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Sentences that have This in common :


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


This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years.
└ from 01 — Pushing Scores Overview


This continues to question the representation of sound in media to this day.
└ from 01 — Pushing Scores Overview


This is a magazine without any format, with the intention for a new one to be developed each time.
└ from 02 — Release - Tetra Gamma Circulaire 3


This was put in place to both limit possibilities and to unite the format.
└ from 02 — Release - Tetra Gamma Circulaire 3


This can be a performance, an object, a book or whatever other form he settles on.
└ from 05 — Wiels Artbook Fair


This print run is to be seen as a performative action.
└ from 05 — Wiels Artbook Fair


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


This piece is based on a question.
└ from 06 — Principium 2.0 Publication


This resulted in 'Principium 2.0'.
└ from 06 — Principium 2.0 Publication


This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER.
└ from 06 — Principium 2.0 Publication


This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story.
└ from 06 — Principium 2.0 Publication


This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances.
└ from 07 — Pu-sh-ing-Sco-res Event


This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances.
└ from 07 — Pu-sh-ing-Sco-res Event


This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music.
└ from 11 — Para-phonic Poly-disco


This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength.
└ from 11 — Para-phonic Poly-disco


This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe.
└ from 11 — Para-phonic Poly-disco


This notation of music can be considered as a highly coded written guideline for how music should sound.
└ from 12 — Jacques Attali


This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine.
└ from 12 — Jacques Attali


This encompasses the conceptualisation, the funding and the execution.
└ from 13 — Remco van Bladel


This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements.
└ from 13 — Remco van Bladel


This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice.
└ from 13 — Remco van Bladel


This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project.
└ from 14 — Derek Holzer


This has led to a new interest in analogue processes or 'dirty hands' art.
└ from 14 — Derek Holzer


This has led to a new interest in analogue processes or 'dirty hands' art.
└ from 15 — Schematic as Design


This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin.
└ from 16 — Tektronix Oscilloscope Music


This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963.
└ from 17 — Event Scores


This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it.
└ from 18 — Dirigeerstok


This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength.
└ from 18 — Dirigeerstok


This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role.
└ from 20 — Concrete Poetry


This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores.
└ from 21 — Animated Notation


This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College.
└ from 21 — Animated Notation


This means animated notation.
└ from 21 — Animated Notation


This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College.
└ from 22 — Anitation


This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn.
└ from 22 — Anitation


This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer.
└ from 22 — Anitation


This often requires presenting the music as moving graphics on computer screens.
└ from 22 — Anitation


This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches.
└ from 24 — Johannes Kreidler


This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing.
└ from 24 — Johannes Kreidler


This piece is to be seen as a plunder phonic composition in extremis.
└ 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


This 'other way' to come to sound is an interesting phenomenon.
└ from 25 — Ana Guedes


This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter.
└ from 26 — Helga Jakobson


This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web.
└ 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


This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label.
└ from 26 — Helga Jakobson


ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking.
└ from 27 — BJ Nilsen


This line is interrupted a few times and the different time periods work together and overlap.
└ from 27 — BJ Nilsen


This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth.
└ 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


This was part of a test production of around 30,000 tons.
└ from 27 — BJ Nilsen


This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static.
└ from 28 — John Duncan


This not only counts for publishing but also for exploring new possibilities for artist practice in general.
└ from 30 — Black Midi


This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one.
└ from 30 — Black Midi


This one is a pretty contemporary example and results in great imagery and sound.
└ from 30 — Black Midi


This creates strong graphic works and partly blackens out the original score.
└ from 31 — Marco Fusinato


This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin.
└ from 31 — Marco Fusinato


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