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Sentences that have The in common :


The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies.
└ from 01 — Pushing Scores Overview


The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel.
└ from 01 — Pushing Scores Overview


The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection.
└ from 01 — Pushing Scores Overview


The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’.
└ from 01 — Pushing Scores Overview


Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam.
└ from 01 — Pushing Scores Overview


This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'.
└ from 01 — Pushing Scores Overview


The work is voiced by Laetitia Saedier of Stereolab.
└ from 01 — Pushing Scores Overview


The complete selection of scores is published in a music book.
└ from 01 — Pushing Scores Overview


The entire music book will be performed three times during the South Explorer weekend.
└ from 01 — Pushing Scores Overview


The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance.
└ from 01 — Pushing Scores Overview


Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential.
└ from 01 — Pushing Scores Overview


The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops.
└ from 01 — Pushing Scores Overview


The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development.
└ from 01 — Pushing Scores Overview


The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media.
└ from 01 — Pushing Scores Overview


One restriction was decided upon: The scores had to be presented on floppy disc.
└ from 02 — Release - Tetra Gamma Circulaire 3


The result is a combination of several media, which all coexist in a designed concrete object.
└ from 02 — Release - Tetra Gamma Circulaire 3


PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0.
└ from 03 — Principium 2.0 Presentation


The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies.
└ from 04 — Noting Denoting


The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel.
└ from 04 — Noting Denoting


The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn.
└ from 04 — Noting Denoting


The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded.
└ from 05 — Wiels Artbook Fair


The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself.
└ from 05 — Wiels Artbook Fair


The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work.
└ from 05 — Wiels Artbook Fair


The commercial potential and its associated value assessment are problematic for Colson.
└ from 05 — Wiels Artbook Fair


The making of editions can be understood in this context.
└ from 05 — Wiels Artbook Fair


The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns.
└ from 06 — Principium 2.0 Publication


The final installation will have twelve separate pieces: A complete octave.
└ from 06 — Principium 2.0 Publication


The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12" vinyl record, which was released by the label Ultra Eczema shortly after.
└ from 06 — Principium 2.0 Publication


The office material, those colourful little dots.
└ from 06 — Principium 2.0 Publication


The idea was to put white magnets atop of the coloured dots as a way to blank them out.
└ from 06 — Principium 2.0 Publication


The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys.
└ from 06 — Principium 2.0 Publication


The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp.
└ from 06 — Principium 2.0 Publication


The works are by a friend of mine, the Belgian artist Vaast Colson.
└ 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


The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour.
└ from 06 — Principium 2.0 Publication


The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version.
└ from 06 — Principium 2.0 Publication


The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on.
└ from 06 — Principium 2.0 Publication


The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid.
└ 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


The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes.
└ 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


The improvisation might be one of the major flaws, actually, conceptually speaking.
└ from 06 — Principium 2.0 Publication


Kris Delacourt: The 10" records have all been sold as well, so they sit somewhere in the middle.
└ 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


DE PLAYER: The Ultra Eczema site refers to this record as your debut LP.
└ from 06 — Principium 2.0 Publication


The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off.
└ from 06 — Principium 2.0 Publication


The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development.
└ from 07 — Pu-sh-ing-Sco-res Event


The software they write enables them to compose ever-evolving audiovisual worlds.
└ from 07 — Pu-sh-ing-Sco-res Event


The software they write enables them to compose ever-evolving audiovisual worlds.
└ from 07 — Pu-sh-ing-Sco-res Event


The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards.
└ from 07 — Pu-sh-ing-Sco-res Event


On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky.
└ from 07 — Pu-sh-ing-Sco-res Event


The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself.
└ from 07 — Pu-sh-ing-Sco-res Event


The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time.
└ from 07 — Pu-sh-ing-Sco-res Event


In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results.
└ from 07 — Pu-sh-ing-Sco-res Event


