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Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam.
└ from 01 — Pushing Scores Overview


Can a tune be translated into an image?
└ from 01 — Pushing Scores Overview


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


DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel.
└ from 01 — Pushing Scores Overview


Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records.
└ from 01 — Pushing Scores Overview


Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone.
└ 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 complete selection of scores is published in a music book.
└ from 01 — Pushing Scores Overview


For every performance a different instrument has been selected.
└ from 01 — Pushing Scores Overview


In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities.
└ from 01 — Pushing Scores Overview


What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?
└ from 01 — Pushing Scores Overview


Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel.
└ from 01 — Pushing Scores Overview


It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field.
└ from 01 — Pushing Scores Overview


Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air.
└ from 01 — Pushing Scores Overview


In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music.
└ 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


Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century.
└ from 01 — Pushing Scores Overview


Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture.
└ from 01 — Pushing Scores Overview


A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts.
└ from 01 — Pushing Scores Overview


What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?
└ from 01 — Pushing Scores Overview


In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate.
└ from 01 — Pushing Scores Overview


Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation.
└ 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


Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come.
└ from 01 — Pushing Scores Overview


TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations.
└ from 02 — Release - Tetra Gamma Circulaire 3


Some dare to say that it’s a kind of jukebox.
└ from 02 — Release - Tetra Gamma Circulaire 3


Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine.
└ from 02 — Release - Tetra Gamma Circulaire 3


DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students.
└ from 02 — Release - Tetra Gamma Circulaire 3


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


Each student had to develop their own project around the process of making a score.
└ 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


It has a Raspberry Pi sits at its core, and is programmed for several applications.
└ from 02 — Release - Tetra Gamma Circulaire 3


Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light.
└ from 02 — Release - Tetra Gamma Circulaire 3


During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a.
└ from 03 — Principium 2.0 Presentation


TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?
└ from 04 — Noting Denoting


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


Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam.
└ from 04 — Noting Denoting


Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium.
└ from 04 — Noting Denoting


He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment.
└ from 04 — Noting Denoting


It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process.
└ from 04 — Noting Denoting


RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas.
└ from 04 — Noting Denoting


They are intensified visual and audio perceptions in a specific space.
└ from 04 — Noting Denoting


His websites attract a large audience of over forty million unique visits per year.
└ from 04 — Noting Denoting


FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium.
└ from 04 — Noting Denoting


For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves.
└ from 04 — Noting Denoting


He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad.
└ from 04 — Noting Denoting


We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event.
└ from 04 — Noting Denoting


As a composer, funnily enough, Charlemagne hardly uses any scores.
└ 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


Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall.
└ from 04 — Noting Denoting


Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam.
└ from 04 — Noting Denoting


Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them.
└ from 04 — Noting Denoting


Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'.
└ from 05 — Wiels Artbook Fair


Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it.
└ 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


Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output.
└ from 05 — Wiels Artbook Fair


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


We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us.
└ from 05 — Wiels Artbook Fair


He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image.
└ from 05 — Wiels Artbook Fair


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


It is a complex work that nevertheless manages to remain simple and accessible in its final execution.
└ from 05 — Wiels Artbook Fair


Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'.
└ from 05 — Wiels Artbook Fair


What emotions and ethical choices guide an artist in a process of continuous change?
└ from 05 — Wiels Artbook Fair


From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas.
└ 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


Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots.
└ from 06 — Principium 2.0 Publication


Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns.
└ from 06 — Principium 2.0 Publication


For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'.
└ 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


He was intrigued by the invitation, but it took a long time to develop.
└ from 06 — Principium 2.0 Publication


Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool.
└ 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


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


Principium' comes from the title of a project by Vaast Colson.
└ from 06 — Principium 2.0 Publication


Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold.
└ from 06 — Principium 2.0 Publication


He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers.
└ from 06 — Principium 2.0 Publication


Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result.
└ from 06 — Principium 2.0 Publication


Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated.
└ from 06 — Principium 2.0 Publication


And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer.
└ from 06 — Principium 2.0 Publication


As mentioned, the first version was a modified Casio keyboard.
└ from 06 — Principium 2.0 Publication


He reduced the number of keys to twelve, and added a magnetic sequencer board to it.
└ 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


As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device.
└ from 06 — Principium 2.0 Publication


Short version: First it was a one octave Casio keyboard, then it became twelve 10" records, then it became an eight hour performance and eventually now a 12" LP.
└ from 06 — Principium 2.0 Publication


Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks.
└ 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


He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?
└ from 06 — Principium 2.0 Publication


What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them.
└ 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


Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not.
└ 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


And the first version was indeed a modified Casio keyboard.
└ 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


