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House situted in the best postition

Apartamento entero - Anfitrión: Arsenije
3 huéspedes1 habitación4 camas1 baño
Alojamiento entero
Dispondrás de toda la vivienda (apartamento) para ti.
Casa Galiola is well know among the Rovinj citizens and guests as a house with far the best position in the City and in region in the very heart of ancient zone of Rovinj, last house in the street looking to the open sea 20 meters from the shore

El espacio
Casa Galiola apartment and the house itself has been created with internationally known artist, writer, photographer and composer Arsenije Jovanovic, also know as the sailor what gives to the house a touch o maritime atmosphere and high taste

Acceso de los huéspedes
Arsenije and his family team are always ready to communicate with their possible guests exchanging letters in English, Croatian, Italian and some Russian
Casa Galiola is well know among the Rovinj citizens and guests as a house with far the best position in the City and in region in the very heart of ancient zone of Rovinj, last house in the street looking to th…

Distribución de las camas

Habitación 1
1 cama doble, 2 camas individuales, 1 sofá cama

Servicios

Cocina
Wifi
Secadora de pelo
Servicios imprescindibles
Estacionamiento gratuito en la calle
Cuna
Silla alta
No disponible: Alarma de monóxido de carbono
No disponible: Detector de humo

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Ubicación

Rovigno, Istria (Istra), Croacia

Santa Eufemia cathedral a couple of minutes walk ....

A nice cafe just next to the house entrance with gentle owner Franco and his sons ...

Restaurant across the street with the extra tables on the rocks above the sea and the beach