The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated.
└ from 07 — Pu-sh-ing-Sco-res Event


The usual code of the record, as defined by the music industry, was broken in all works.
└ from 07 — Pu-sh-ing-Sco-res Event


The initiatives gather within a part of the programme called 'Intersections'.
└ from 08 — Art Rotterdam Presentation


The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge.
└ from 09 — MAT>NET>PU TGC3 Presentation


The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation.
└ from 09 — MAT>NET>PU TGC3 Presentation


The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg.
└ from 09 — MAT>NET>PU TGC3 Presentation


The idea of a score functioned as a guideline to shape their project and to test the working process.
└ from 09 — MAT>NET>PU TGC3 Presentation


The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer.
└ from 09 — MAT>NET>PU TGC3 Presentation


The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance.
└ from 09 — MAT>NET>PU TGC3 Presentation


The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps.
└ from 09 — MAT>NET>PU TGC3 Presentation


The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores.
└ from 10 — Valentina Vuksic


The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world.
└ from 10 — Valentina Vuksic


The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art.
└ from 10 — Valentina Vuksic


The mechanic noises serve as mediators to a public.
└ from 10 — Valentina Vuksic


PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone.
└ from 11 — Para-phonic Poly-disco


The work consists of two parts: 1.
└ from 11 — Para-phonic Poly-disco


The piece is voiced by Laetitia Saedier of Stereolab.
└ from 11 — Para-phonic Poly-disco


The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this.
└ from 11 — Para-phonic Poly-disco


The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'.
└ from 11 — Para-phonic Poly-disco


The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'.
└ from 11 — Para-phonic Poly-disco


The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso.
└ from 11 — Para-phonic Poly-disco


The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam.
└ from 11 — Para-phonic Poly-disco


The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building.
└ from 11 — Para-phonic Poly-disco


After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'.
└ from 12 — Jacques Attali


The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object.
└ from 12 — Jacques Attali


The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985.
└ from 12 — Jacques Attali


He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'.
└ from 12 — Jacques Attali


The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image.
└ from 12 — Jacques Attali


The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel.
└ from 13 — Remco van Bladel


The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website.
└ from 13 — Remco van Bladel


The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design.
└ from 13 — Remco van Bladel


The most important, from his youth, is sound or music.
└ from 13 — Remco van Bladel


The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems.
└ from 13 — Remco van Bladel


The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence.
└ from 14 — Derek Holzer


The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment.
└ from 16 — Tektronix Oscilloscope Music


A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky.
└ from 16 — Tektronix Oscilloscope Music


The laboratory itself performed government research into nuclear physics, energy technology and national security.
└ from 16 — Tektronix Oscilloscope Music


The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects.
└ from 16 — Tektronix Oscilloscope Music


The fact that many aspects of our current utopian aspirations (and dystopian anxieties!
└ from 16 — Tektronix Oscilloscope Music


The 'Event Scores' of George Brecht are still actual pieces.
└ from 17 — Event Scores


The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years.
└ from 17 — Event Scores


The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language.
└ from 19 — Jörg Piringer


The performance 'frikativ' is real-time generated visual and sound poetry.
└ from 19 — Jörg Piringer


The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record.
└ from 19 — Jörg Piringer


The style and/or genre determine the identity.
└ from 20 — Concrete Poetry


The limits of speech become communication and nonsense, which both have the potential of speech.
└ from 20 — Concrete Poetry


The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past.
└ from 20 — Concrete Poetry


The analogue and virtual voice play a major role in this.
└ from 20 — Concrete Poetry


The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings.
└ from 20 — Concrete Poetry


The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation.
└ from 22 — Anitation


The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'.
└ from 22 — Anitation


The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages.
└ from 23 — Silence


The system was therefore completely stuck.
└ from 24 — Johannes Kreidler


The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality.
└ from 24 — Johannes Kreidler


The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies.
└ from 24 — Johannes Kreidler