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


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


It looks like a game of Four In A Row, totally appealing to get your hands on it.
└ 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


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


But there were several reasons for me to hold back a little on the idea.
└ from 06 — Principium 2.0 Publication


Well, a little… Two years, actually.
└ from 06 — Principium 2.0 Publication


It's meant to be in a continued state of flux.
└ 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


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


So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe.
└ 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


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


Well, pattern programmable, but at a fixed speed.
└ from 06 — Principium 2.0 Publication


So we put two and two together, and ended up doing twelve 10" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12" metal platter to sit under the 10" for the magnets to stick to.
└ 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


Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers.
└ from 06 — Principium 2.0 Publication


Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation.
└ 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


Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume.
└ 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


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


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


There's something appealing in using a single octave as a building block.
└ from 06 — Principium 2.0 Publication


Was one of your fears that, by making it into a 12", you would have to bring this project to a final version?
└ 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


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


DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job.
└ from 06 — Principium 2.0 Publication


So you end up with a first rough selection.
└ 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


If something was interesting for a while, but didn't stay interesting, it had to go.
└ 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


It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked.
└ 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


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


How do you perceive the function a piece of vinyl can have?
└ from 06 — Principium 2.0 Publication


They were intended as a release, and therefore a product, just as well.
└ from 06 — Principium 2.0 Publication


That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance.
└ from 06 — Principium 2.0 Publication


It really was a one-time event, with the vinyls functioning as a tool, yes.
└ from 06 — Principium 2.0 Publication


Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that.
└ from 06 — Principium 2.0 Publication


But it's still a relevant idea to me, this kind of creative misuse.
└ from 06 — Principium 2.0 Publication


DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you.
└ from 06 — Principium 2.0 Publication


So do you see this album as a solo record or as a collaboration?
└ 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


It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people.
└ from 06 — Principium 2.0 Publication


Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting.
└ 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


DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form.
└ from 06 — Principium 2.0 Publication


Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?
└ 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


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


Coming up with a concept can be as much a creative process as navigating its actualisation.
└ from 06 — Principium 2.0 Publication


It can make you go against your natural inclinations, which does not always have to be a bad thing.
└ from 06 — Principium 2.0 Publication


Does it feel like that for you too: As your first 'real' album, as a statement?
└ from 06 — Principium 2.0 Publication


Or maybe Dennis thinks of that series as a tool more than a product.
└ 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


And a statement...
└ 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


DE PLAYER: Do you see this as a drone record?
└ from 06 — Principium 2.0 Publication


Or as a collage record?
└ from 06 — Principium 2.0 Publication


So this is very much a straightforward live recording of a pretty weird DJ set, if you will.
└ from 06 — Principium 2.0 Publication


DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?
└ from 06 — Principium 2.0 Publication


Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?
└ 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


Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records.
└ from 07 — Pu-sh-ing-Sco-res Event


What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?
└ from 07 — Pu-sh-ing-Sco-res Event


In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate.
└ from 07 — Pu-sh-ing-Sco-res Event


Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation.
└ from 07 — Pu-sh-ing-Sco-res Event


TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication.
└ from 07 — Pu-sh-ing-Sco-res Event


On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation.
└ from 07 — Pu-sh-ing-Sco-res Event


With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication.
└ from 07 — Pu-sh-ing-Sco-res Event


As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack.
└ from 07 — Pu-sh-ing-Sco-res Event


— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne.
└ from 07 — Pu-sh-ing-Sco-res Event


For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope.
└ 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


With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s.
└ 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


Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.
└ from 07 — Pu-sh-ing-Sco-res Event


They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests.
└ from 07 — Pu-sh-ing-Sco-res Event


They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production.
└ from 07 — Pu-sh-ing-Sco-res Event


Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music.
└ from 07 — Pu-sh-ing-Sco-res Event


Julia Bünnagel was also invited, under the guise of contributing a more physical input.
└ from 07 — Pu-sh-ing-Sco-res Event


She works with prepared records and played a live set.
└ from 07 — Pu-sh-ing-Sco-res Event


In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique.
└ from 07 — Pu-sh-ing-Sco-res Event


In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques.
└ 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


In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity.
└ from 07 — Pu-sh-ing-Sco-res Event


All had worked with the medium of the vinyl record and added a new use/application.
└ from 07 — Pu-sh-ing-Sco-res Event


As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel.
└ from 08 — Art Rotterdam Presentation


For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part.
└ from 08 — Art Rotterdam Presentation


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


We decided to envision the framework for the installation as a three-dimensional staff to write down music.
└ from 08 — Art Rotterdam Presentation


