[x] I ▶

Sentences that have I in common :


I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves.
└ from 04 — Noting Denoting


Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor.
└ from 06 — Principium 2.0 Publication


We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record.
└ from 06 — Principium 2.0 Publication


DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago.
└ from 06 — Principium 2.0 Publication


It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile.
└ from 06 — Principium 2.0 Publication


And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?
└ from 06 — Principium 2.0 Publication


The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!
└ from 06 — Principium 2.0 Publication


, that I went in that direction.
└ from 06 — Principium 2.0 Publication


I reduced the number of keys to twelve, and added a magnetic sequencer board to it.
└ from 06 — Principium 2.0 Publication


I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys.
└ from 06 — Principium 2.0 Publication


I was really happy with the results, and especially with the fact that it's so inviting towards an audience.
└ from 06 — Principium 2.0 Publication


And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah.
└ from 06 — Principium 2.0 Publication


And I really like it when people are enthusiastic, so I said yes, obviously.
└ from 06 — Principium 2.0 Publication


Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts.
└ from 06 — Principium 2.0 Publication


And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'.
└ from 06 — Principium 2.0 Publication


Yet I felt like making another interpretation of an existing piece, instead of merely documenting it.
└ from 06 — Principium 2.0 Publication


Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo.
└ from 06 — Principium 2.0 Publication


And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all.
└ from 06 — Principium 2.0 Publication


I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes.
└ from 06 — Principium 2.0 Publication


I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting.
└ from 06 — Principium 2.0 Publication


And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically.
└ from 06 — Principium 2.0 Publication


I guess I do tend to overthink things, hah.
└ from 06 — Principium 2.0 Publication


And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions.
└ from 06 — Principium 2.0 Publication


The only thing I had any control over was where to put the magnets, which determines the rhythm.
└ from 06 — Principium 2.0 Publication


I followed that score for eight hours straight.
└ from 06 — Principium 2.0 Publication


Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty.
└ from 06 — Principium 2.0 Publication


After that, Dennis asked me if I wanted to do a release of the recordings.
└ from 06 — Principium 2.0 Publication


I think initially he wanted to do a tape.
└ from 06 — Principium 2.0 Publication


So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance.
└ from 06 — Principium 2.0 Publication


I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead.
└ from 06 — Principium 2.0 Publication


Kris Delacourt: Oh, I think it's definitely something that's still evolving.
└ from 06 — Principium 2.0 Publication


I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive.
└ from 06 — Principium 2.0 Publication


So I don’t think I've quite finished with it, no.
└ from 06 — Principium 2.0 Publication


I guess that fear was much more of an issue with DOB Records.
└ from 06 — Principium 2.0 Publication


But having made that 12" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event.
└ from 06 — Principium 2.0 Publication


Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final.
└ from 06 — Principium 2.0 Publication


I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there.
└ from 06 — Principium 2.0 Publication


I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality.
└ from 06 — Principium 2.0 Publication


I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record.
└ from 06 — Principium 2.0 Publication


It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others.
└ from 06 — Principium 2.0 Publication


Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc.
└ from 06 — Principium 2.0 Publication


But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier.
└ from 06 — Principium 2.0 Publication


I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut.
└ from 06 — Principium 2.0 Publication


But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this.
└ from 06 — Principium 2.0 Publication


Still, not sure if it is easy listening at all, although I think it has a beauty of it's own.
└ from 06 — Principium 2.0 Publication


Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point.
└ from 06 — Principium 2.0 Publication


I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something.
└ from 06 — Principium 2.0 Publication


But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets.
└ from 06 — Principium 2.0 Publication


I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed.
└ from 06 — Principium 2.0 Publication


DE PLAYER: I could say that the 10" records were vinyl records as a tool, and that this LP is a vinyl record as a product.
└ from 06 — Principium 2.0 Publication


But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece.
└ from 06 — Principium 2.0 Publication


Kris Delacourt: I do look at it as a solo thing.
└ from 06 — Principium 2.0 Publication


You know, the music on the record came from a performance I did, based on a concept I came up with.
└ from 06 — Principium 2.0 Publication


Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp.
└ from 06 — Principium 2.0 Publication


He always stressed, right from the start, that any interpretation I gave of his work was no longer his work.
└ from 06 — Principium 2.0 Publication


