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Sentences that have been in common :


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


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


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


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


DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago.
└ from 06 — Principium 2.0 Publication


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


Just recording the Casio would definitely have been one of the safer, more boring options.
└ 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


Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together.
└ from 06 — Principium 2.0 Publication


Kris Delacourt: The 10" records have all been sold as well, so they sit somewhere in the middle.
└ from 06 — Principium 2.0 Publication


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


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


As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.
└ from 07 — Pu-sh-ing-Sco-res Event


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


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


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


At the time of writing it would have been quite prophetic.
└ 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


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


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


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


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


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


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


They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it.
└ from 21 — Animated Notation


Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times.
└ from 22 — Anitation


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


His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson.
└ from 22 — Anitation


The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies.
└ from 24 — Johannes Kreidler


The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far.
└ from 24 — Johannes Kreidler


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


His writings have also been influential in the scholarly area of sound studies and the practical area of sound art.
└ 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


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


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


Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands.
└ from 30 — Black Midi


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


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