Anfitrión: Arsenije

Se registró en agosto de 2014
  • 1 reseña
Retired university professor, writer, composer, photographer etc. Daniel Brożek WORD, IMAGE AND TERRITORIES of Arsenije Jovanović’s sound I always feel bad when I am asked to explain, usually in the inevitable “few words,” what Ars Acoustica / Audio Art / Kunstradio mean according to me. The dictionary definition of “sound” does not reflect the richness of semantic worlds connected to it. I live on the opposite bank of the river and from there I sometimes send signals. There is an unnamed family of phonophiles which I have been a part of for many years. Arsenije Jovanović, note from September 6, 1991 For a long time Arsenije Jovanović remained on the sidelines of the contemporary and experimental music world in Yugoslavia, just like Eugeniusz Rudnik, who was widely known as only an audio technician and engineer and was never accepted into the Polish Composers' Union. Jovanović has never studied music or composing. He entered the world of sound as a director and dramaturge of experimental theatrical, radio and movie forms. Born in Serbia in 1932, he started working as a TV and theatre producer and director in the 60s (he worked for Atelje 212 in Belgrade, for theatres in Sheffield, Sofia, New York and more). He was the general manager of the National Theatre in Belgrade for 11 years and after the breakup of Yugoslavia he was a professor at the Faculty of Dramatic Arts at the Belgrade University of Arts. In the late 60s he began creating his first radio forms, and at the beginning of the 70s his radio dramas started winning international competitions—Prix Italia and Premio Ondas, and later Acustica, New York Radio Art Festival, International Radio Festival Rust (Austria), Grand Prix Radio France, Bienalderadio (Mexico), IRIB (Iran). Due to the publishing efforts of Eric La Casa (the La Légende Des Voix label in 1993) and Seth Neil (FOARM, and/OAR in 2008) Jovanović’s compositions became available for a small circle of music lovers searching for experimental sound forms. Beginning with The Thin Red Line (1998), Terrence Malick has continuously used music by Jovanović in his films. In 1996, after an invitation from the Berlin Sonambiente festival—one of the first sound art festivals in Germany—he created the Balkan Gezwitscher sound installation. He also realized installations in Oulu and Helsinki, in a church cellar in Erlangen, in a Turkish fortress in Belgrade, on the Faroe Islands, on the island of Hvar or in a stone church in Matera. Despite this fact, we will not see the name of this Serbian composer listed on the compilations prepared by the Electronic Studio of Radio Belgrade, neither will we see him mentioned in Glissando’s 30th issue. THE IMAGE OF SOUND At the end of the 60s and the beginning of the 70s, Jovanović was producing a series of programmes about contemporary art and music for Belgrade TV. Behind the Iron Curtain, with limited access to film materials and images pertaining to the presented issues, he independently organized theatre and ballet adaptations together with Yugoslavian theatres. The recordings that have survived from that period present music by Varèse, Messiaen or Lutosławski in original scenic arrangements which were to explain the ideas of electroacoustic and serial music. New instruments and sound installations were sometimes created as stage decoration to assist the dancers who tried to express through movement the rules of aleatoric music or spatial composition. The recordings show a significant influence of the practice of Merce Cunningham’s theatre, which was often featured at the Belgrade International Theatre Festival (BITEF). But there was also a perceptible innovative approach to telling stories of adventure in the world of sound—instead of using words and talking heads characteristic of television narration on contemporary music, Jovanović focused on conveying a direct message with nonverbal, poetic communication (and many years later his music was used in choreographies by Martha Graham Dance Company and Nacho Duato at the Berlin opera). When John Cage visited BITEF I was given the task of realizing a programme with the American composer. We spent a couple of hours together at the Belgrade Museum of Contemporary Art where I recorded Cage improvising random sounds in the museum, which was closed for the public especially for the occasion. Later we had dinner and talked about what music is and could be. The TV station showed just a couple of minutes of the material; unfortunately, the rest of the videos were lost, because 3-inch tape was at that time expensive and in short supply. I met John later at MoMA... For Jovanović, the meeting with Cage was a turning point in his perception of working with sound. It is very perceptible in the radio compositions he created after the year 1972, when he started departing from theatre forms and musical construction in favour of narration focused on experiencing sound, searching for a perspective which would be best for presenting the moments of moving from hearing to listening. Sound, instead of being an element of theatrical narration, became its essence. His earlier productions, including his soundtracks for “theoretical films and poetic documentaries” (such as Predgradja, 1970 ), even if focused on sound exploration alone, showed a fascination with (radio and other) concepts of concrete music by Pierre Schaeffer and Pierre Henry (with whom Jovanović cooperated in 1992 at the invitation of Klaus Schöning from WDR, during a concert in Arles). THE WORD OF SOUND Despite his disbelief in dictionary definitions expressed in the opening quotation, Jovanović’s adventure with sound began with words. When directing and producing theatre, TV and radio plays, he was usually disappointed with the music composed for them, which was often illustrative and