By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object.
└ from 08 — Art Rotterdam Presentation


TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam.
└ from 09 — MAT>NET>PU TGC3 Presentation


Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians.
└ from 09 — MAT>NET>PU TGC3 Presentation


HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality.
└ from 09 — MAT>NET>PU TGC3 Presentation


Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft.
└ from 09 — MAT>NET>PU TGC3 Presentation


Jakobson has great reverence for intuition and it's use as a technology within her work.
└ from 09 — MAT>NET>PU TGC3 Presentation


JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician.
└ from 09 — MAT>NET>PU TGC3 Presentation


Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling.
└ from 09 — MAT>NET>PU TGC3 Presentation


XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme.
└ from 09 — MAT>NET>PU TGC3 Presentation


Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead.
└ from 09 — MAT>NET>PU TGC3 Presentation


A publication was taken as a joint focal point, the form of which could be determined in more detail.
└ from 09 — MAT>NET>PU TGC3 Presentation


However, it was decided to start from the floppy disc as a medium.
└ 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


It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks.
└ from 09 — MAT>NET>PU TGC3 Presentation


Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised.
└ 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


Transmitted through a beamer and an audio system, everything becomes visible and audible.
└ from 09 — MAT>NET>PU TGC3 Presentation


Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'.
└ from 09 — MAT>NET>PU TGC3 Presentation


As a dancer she is curious about why there is no universal graphic notation system in the 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


Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration.
└ from 09 — MAT>NET>PU TGC3 Presentation


For TGC#3 he developed a tool that is a learning counterpart to his own musical input.
└ from 09 — MAT>NET>PU TGC3 Presentation


ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years.
└ from 10 — Valentina Vuksic


What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?
└ from 10 — Valentina Vuksic


To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project.
└ from 10 — Valentina Vuksic


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


Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups.
└ from 10 — Valentina Vuksic


She played a set in which she used her computer to generate sound by live programming.
└ from 10 — Valentina Vuksic


It was a good concert and her way of working fit into our ideas of exploring graphic scores very well.
└ from 10 — Valentina Vuksic


Her score was made on the spot with programming language; a sort of live coding.
└ from 10 — Valentina Vuksic


VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich.
└ from 10 — Valentina Vuksic


Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation.
└ from 10 — Valentina Vuksic


Software being processed creates its own temporal and spatial dimensions, which are staged for a public.
└ from 10 — Valentina Vuksic


She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world.
└ 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


A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece.
└ from 11 — Para-phonic Poly-disco


In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la.
└ 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


Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir.
└ from 11 — Para-phonic Poly-disco


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


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


Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor.
└ from 11 — Para-phonic Poly-disco


In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note.
└ from 11 — Para-phonic Poly-disco


During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market.
└ from 12 — Jacques Attali


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


Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993.
└ from 12 — Jacques Attali


Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way.
└ 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


We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score.
└ from 13 — Remco van Bladel


We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer.
└ from 13 — Remco van Bladel


Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam.
└ 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


In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music.
└ from 13 — Remco van Bladel


From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography.
└ from 13 — Remco van Bladel


His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent.
└ from 13 — Remco van Bladel


Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice.
└ 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


He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice.
└ from 14 — Derek Holzer


Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms.
└ from 14 — Derek Holzer


http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'.
└ from 14 — Derek Holzer


By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal.
└ from 14 — Derek Holzer


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


Over the past few years there has been a strong response to the sterile world of sound and video from the laptop.
└ from 14 — Derek Holzer


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


With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies.
└ from 14 — Derek Holzer


Over the past few years there has been a strong response to the sterile world of sound and video from the laptop.
└ from 15 — Schematic as Design


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


With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies.
└ from 15 — Schematic as Design


Holzer often works through a long, rigorous process of self-education in electronics.
└ from 15 — Schematic as Design


John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed.
└ from 15 — Schematic as Design


In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'.
└ from 15 — Schematic as Design


Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image.
└ from 16 — Tektronix Oscilloscope Music


During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light.
└ from 16 — Tektronix Oscilloscope Music


They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop.
└ from 16 — Tektronix Oscilloscope Music


He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope.
└ 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


It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game.
└ 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


Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979.
└ from 16 — Tektronix Oscilloscope Music


As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place.
└ from 16 — Tektronix Oscilloscope Music


Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.
└ from 16 — Tektronix Oscilloscope Music


Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light.
└ from 16 — Tektronix Oscilloscope Music


George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil.
└ from 17 — Event Scores


He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978.
└ from 17 — Event Scores


He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.
└ from 17 — Event Scores


For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles.
└ from 17 — Event Scores


