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Sentences that have and in common :


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 the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?
└ 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


Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems.
└ 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


Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US).
└ 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


Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop.
└ from 01 — Pushing Scores Overview


By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing.
└ from 01 — Pushing Scores Overview


So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there.
└ 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


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


Just so you can see them day and night, for roughly three weeks long.
└ from 01 — Pushing Scores Overview


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


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


Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede
└ 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


Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music.
└ 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


It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance.
└ from 01 — Pushing Scores Overview


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


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


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


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


This was put in place to both limit possibilities and to unite the format.
└ 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


Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?
└ 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


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


These works deal with continuity and endless accessibility.
└ from 04 — Noting Denoting


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


His artistic practice consists of websites, installations, lenticulars, lectures and haiku.
└ from 04 — Noting Denoting


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


Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad.
└ 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


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


Within it, he develops the reciprocity of music and architecture, and of sound and image.
└ 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


His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites.
└ 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


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


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


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


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


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


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


These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them.
└ from 05 — Wiels Artbook Fair


Colson's works examine core questions: What power does art have to change us and our society?
└ 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


In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances.
└ 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


In addition, Colson explores the commercial side of the art world and the economic consequences of artistry.
└ from 05 — Wiels Artbook Fair


The commercial potential and its associated value assessment are problematic for Colson.
└ 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


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


Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new.
└ 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


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


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


He then reassembled these line segments into new shapes and new lines.
└ 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


Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result.
└ from 06 — Principium 2.0 Publication


Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been.
└ 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


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


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


At least, that's where the initial form and the name came from.
└ 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


Line segments which he reassembled into new shapes and new lines.
└ 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


So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result.
└ from 06 — Principium 2.0 Publication


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


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


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


The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid.
└ from 06 — Principium 2.0 Publication


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


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


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


That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record.
└ from 06 — Principium 2.0 Publication


So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds.
└ 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


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


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


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


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


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 the number twelve even, and there's the appeal of building instruments too.
└ 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


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


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


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


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


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


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


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


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


There's Vaast Colson, Peter Flenger and Dennis Tyfus too.
└ 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


We worked on the packaging together, and it looks amazing because of them.
└ 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


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


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


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


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


And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly.
└ from 06 — Principium 2.0 Publication


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


PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US).
└ from 07 — Pu-sh-ing-Sco-res Event


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


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


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


Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones.
└ 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


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


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


Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes.
└ 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


Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones.
└ from 07 — Pu-sh-ing-Sco-res Event


For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation.
└ 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


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


Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes.
└ from 07 — Pu-sh-ing-Sco-res Event


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


— 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


Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats.
└ 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


Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand.
└ 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


Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable.
└ from 07 — Pu-sh-ing-Sco-res Event


Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War.
└ 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


She works with prepared records and played a live set.
└ 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


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


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


It is nessecary for evolution and survival.
└ from 07 — Pu-sh-ing-Sco-res Event


In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay.
└ 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


Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems.
└ from 08 — Art Rotterdam Presentation


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


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


People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer.
└ from 08 — Art Rotterdam Presentation


MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop.
└ from 09 — MAT>NET>PU TGC3 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 (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


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


Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year.
└ 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


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


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


His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch.
└ from 09 — MAT>NET>PU TGC3 Presentation


Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres.
└ 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


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


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


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


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


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


Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not.
└ 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


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


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


Varia will host the evening, and explain their ideas and approach to developing the archive.
└ 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


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


Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen.
└ 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


By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers.
└ from 10 — Valentina Vuksic


Vuksic considers the time and space of computer processing and memory as levels of reality.
└ from 10 — Valentina Vuksic


Software being processed creates its own temporal and spatial dimensions, which are staged for a public.
└ 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


An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2.
└ 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


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


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 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


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


As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges.
└ from 11 — Para-phonic Poly-disco


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


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 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


With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here.
└ from 12 — Jacques Attali


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


What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction.
└ 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


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


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


Yet these alternate approaches brought us together and made 'Pushing Scores' real.
└ from 13 — Remco van Bladel


His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites.
└ from 13 — Remco van Bladel


Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem.
└ from 13 — Remco van Bladel


He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale.
└ from 13 — Remco van Bladel


For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion.
└ from 13 — Remco van Bladel


His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music.
└ from 13 — Remco van Bladel


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


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


He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities.
└ from 13 — Remco van Bladel


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


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


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


He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality.
└ from 13 — Remco van Bladel


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


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


Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures.
└ from 14 — Derek Holzer


It completely complimented our thinking around how to imagine the concept of composing and making scores.
└ 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


Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand.
└ 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


These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers.
└ 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


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


Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded.
└ 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


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


Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded.
└ 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


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


It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies.
└ from 16 — Tektronix Oscilloscope Music


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


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


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


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


Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War.
└ 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 laboratory itself performed government research into nuclear physics, energy technology and national security.
└ from 16 — Tektronix Oscilloscope Music


Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude.
└ from 16 — Tektronix Oscilloscope Music


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


In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists.
└ 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


Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work.
└ 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


Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided.
└ from 16 — Tektronix Oscilloscope Music


Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade.
└ 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


The fact that many aspects of our current utopian aspirations (and dystopian anxieties!
└ 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


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


We became friends and he mailed instruction cards to me.
└ from 17 — Event Scores


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


Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'.
└ 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


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


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


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


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


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 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


DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language.
└ from 20 — Concrete Poetry


Music and dance are complimentary to the context of being together without literally understanding each other word for word.
└ from 20 — Concrete Poetry


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


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


Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place.
└ from 20 — Concrete Poetry


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


Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us.
└ from 20 — Concrete Poetry


Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible.
└ from 20 — Concrete Poetry


We investigate how contemporary means are used to shape language, sign and sound.
└ 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


Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition.
└ 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


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


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


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


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


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


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


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


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


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


It results in very delicate and unconventional chamber music.
└ 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


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


and took part in founding its festival Sláturtíð.
└ from 22 — Anitation


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


His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir.
└ from 22 — Anitation


Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker.
└ from 22 — Anitation


He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt.
└ from 22 — Anitation


His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson.
└ 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


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


His works can often be regarded as composition, performance, sculpture and indictment.
└ 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


From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague.
└ from 24 — Johannes Kreidler


He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg.
└ 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


His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread.
└ from 24 — Johannes Kreidler


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


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


In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself.
└ 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


According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship.
└ 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


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


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


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


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


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


She works with sound, video, installation and performance.
└ from 25 — Ana Guedes


Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation.
└ 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


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


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


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


Her archival approach and its political and personal implications are the starting point of this work.
└ 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


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 research often leads her to short-lived and organic material with which she develops new systems and methods for engagement.
└ from 26 — Helga Jakobson


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


She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs.
└ 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


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


Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community.
└ 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


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 intact web will not exist long in the world, and with my interference even less so.
└ from 26 — Helga Jakobson


These actions are complicated and tenuous, as most human relations with companion species are.
└ from 26 — Helga Jakobson


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


The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination.
└ from 26 — Helga Jakobson


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


They remind me of George Crumb’s circular compositions; minus the pen and paper.
└ from 26 — Helga Jakobson


In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs).
└ 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


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


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


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


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


From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time.
└ 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


What is the relationship between the sounds of mining and the community that surrounds them?
└ from 27 — BJ Nilsen


Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere.
└ from 27 — BJ Nilsen


In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope.
└ from 27 — BJ Nilsen


This line is interrupted a few times and the different time periods work together and overlap.
└ 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


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


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


Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies.
└ from 27 — BJ Nilsen


He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts.
└ from 27 — BJ Nilsen


His writings have also been influential in the scholarly area of sound studies and the practical area of sound art.
└ from 27 — BJ Nilsen


Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance.
└ 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


Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman.
└ from 27 — BJ Nilsen


Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future.
└ from 27 — BJ Nilsen


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


You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in.
└ from 27 — BJ Nilsen


It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone.
└ from 27 — BJ Nilsen


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


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


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


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


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


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


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


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


Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research.
└ from 27 — BJ Nilsen


Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.
└ from 27 — BJ Nilsen


Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste.
└ 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 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


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


So much time is compressed in this material and it's burned up in minutes.
└ from 27 — BJ Nilsen


We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!
└ from 27 — BJ Nilsen


Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?
└ 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


Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34.
└ 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


We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken.
└ from 27 — BJ Nilsen


Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018.
└ from 27 — BJ Nilsen


You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these.
└ 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


Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018.
└ 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


If it goes on like it goes now, the ice will open up and it will not be so desolate anymore.
└ from 27 — BJ Nilsen


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


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


For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape.
└ 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


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


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


His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme.
└ from 28 — John Duncan


When we met we had discussions about several professional subjects and decided to realise a publication.
└ from 28 — John Duncan


John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television.
└ 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


His music consists mainly of recordings of shortwave radio, field recordings and voice.
└ 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


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


During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive.
└ from 29 — Niek Hilkmann


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


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


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


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


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


It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years.
└ 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


They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++.
└ 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


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


They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI.
└ from 30 — Black Midi


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


While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus.
└ from 30 — Black Midi


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


Due to the nature of their creation and their sheer size, they are unable to be played back and recorded.
└ from 30 — Black Midi


English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner.
└ from 30 — Black Midi


Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs.
└ 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


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


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


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


Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance.
└ from 31 — Marco Fusinato


Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken.
└ from 31 — Marco Fusinato


For this we published 8" records with artists and labels.
└ 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


In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon.
└ from 31 — Marco Fusinato


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


People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows.
└ from 31 — Marco Fusinato


Good food and drinks were served.
└ 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


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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