modern Photography and Multimedia. He teaches courses on history and aesthetics of electroacoustic music, sound design and composition, new musical interfaces and physical computing. He is the founder of the Theremin Center in Moscow. He has conducted numerous workshops and master classes in the U.S., Europe and Russia and participated in various festivals and conferences. His collection of the historical documents and original electronic musical instruments has been combined with extensive research into the history of music technology with broad experience in composition, interactive performance and curatorial activities. He is the author of the book 'Sound In Z: Experiments In Sound and Electronic Music in Early 20th Century Russia' (Walther Koenig & Sound and Music, London, 2013).edit
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Краткий исторический обзор революционной научно-художественной Утопии России начала ХХ века – времени, когда инфраструктура государства была разрушена, а художественное сообщество представляло собой подобие анархической ‘сетевой культуры’... more
Краткий исторический обзор революционной научно-художественной Утопии России начала ХХ века – времени, когда инфраструктура государства была разрушена, а художественное сообщество представляло собой подобие анархической ‘сетевой культуры’ творческих индивидуумов – художников и ученых, соединенных многочисленными связями совместных проектов. В числе основных тем - забытые изобретения 1920-х, Графический звук, как прото-компьютерная музыка начала 1930-х, синтоны, синтетическая акустика и кросс-синтез. Е. Мурзин и синтезатор АНС. Гибель Утопии.
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Biomusic of Cyberspace (1995). Old self-interview regarding biofeedback systems, self-regulation, virtual reality etc. for the Russian popular magazine "Virtual Worlds".
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В то время, как драматическая история русского постреволюционного художественного и музыкального авангарда в принципе известна, имена и судьбы немногочисленного сообщества исследователей звука, апологетов «музыки машин», создателей новых... more
В то время, как драматическая история русского постреволюционного художественного и музыкального авангарда в принципе известна, имена и судьбы немногочисленного сообщества исследователей звука, апологетов «музыки машин», создателей новых музыкальных технологий до сих пор остается почти нераскрытой страницей в «биографии» художественной жизни России начала XX века. Не претендуя на полноту охвата всего многообразия полузабытых имен и событий, данная статья является попыткой реконструкции одного из островков научно-художественной Утопии 1920-х, фантастической «сетевой культуры» революционеров-проекционистов, воплотивших, казалось бы, нереальные проекты и изобретения в звуке и железе, создавших концепции и методы, способные стать фундаментом будущей технологии и культуры.
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Art and politics, inspiration and deffence often have same origins and use the same tools for self-realisation and development. Many well-known artists, inventors and specialists in music technology were involved in military and... more
Art and politics, inspiration and deffence often have same origins and use the same tools for self-realisation and development. Many well-known artists, inventors and specialists in music technology were involved in military and intelligence activities and research, balancing on a sharp "blade" separating the realms of creative energy and art on one hand and destruction and defence on the other and perhaps one of the most charismatic figures on the crossroads of art, technology and espionage was Leon Theremin. What motivations did they have? What were their intentions?
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Le bref laps de temps compris entre les années 1910 et les années 1930 a été marqué en Russie par une série de cataclysmes. Ce pays qui avait, dans toute son histoire, importé son système de valeurs et sa culture officielle a élaboré, au... more
Le bref laps de temps compris entre les années 1910 et les années 1930 a été marqué en Russie par une série de cataclysmes. Ce pays qui avait, dans toute son histoire, importé son système de valeurs et sa culture officielle a élaboré, au cours de cette période, des conceptions absolument originales pour la mise au point de diverses technologies, dans de nombreux domaines des arts et des sciences. À l'époque du projectionnisme 1 , c'est la méthode elle-même qui devient le but du processus de création. Cette idée novatrice insuffle une énergie pro-pice au développement des arts. Ce principe s'étend en effet, dans les années 1920, bien au-delà des limites de la peinture, ce dont on peut juger par une vague de recherches et d'expérimentations interdisciplinaires, de la musico-logie à la technologie. Alors que le scénario de l'histoire dramatique de l'avant-garde picturale et musicale post-révolutionnaire est dans l'ensemble connue, les noms et les destins de la petite communauté de chercheurs oeuvrant dans le domaine du son, adeptes de la « musique mécanique », créateurs de nouvelles technologies musicales, demeurent jusqu'à présent une page presque inexplorée de la vie artistique russe du début du xx e siècle. Son seul représentant mondiale-ment connu est l'inventeur Léon Thérémin 2 , qui a créé vers 1919 le thereminvox (ou thérémine, theremin), le premier instrument électronique commercialisé au monde 3. Thérémin a travaillé sur une multitude de projets, s'efforçant de
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The brief lapse in time between the 1910s and the 1930s was marked in Russia by a series of cataclysms. During this period, a country which throughout its history had imported its system of values and official culture devised totally... more
The brief lapse in time between the 1910s and the 1930s was marked in Russia by a series of cataclysms. During this period, a country which throughout its history had imported its system of values and official culture devised totally original conceptions for the development of various technologies in numerous areas of the arts and sciences.
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In a number of articles from the 1930s, composer, musical theorist and journalist Arseny Avraamov, involved in graphical sound research and related methods of sound synthesis, proposed to vocalize the writings of Lenin by synthesizing the... more
In a number of articles from the 1930s, composer, musical theorist and journalist Arseny Avraamov, involved in graphical sound research and related methods of sound synthesis, proposed to vocalize the writings of Lenin by synthesizing the author’s voice using new technological means. Moreover, in 1943 he argued against the new Soviet anthem, contending
that the real revolutionary anthem should be based on new approaches to harmony and performed by the voice of Vladimir Mayakovsky, which was to be synthesized in Avraamov’s “Poetical Laboratory”.Were these ideas little more than science fiction at the time, or were Avraamov’s projects and proposals more immediately viable and was he actively seeking to develop the technology necessary to deliver them? By analyzing forgotten inventions from the 1920s as well as the manuscripts of Boris Yankovsky, the researcher of graphic sound who was a student and follower of Avraamov, the author intends to prove that Avraamov was fully justified to offer the above-mentioned projects. The paper will present examples and reconstructions based on Yankovsky’s technique of synthesis and hybridization of sound.
that the real revolutionary anthem should be based on new approaches to harmony and performed by the voice of Vladimir Mayakovsky, which was to be synthesized in Avraamov’s “Poetical Laboratory”.Were these ideas little more than science fiction at the time, or were Avraamov’s projects and proposals more immediately viable and was he actively seeking to develop the technology necessary to deliver them? By analyzing forgotten inventions from the 1920s as well as the manuscripts of Boris Yankovsky, the researcher of graphic sound who was a student and follower of Avraamov, the author intends to prove that Avraamov was fully justified to offer the above-mentioned projects. The paper will present examples and reconstructions based on Yankovsky’s technique of synthesis and hybridization of sound.