Each card held an instruction to be performed with a vehicle.
└ from 17 — Event Scores


Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles.
└ from 17 — Event Scores


Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal.
└ from 17 — Event Scores


He is inspiring for a lot of performance-based composers.
└ from 17 — Event Scores


Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact.
└ 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


A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians.
└ from 18 — Dirigeerstok


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


It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'.
└ from 18 — Dirigeerstok


Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor.
└ from 18 — Dirigeerstok


Jörg Piringer has contributed to Each One, a 10" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces.
└ from 19 — Jörg Piringer


Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science.
└ from 19 — Jörg Piringer


Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together.
└ from 19 — Jörg Piringer


Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions.
└ from 19 — Jörg Piringer


Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things.
└ from 19 — Jörg Piringer


For 'Pushing Scores', we invited him to make special work for a limited edition.
└ from 19 — Jörg Piringer


For each record a unique piece is generated that is spoken and performed by the same software.
└ 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


In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music.
└ from 20 — Concrete Poetry


Signification also plays a major role in this.
└ from 20 — Concrete Poetry


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


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


a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g.
└ from 20 — Concrete Poetry


computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded.
└ from 20 — Concrete Poetry


IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble.
└ from 21 — Animated Notation


They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak).
└ from 21 — Animated Notation


They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it.
└ from 21 — Animated Notation


Fersteinn plays from animations made as compositions on a laptop.
└ from 21 — Animated Notation


Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð.
└ from 21 — Animated Notation


Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music.
└ from 21 — Animated Notation


Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse.
└ from 21 — Animated Notation


During the performance, the musicians follow specific instructions that move across a computer screen.
└ from 21 — Animated Notation


As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening.
└ from 21 — Animated Notation


When things then open up, a new sense of variety is gained.
└ from 21 — Animated Notation


Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen.
└ from 22 — Anitation


As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening.
└ from 22 — Anitation


When things then open up, a new sense of variety is gained.
└ from 22 — Anitation


He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson.
└ from 22 — Anitation


We also produced a limited polyurethane record with Fersteinn.
└ from 22 — Anitation


It inhabits a world where grids or straight lines are almost non-existent.
└ from 22 — Anitation


He has been active with a composer collective in Iceland called S.L.Á.T.U.R.
└ from 22 — Anitation


He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble.
└ from 22 — Anitation


Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation.
└ from 23 — Silence


Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?
└ from 23 — Silence


Johannes Kreidler is a special case when it comes to composing.
└ from 24 — Johannes Kreidler


A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this.
└ from 24 — Johannes Kreidler


He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama.
└ from 24 — Johannes Kreidler


In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA).
└ from 24 — Johannes Kreidler


Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin.
└ 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


If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use.
└ from 24 — Johannes Kreidler


For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin.
└ from 24 — Johannes Kreidler


For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India.
└ from 24 — Johannes Kreidler


Product Placements by Johannes Kreidler is a 10" blue vinyl with poster and Xerox copies, edition of 150 pieces.
└ from 24 — Johannes Kreidler


Johannes Kreidler is a composer and concept and media artist.
└ from 24 — Johannes Kreidler


His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society.
└ from 24 — Johannes Kreidler


We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism.
└ from 24 — Johannes Kreidler


Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'.
└ from 24 — Johannes Kreidler


This piece is to be seen as a plunder phonic composition in extremis.
└ from 24 — Johannes Kreidler


In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music.
└ from 24 — Johannes Kreidler


In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA.
└ from 24 — Johannes Kreidler


For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin.
└ 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


Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague.
└ from 25 — Ana Guedes


Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'.
└ from 25 — Ana Guedes


Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records.
└ from 25 — Ana Guedes


An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago.
└ from 25 — Ana Guedes


Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space.
└ from 25 — Ana Guedes


Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads.
└ from 25 — Ana Guedes


Because she uses and records the archive, the end result almost turns out to be a DJ set.
└ from 25 — Ana Guedes


Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'.
└ from 25 — Ana Guedes


Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral.
└ from 26 — Helga Jakobson


Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors.
└ from 26 — Helga Jakobson


Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk.
└ from 26 — Helga Jakobson


There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster.
└ from 26 — Helga Jakobson


In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute.
└ from 26 — Helga Jakobson


However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war.
└ from 26 — Helga Jakobson


During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women.
└ from 26 — Helga Jakobson


After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates.
└ from 26 — Helga Jakobson


Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.
└ from 26 — Helga Jakobson


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


The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss.
└ 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 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


A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays.
└ 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


They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.
└ from 26 — Helga Jakobson


Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs.
└ 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