created in isolation from the process of performance production. He started searching for sounds that would accompany the words uttered by actors and at the same time enter into a dialogue with the words, become an active sound environment for them. At first he noted them down as stage directions, as creation sonore, and later he began producing tapes with sound effects himself. He also gradually employed more voices, recording some of them and later shortening the spoken fragments in favour of the sounds in the background. He was departing from stories and became increasingly interested in the poetic moment, entering a nonverbal, untranslatable structure which expressed the script in the sole architecture of sound. His work in the radio, where he was responsible for montage and editing recordings, gave him an even greater opportunity to shape his formula—both when it comes to sound and the level of script and text. His first radio piece awarded with the Prix Italia in Venice—Tombstones along the Roadside (1967)—was based on recordings of a performance by the same title (created for the edition of BITEF during which Robert Wilson visited Europe for the first time), which were edited and transformed into rich stereophonic sounds. The performance, based on folk poetry found on Serbian tombstones erected for the souls of the soldiers who did not return from war, is a radio collage and still impresses with its sound imagination expressed in a form somewhere between radio drama, composition and sound poetry. He won another Prix Italia radio award for Resava Cave (1977). An enormous, partially unexplored cave located 100 km from Belgrade and 700 meters below the surface became a site for an aleatoric recording session which captured the voices and breaths of a few actors and the sounds of speleolithophones—immersed in darkness and echoes. Although the original composition also includes the sounds of an analogue synthesizer, it has often been performed live with the cave recordings alone, to emphasize its acoustics and the sound qualities of its stalactites. The montage itself took Jovanović and a rotating team of young sound engineers (who successively had to leave after being called up into the army) more than 3 years. However, the effect—focused on the sound characteristics of space—remains one of major examples of using acoustics as the main theme of a sound composition in the history of music. In Resava Cave Jovanović told the story of an acoustic childhood memory. The Island of Dying Donkyes (1988), on the other hand, tells of the dreadful cries of seagulls which learned the sounds from old donkeys abandoned by people to die after they had become unable to work. Prayer for One Galiola (1967) focuses on the experience of silence in the middle of the sea. White City (1997) references the noises made by the crowds during riots in Belgrade—after the match won with the Netherlands in 1976, which heralded the social moods of civil war long before the breakup of Yugoslavia, as well as later riots taking place during the decline of the republic. Fear of the Birds (2001) is the story of a bird that accompanied him in his solitary sea voyage from Istria to Venice, when they both were fleeing the war in Yugoslavia. While describing his methods of work, Jovanowić always points to a memory of a specific sound phenomenon which is always expressed verbally or visually. He collects memories in the form of notes or drawings and utilizes the impressions in his compositions. Not only does his personal experience of sound become relevant, but also the process of exploring and analyzing relations—both of the origin and nature of the heard sound, which is often diverse and difficult to identify, and the additional notes of history, meaning and context that connect to it. It becomes a search in the space between semantics and structure. Many years later, Pauline Oliveros described this process as deep listening. Jovanović evokes images to talk about the nature of sound, he narrates with sound to enter its nature, he works with words to depart from their meaning. THE ART OF THE ARCHIVE The relative and subjective experience of the passage of time is one of the characteristic features of the art of sound—the gesture of extending a sound creates an impression of halting time, and the thick, intensive structure leads to compression and enables us to explore the depths of a short moment. It is especially significant in the case of radio institutions which have vast archives of recordings and methods of cataloguing and editing them. Jovanović’s sensitivity to sound phenomena was quickly supplemented with the practice of archivisation acquired during his radio work, and his creative method was increasingly based on multilevel compositions made up of numerous field recordings. He has lived on the Istria peninsula, in the town of Rovinj, for 50 years, in a house which he continuously extends and rebuilds into new forms—both functional and artistic. He continues to record sounds—soundscapes (the sea, the wind, birds, bells, ships), voices of the residents, family and guests, the sounds of objects and spaces. However, we will not hear these recordings in the composition Ma maison (1993) which constitutes an attempt at employing the artist’s home as an instrument. The piece created at Radio France was to convey the impression of listening into the life and sound of the house, its acoustic characteristics and sound environment. Jovanović’s archive is not the aim but rather the method of working, of exploring the depths of experiencing sound. As part of his artist residency in Vienna at the sound gallery of Tonspur, Jovanović created the multi-channel installation The Art of Speech (for Ana) (2018). In the piece, he analyzes the phases of human voice development on the basis of voice recordings made during the 20 years of his