ODRZ 82
– ODRZ
ODRZ 82 :: An industrial noise transmedia experience through artificial channels and machines :: Booklet + USB Card + Transmedia Notebook 1/2025 :: Rizosfera Transmedia :: RT001 :: Total runtime: two hours and twenty minutes.
The work ODRZ 82 is rich in content and equally generous in sounds and images. As a format, it is characterized by:
- A 16-page full-color booklet printed on high-quality 290-gram Twill paper.
- A 16 GB USB Card containing high-definition audio and video.
- The USB Card is color screen-printed and attached to a 250-gram Bristol cardstock, which features the work’s credits.
- Streaming of the entire work on the RizoStream digital platform, with a private access code provided to purchasers of ODRZ 82.
- Quaderni Transmedia 1/2025 is the official publication of the Rizosfera Transmedia editorial project, printed on high-quality Twill paper. It delves into the themes of the multimedia work in which it is included, with a more academic and essayistic approach compared to the booklet accompanying the published work.
INTRODRZ 82
Curated by Paolo Davoli
Rizosfera Transmedia is pleased to present, as its first publication, an innovative multimedia work with the enigmatic title ODRZ 82, which requires some explanation to be fully appreciated in its richness and expressiveness. ODRZ 82 represents one of the most ambitious expressions of the ODRZ collective, which, since 2000, has been exploring the sonic potential of spaces, objects, and structures in the real world. Following its artistic manifesto, which considers every element of the world a potential object for sound exploration, ODRZ 82 focuses on six navigable artificial waterways: Canal du Midi, Stalin Canal, Saint Lawrence Seaway, Saimaa Canal, Grand Canal of China, and Kiel Canal—symbols of monumental engineering feats and significant human interventions in nature.
The approach of ODRZ 82 is defined by a rigorous method: each element, whether common or specific, has been studied to become an integral part of the musical composition. The common elements include water, national anthems, and voices in the native languages of the explored locations, which intertwine with distinctive sounds related to the morphology, functions, and history of each canal. This process has led to the creation of a “sonic screenplay” for each canal, in which the analyzed elements are transposed into loops, frequencies, and identifying motifs.
ODRZ 82 stands out for its ability to blend geographical and historical research with bold musical exploration. Each canal serves as a starting point for a sound narrative that develops through various sections and variations, inspired by the physical and symbolic characteristics of these waterways. Water, omnipresent in all six canals, is not only a natural element but also a symbol of connection, transformation, and human power.
One of the most fascinating aspects of ODRZ 82 is the attention given to the sonic representation of human interventions. The tools used for the construction of the canals, such as shovels and pickaxes, are transformed into rhythmic and obsessive sounds, while the grand inauguration ceremonies are translated into majestic and celebratory musical sequences. Each track evokes the stories, struggles, and triumphs associated with these monumental projects, making every piece not just a sound experience but also a reflection on the relationship between humanity, nature, and technology.
The innovative combination of traditional instruments, sampled sounds, and contemporary production techniques makes ODRZ 82 a unique work within the realm of industrial and avant-garde music.
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RIZOSFERA TRANSMEDIA HACKATHON curated by Domenico Morreale (excerpt from *Quaderni Transmedia* n. 1/2025)
(…) The second edition of the Transmedia Hackathon (year 2024) was dedicated to the theme of the relationship between media languages in the representation of reality through artistic expression. At its core was the guest work ODRZ 82, dedicated to the pansonic interpretation of six navigable artificial channels, whose physical, geographical, and historical characteristics were transposed into a sonic dimension, transforming into sounds, rhythms, and noises. The work consists of six tracks, each dedicated to one of the channels.
The work ODRZ 82 was later expanded through the creation of a musical medium-length film curated by Bitpop Music Videos. A live performance of the six tracks, performed by ODRZ without an audience present, took place within an industrial space. The audiovisual documentation served as the starting point for the creation of a video-performance in which the live performance, texts, archival content, and animations created in both two-dimensional and three-dimensional graphics come together to generate an experience that alternates between two dynamics:
1. Immersion in the sonic space: Here, the video, through kaleidoscopic effects, duplications, and symmetrical compositions, complements the suggestion of the sounds, amplifying their effect.
2. The creation of an informative visual paratext: Here, the video provides multimedia elements to support the understanding of the work. The footage of the live performance allows viewers to observe the instruments, gestures, and execution methods, reconnecting the sound to its visual referent. Descriptive texts about the history and morphological characteristics of the channels are included, along with archival audiovisual content showing moments of navigation along the channels and maps that situate them geographically. (…)
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ODRZ intervistati da Stefano Gilardino
Domenico Morreale con ODRZ
Domenico Morreale con ODRZ
Domenico Morreale con ODRZ
Domenico Morreale con ODRZ
Domenico Morreale con ODRZ
Domenico Morreale con ODRZ