In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages.
└ from 27 — BJ Nilsen


As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning.
└ from 27 — BJ Nilsen


How much influence does it have on a community?
└ from 27 — BJ Nilsen


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


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


It is a mix of sound recordings made at different times.
└ from 27 — BJ Nilsen


Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future.
└ from 27 — BJ Nilsen


For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid.
└ from 27 — BJ Nilsen


In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener.
└ from 27 — BJ Nilsen


There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore.
└ from 27 — BJ Nilsen


He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities.
└ 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


The Sámi have a lot of respect for nature.
└ 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


She still stores coal there in a small outhouse (called 'kullbingen').
└ 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


It is a vast scar in the landscape, and really an incredible place.
└ 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


That's why I wanted to have a thread about the regeneration of mining areas.
└ 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


If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste.
└ 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


It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly.
└ from 27 — BJ Nilsen


The composition follows a more or less linear path – starting with deep time.
└ 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


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


At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still.
└ 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


It is a base of hard rock under the water with different layers of material.
└ from 27 — BJ Nilsen


It is a playground for sedimentologists because you can see how land and deltas form.
└ from 27 — BJ Nilsen


We did a study and tried to identify how thick the layer was in different areas.
└ from 27 — BJ Nilsen


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


It is not enough to make a mine plan, but enough to get a small cash flow.
└ from 27 — BJ Nilsen


You have to take a boat to get there.
└ from 27 — BJ Nilsen


We have a tunnel that leads there.
└ from 27 — BJ Nilsen


In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it .
└ from 27 — BJ Nilsen


It created a vacuum after it closed.
└ from 27 — BJ Nilsen


I am drawn to the Arctic as a sound person because of its relative remoteness.
└ 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


They put geophones in an array, and record the blast of a detonation underground.
└ from 27 — BJ Nilsen


It gives them an image, a bit similar to sonar.
└ from 27 — BJ Nilsen


There is a little homage to GRM and Pierre Schaeffer on the record.
└ from 27 — BJ Nilsen


Only a small percentage of the ore is iron, the rest is slag and waste.
└ from 27 — BJ Nilsen


It is a process that somehow relates to my own artistic process.
└ from 27 — BJ Nilsen


It’s a kind of sound alchemy.
└ 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


By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener.
└ 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


When we met we had discussions about several professional subjects and decided to realise a publication.
└ 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


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


He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo.
└ from 28 — John Duncan


Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists.
└ from 28 — John Duncan


He is currently a sound designer at the Art Academy of Bologna, Italy.
└ from 28 — John Duncan


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


Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology.
└ from 29 — Niek Hilkmann


He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it.
└ from 29 — Niek Hilkmann


We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others.
└ from 29 — Niek Hilkmann


We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'.
└ from 29 — Niek Hilkmann


Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project.
└ from 29 — Niek Hilkmann


Varia has developed a context and technical environment as a web-based archival publication.
└ from 29 — Niek Hilkmann


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


During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine.
└ 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


It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language.
└ from 29 — Niek Hilkmann


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


By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project.
└ from 29 — Niek Hilkmann


His presentation was a crossover between a lecture and a demonstration.
└ from 29 — Niek Hilkmann


Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions.
└ from 30 — Black Midi


However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible.
└ from 30 — Black Midi


DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production.
└ from 30 — Black Midi


Transformation of information is a fact that occurs during the process of composing and performing the compositions.
└ from 30 — Black Midi


In that sense, there is never a perfect reproduction but always an interpretation.
└ from 30 — Black Midi


Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications.
└ from 30 — Black Midi


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


In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands.
└ 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


Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues.
└ from 30 — Black Midi


According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up.
└ from 30 — Black Midi


Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands.
└ 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


It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes.
└ from 30 — Black Midi


Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano.
└ from 30 — Black Midi


Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands.
└ from 31 — Marco Fusinato


In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours.
└ from 31 — Marco Fusinato


Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work.
└ from 31 — Marco Fusinato


For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole.
└ from 31 — Marco Fusinato


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


One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato.
└ from 31 — Marco Fusinato


For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist.
└ from 31 — Marco Fusinato


As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'.
└ from 31 — Marco Fusinato


He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00.
└ from 31 — Marco Fusinato


Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording.
└ from 31 — Marco Fusinato


His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event.
└ from 31 — Marco Fusinato


As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies.
└ from 31 — Marco Fusinato


Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions.
└ from 31 — Marco Fusinato


Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion.
└ from 31 — Marco Fusinato


In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration.
└ from 31 — Marco Fusinato


Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise.
└ from 31 — Marco Fusinato


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