daughter’s life—from the sounds of and infant breathing and sucking milk to the recordings of her singing and playing the violin and cello realized at the ORF studio. He approaches voice and language as pure sounds, documenting the mutual relations between the developing human voice and the awareness of sound environments in the form of an acoustic, spatial labyrinth. The installations Spirit of the Water (2006) and AquAgonia (2007), on the other hand, were based on a collection of recordings of water and created to sensually introduce the listener into the geopolitical and ecological debate. Much like in the works of Anne Lockwood and Ariel Guzika, the form of an installation constitutes for the Serbian artist an expansion of the idea of sound composition which explores the relations between sounds and their spaces, relations with the soundscape and the natural environment. Many of Jovanović’s works were created both as installations and radio compositions. In numerous statements he emphasized the ephemeral character of his archived sound material which allows him to freely adapt it to various forms when it comes to narration and time. This practice of working with archives has brought many longstanding, radio-related projects. Since 1985 he worked with Ivana Stefanović at her Sound Workshop of Radio Belgrade. In 1987, together with Heidi Grundmann, he initiated the cycle (Website hidden by Airbnb) at the Austrian ORF radio station, which focused on presenting radio art. The programme regularly featured his compositions (and its website remains perhaps the best catalogue of his works) as well as premiere pieces created especially for the formula by other sound artists—in recent years these were, for example, Angélica Castelló, Jan St. Werner, Meira Asher, Jonáš Gruska, Thomas Ankersmit, Michal Rataj. It also presented the winners of the most important radio art award in Europe, Prix Palma Ars Acustica (with its recent laureates: Alfredo Costa Monteiro and Alessandro Bosetti). He also introduced the concept of radio sound workshops into the universities in Sidney (The Listening Room project) and in Denmark. A similar initiative is continued today by Agnieszka Waligórska and Pekki Sirena. The Polish thread of the story was developed for a couple of years at the end of the 80s and the beginning of the 90s by Marek Zwyrzykowski in the programme Hortus musicus – hortus electronicus in Polish Radio 2, or by Jerzy Tuszewski and Robert Gawłowski in Macrophon—a programme in Radio Wrocław and a festival organized by the Wrocław Culture and Art Centre. Today, the tradition of radio forms rooted in sound experiments is continued by, for example, the portal (Website hidden by Airbnb) which is created by radio artists from Portugal. Adriatic Sound Factory is the symbolic trademark for all that I create in my home studio in Rovinj on Istria, at the rocky shores of the Adriatic Sea. Only a couple of meters separate my computers from the space of the sea. The sea and the sky above it are like a canvas devoid of images or colours, just like silence is for music. Nothing has happened here yet, everything is “before its beginning.” I often start working on a new piece with a long gaze on this boundless space. I know that it contains everything, but it takes time to find and recognize it. Sometimes these beginnings are hopelessly difficult and take lots of time. That is where the entire La Parata (1998) was created—a composition which was awarded by Radio France with Phonurgia Nova and which juxtaposes archive recordings of grotesque speeches by Stalin, Hitler, Mussolini, De Gaulle, Tito, Lenin or Brezhnev with intense sounds of acoustic violence—both man-made music and the sounds of nature. Faunophonia Balkanica (1991) was similar in tone—the piece commissioned by WDR Cologne and awarded with Prix Ars Acustica was an attempt at immersing oneself in the world of animal sounds (reportedly, the animals refused to make a sound after being dragged into a soundproof studio, treating the environment as unnatural). The composition was used in Malick’s movies numerous times. Jovanović’s works often feature themes of war and violence in the former Yugoslavia, as well as the motif of nature (usually sea spaces), presented not only as a space of retreat but also of searching for better solutions, a place of retaining artistic expression, which can be a warning or a source of hope for the future generations. Twenty years after the end of the Yugoslavian war, when its ideological spectres spread across Europe, Jovanović’s idea of art as an archive gains even more importance. LEARNING TO LISTEN When Jovanović won the Radio Programming and Promotions Awards at a New York festival in 2009 for Archipelago Prospero (a piece created together with Waligórska and Siren), he was asked about the changes that were necessary for the further development of radio. He replied with conviction: I would introduce a subject of “learning to listen” into schools. Not because of what I and others like me do. But because the skill, developed at an appropriate age, allows an individual to build the imagination and sensitivity necessary for all serious human activities. Perhaps people will then liberate themselves from their greedy attachment to image. Deep listening requires an ordered mind, a free flow of thoughts, the ability to listen as if we heard something for the first time, hearing all that is beyond the words and sounds that we are listening to.
Retired university professor, writer, composer, photographer etc. Daniel Brożek WORD, IMAGE AND TERRITORIES of Arsenije Jovanović’s sound I always feel bad when I am asked to expla…
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  • Idiomas: English, Italiano, Русский
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Salida: 10:00
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