And I follow that.
└ from 06 — Principium 2.0 Publication


That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?
└ from 06 — Principium 2.0 Publication


But musically, I still feel it’s my work.
└ from 06 — Principium 2.0 Publication


And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking.
└ from 06 — Principium 2.0 Publication


The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form.
└ from 06 — Principium 2.0 Publication


Did I mention I tend to overthink things?
└ from 06 — Principium 2.0 Publication


So I don't think I belong in the conceptual art section.
└ from 06 — Principium 2.0 Publication


But then, I don’t fully agree that you miss out on creativity by sticking to a concept.
└ from 06 — Principium 2.0 Publication


Kris Delacourt: I think I would consider that series of twelve 10" my vinyl debut, but maybe because it was twelve different records or in 10" format it doesn't really count?
└ from 06 — Principium 2.0 Publication


Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying.
└ from 06 — Principium 2.0 Publication


I don't know.
└ from 06 — Principium 2.0 Publication


I don't think of it as a manifesto or anything.
└ from 06 — Principium 2.0 Publication


It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well.
└ from 06 — Principium 2.0 Publication


I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.
└ from 06 — Principium 2.0 Publication


I don't feel this record has that.
└ from 06 — Principium 2.0 Publication


Kris Delacourt: I certainly do hope that it's enjoyable.
└ from 06 — Principium 2.0 Publication


Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all.
└ from 06 — Principium 2.0 Publication


But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right.
└ from 06 — Principium 2.0 Publication


I guess I am aiming for the best of both worlds there.
└ from 06 — Principium 2.0 Publication


Resonanz' is an electronic book that I had first dismissed.
└ from 07 — Pu-sh-ing-Sco-res Event


Until I tried it.
└ from 07 — Pu-sh-ing-Sco-res Event


I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.
└ from 07 — Pu-sh-ing-Sco-res Event


Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962.
└ from 17 — Event Scores


I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963.
└ from 17 — Event Scores


I think silence has that same relation with music.
└ from 23 — Silence


How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat.
└ from 24 — Johannes Kreidler


Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat.
└ from 24 — Johannes Kreidler


Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat.
└ from 24 — Johannes Kreidler


Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience.
└ from 26 — Helga Jakobson


These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss.
└ from 26 — Helga Jakobson


The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers.
└ from 26 — Helga Jakobson


These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them.
└ from 26 — Helga Jakobson


These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create.
└ from 26 — Helga Jakobson


The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada.
└ from 26 — Helga Jakobson


To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them.
└ from 26 — Helga Jakobson


In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology.
└ from 26 — Helga Jakobson


For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working.
└ from 27 — BJ Nilsen


When it was empty, I mapped out the building by recording it.
└ from 27 — BJ Nilsen


I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old.
└ from 27 — BJ Nilsen


I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow.
└ from 27 — BJ Nilsen


I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in.
└ from 27 — BJ Nilsen


I also worked with stone as an instrument, striking and recording it.
└ from 27 — BJ Nilsen


I did the same with coal.
└ from 27 — BJ Nilsen


I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes.
└ from 27 — BJ Nilsen


I also visited Most in the Czech Republic because there is a huge operational open pit mine.
└ from 27 — BJ Nilsen


The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area.
└ from 27 — BJ Nilsen


I'm very interested in the hidden layers and history the landscape.
└ from 27 — BJ Nilsen


That's why I wanted to have a thread about the regeneration of mining areas.
└ from 27 — BJ Nilsen


I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation.
└ from 27 — BJ Nilsen


What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range...
└ from 27 — BJ Nilsen


But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times.
└ from 27 — BJ Nilsen


In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future.
└ from 27 — BJ Nilsen


I am drawn to the Arctic as a sound person because of its relative remoteness.
└ from 27 — BJ Nilsen


Except for the mining, but that then is also why I find mining in the Arctic especially interesting.
└ from 27 — BJ Nilsen


I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece.
└ from 27 — BJ Nilsen


I had hundreds of cassette tapes, mostly TDK.
└ from 27 — BJ Nilsen


I'm always processing and refining my field recordings.
└ from 27 — BJ Nilsen


I apply filters, use electronics.
└ from 27 — BJ Nilsen


a b o u t t h i s a r c h i v e
l i s t o f i t e m s
G e n e r a t e s c o r e !