The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions.
└ from 24 — Johannes Kreidler


The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far.
└ from 24 — Johannes Kreidler


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


Timbaland 'Another One Bites The Dust' by Queen vs.
└ from 24 — Johannes Kreidler


The Miami Project 'Anthem' by Filo & Peri feat.
└ from 24 — Johannes Kreidler


Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat.
└ from 24 — Johannes Kreidler


One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat.
└ from 24 — Johannes Kreidler


Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger 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


by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat.
└ from 24 — Johannes Kreidler


Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?
└ from 24 — Johannes Kreidler


The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!
└ from 24 — Johannes Kreidler


Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy
└ from 24 — Johannes Kreidler


The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents.
└ from 25 — Ana Guedes


The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection.
└ from 25 — Ana Guedes


The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss.
└ from 26 — Helga Jakobson


The intact web will not exist long in the world, and with my interference even less so.
└ 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


The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination.
└ 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


The process of finding them could be likened to trying to make the invisible visible.
└ from 26 — Helga Jakobson


The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project.
└ from 26 — Helga Jakobson


The composition follows a more or less linear path, starting with 'deep' time.
└ from 27 — BJ Nilsen


The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim.
└ from 27 — BJ Nilsen


The musique concrète, as developed by Henry at GRM, was made by magnetic tape.
└ from 27 — BJ Nilsen


The north of Norway is one of the oldest rock formations in the world.
└ from 27 — BJ Nilsen


The mountain just sits there.
└ from 27 — BJ Nilsen


The sounds are environmental.
└ from 27 — BJ Nilsen


The Sámi have a lot of respect for nature.
└ from 27 — BJ Nilsen


The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam.
└ 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


The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko.
└ from 27 — BJ Nilsen


And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds.
└ from 27 — BJ Nilsen


The ore layer contains only a certain amount of the mineral that will bring you revenue.
└ from 27 — BJ Nilsen


The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process.
└ from 27 — BJ Nilsen


The composition follows a more or less linear path – starting with deep time.
└ from 27 — BJ Nilsen


The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone.
└ from 27 — BJ Nilsen


This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future .
└ from 27 — BJ Nilsen


The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord.
└ from 27 — BJ Nilsen


The sound of the mine was always present.
└ from 27 — BJ Nilsen


The landscape is fairly untouched, it is scarcely populated, it's desolate.
└ from 27 — BJ Nilsen


The sounds of nature are not often interrupted by other sounds.
└ from 27 — BJ Nilsen


The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you.
└ from 27 — BJ Nilsen


The people in the Arctic have a lot of respect for nature, it forms them .
└ from 27 — BJ Nilsen


The Arctic is changing quickly.
└ from 27 — BJ Nilsen


It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out.
└ from 27 — BJ Nilsen


All to get to the desired result: The gold!
└ from 27 — BJ Nilsen


The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience.
└ from 28 — John Duncan


The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process.
└ from 28 — John Duncan


The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording.
└ from 28 — John Duncan


The medium of radio still plays a role in arriving at compositions.
└ from 28 — John Duncan


The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede.
└ from 28 — John Duncan


The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores.
└ from 29 — Niek Hilkmann


The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered.
└ from 29 — Niek Hilkmann


The actual printing of the thermal paper is a stochastic performance in itself.
└ from 29 — Niek Hilkmann


Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’.
└ from 30 — Black Midi


The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show.
└ from 30 — Black Midi


The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011.
└ from 30 — Black Midi


The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer.
└ from 30 — Black Midi


The end titles of many black MIDI videos display how many notes are in the piece.
└ from 30 — Black Midi


The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle.
└ from 30 — Black Midi


The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion).
└ from 30 — Black Midi


The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music.
└ from 30 — Black Midi


The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world.
└ from 30 — Black Midi


Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'.
└ from 30 — Black Midi


The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air.
└ from 31 — Marco Fusinato


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