[x] each ▶

Sentences that have each in common :


This is a magazine without any format, with the intention for a new one to be developed each time.
└ from 02 — Release - Tetra Gamma Circulaire 3


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


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


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


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


In this way you would end up with all different records, each one an original.
└ 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


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


Peter brought six record players, matching the six colours of the vinyl nicely – two notes each.
└ 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


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


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


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


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


Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements.
└ from 11 — Para-phonic Poly-disco


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


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


Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements.
└ 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


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


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


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


The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music.
└ from 30 — Black Midi


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


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


Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point.
└ 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


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 !