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


Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform.
└ from 01 — Pushing Scores Overview


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


Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt.
└ 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


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


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


We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire.
└ 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


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


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


JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media.
└ from 04 — Noting Denoting


REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris.
└ from 04 — Noting Denoting


He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam).
└ from 04 — Noting Denoting


We have known Vaast Colson to be an interesting artist for quite some time already.
└ 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


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


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


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


It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015.
└ 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


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


It's an iron board and it has the same visuals as the sticker sheets.
└ from 06 — Principium 2.0 Publication


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


In this way you would end up with all different records, each one an original.
└ from 06 — Principium 2.0 Publication


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


And an honourable mention to Koos of DOB who did an amazing job designing the packaging.
└ from 06 — Principium 2.0 Publication


That was an amazing moment.
└ 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


I guess that fear was much more of an issue with DOB Records.
└ 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


How do you decide which parts 'work' on an album, and which don't?
└ from 06 — Principium 2.0 Publication


DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?
└ from 06 — Principium 2.0 Publication


Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?
└ 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


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


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


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


Otherwise you're not an artist.
└ 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


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


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


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


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


In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior.
└ 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


In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior.
└ from 07 — Pu-sh-ing-Sco-res Event


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


DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music.
└ 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


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


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


It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself.
└ from 08 — Art Rotterdam Presentation


HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number.
└ from 09 — MAT>NET>PU TGC3 Presentation


It is an experimental platform designed for sonic experiments, instruments and installations.
└ 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


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


Most projects are aimed at interaction with an audience (of one or more people).
└ from 09 — MAT>NET>PU TGC3 Presentation


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


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


They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on.
└ from 10 — Valentina Vuksic


In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la.
└ from 11 — Para-phonic Poly-disco


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


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


It was an investigation into methodologies within his own artistic practice.
└ 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


Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form.
└ from 13 — Remco van Bladel


We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions.
└ from 14 — Derek Holzer


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


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


VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image.
└ 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


An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display.
└ from 16 — Tektronix Oscilloscope Music


And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture.
└ 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


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


One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art.
└ from 17 — Event Scores


George Brecht agreed to provide instructions for an event at St. Vincent.
└ from 17 — Event Scores


Each card held an instruction to be performed with a vehicle.
└ 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


For example, his work 'frakativ' is an electronic visual sound poetry performance.
└ 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


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


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


In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts.
└ from 20 — Concrete Poetry


Here it has played an important role and as such it is still current.
└ from 20 — Concrete Poetry


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


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


Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms.
└ from 22 — Anitation


In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?
└ from 23 — Silence


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


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


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


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


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


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


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


We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented.
└ 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


Over the years he has built up an extensive sound archive around this subject.
└ from 27 — BJ Nilsen


For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies.
└ from 27 — BJ Nilsen


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


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


It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore.
└ from 27 — BJ Nilsen


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


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


More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018.
└ from 27 — BJ Nilsen


Why did people in the past settle in an environment like this?
└ from 27 — BJ Nilsen


These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock.
└ 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


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


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


Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP.
└ from 28 — John Duncan


In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara.
└ from 28 — John Duncan


In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented.
└ 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


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


In that sense, there is never a perfect reproduction but always an interpretation.
└ 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


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


Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes.
└ from 30 — Black Midi


Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down.
└ 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


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' is an ongoing series of long-duration performances for guitar and electronics.
└ 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


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


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


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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