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


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


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


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


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


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


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


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


He 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 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


It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015.
└ from 06 — Principium 2.0 Publication


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


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


And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?
└ from 06 — Principium 2.0 Publication


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


And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all.
└ 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


DE PLAYER: Dennis said you were not really keen on doing this record at first.
└ from 06 — Principium 2.0 Publication


Kris Delacourt: Not really, at least not in this case.
└ from 06 — Principium 2.0 Publication


Recording the Casio felt too definitive at the time.
└ from 06 — Principium 2.0 Publication


The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes.
└ from 06 — Principium 2.0 Publication


But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this.
└ from 06 — Principium 2.0 Publication


Still, not sure if it is easy listening at all, although I think it has a beauty of it's own.
└ from 06 — Principium 2.0 Publication


DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?
└ from 06 — Principium 2.0 Publication


Kris Delacourt: I do look at it as a solo thing.
└ 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


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


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


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


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 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


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


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


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


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


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


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


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


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


Remco 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


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


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


Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962.
└ from 17 — Event Scores


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


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


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


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


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


Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past.
└ from 19 — Jörg Piringer


In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament.
└ 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


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


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


This 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


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


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


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


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


We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost.
└ 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


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


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


He had hundreds of cassette tapes, like many at the time.
└ 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


I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old.
└ from 27 — BJ Nilsen


I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes.
└ from 27 — BJ Nilsen


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


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


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


By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener.
└ from 28 — John Duncan


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


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


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


Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N.
└ 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


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


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


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


For the 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


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


a b o u t t h i s a r c h i v e
l i s t o f i t e m s
G e n e r a t e s c o r e !