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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


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


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


The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’.
└ from 01 — Pushing Scores Overview


Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone.
└ 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


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


Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances.
└ 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


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


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


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 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


It has a Raspberry Pi sits at its core, and is programmed for several applications.
└ 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


TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?
└ from 04 — Noting Denoting


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


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


These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project.
└ from 04 — Noting Denoting


Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event.
└ from 04 — Noting Denoting


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


The commercial potential and its associated value assessment are problematic for Colson.
└ from 05 — Wiels Artbook Fair


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


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


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


But there were several reasons for me to hold back a little on the idea.
└ 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


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


Which also makes for much more interesting overlaps when played together.
└ from 06 — Principium 2.0 Publication


And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions.
└ 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


I followed that score for eight hours straight.
└ from 06 — Principium 2.0 Publication


If something was interesting for a while, but didn't stay interesting, it had to go.
└ from 06 — Principium 2.0 Publication


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


I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something.
└ 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


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


Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp.
└ from 06 — Principium 2.0 Publication


But Vaast, for instance, refuses to regard it as his doing.
└ 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


And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself.
└ from 06 — Principium 2.0 Publication


Does it feel like that for you too: As your first 'real' album, as a statement?
└ 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


I guess I am aiming for the best of both worlds there.
└ 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


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


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


Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake.
└ 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


To complete the event we searched for two completely different approaches to composition.
└ from 07 — Pu-sh-ing-Sco-res Event


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


That is one of the reasons for the necessity to always continue experiments in New Plasticism.
└ from 07 — Pu-sh-ing-Sco-res Event


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


We decided to envision the framework for the installation as a three-dimensional staff to write down music.
└ from 08 — Art Rotterdam Presentation


Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine.
└ 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


Jakobson has great reverence for intuition and it's use as a technology within her work.
└ 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


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


Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'.
└ 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


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


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


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


She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'.
└ 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


Software being processed creates its own temporal and spatial dimensions, which are staged for a public.
└ from 10 — Valentina Vuksic


She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world.
└ 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


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


The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'.
└ from 11 — Para-phonic Poly-disco


The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso.
└ 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


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


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


After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'.
└ 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 notation of music can be considered as a highly coded written guideline for how music should sound.
└ 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


He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'.
└ 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


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 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


In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design.
└ 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


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


This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project.
└ from 14 — Derek Holzer


In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process.
└ from 14 — Derek Holzer


Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017.
└ from 16 — Tektronix Oscilloscope Music


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


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


Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake.
└ from 16 — Tektronix Oscilloscope Music


George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil.
└ from 17 — Event Scores


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


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


He is inspiring for a lot of performance-based composers.
└ from 17 — Event Scores


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 (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


For 'Pushing Scores', we invited him to make special work for a limited edition.
└ from 19 — Jörg Piringer


In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music.
└ 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


IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble.
└ from 21 — Animated Notation


They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it.
└ from 21 — Animated Notation


Anitation' is the term for animated notation.
└ 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


Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?
└ from 23 — Silence


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


For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin.
└ 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


Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation.
└ from 25 — Ana Guedes


Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'.
└ from 25 — Ana Guedes


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


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


After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates.
└ 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


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


The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada.
└ from 26 — Helga Jakobson


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


The Sámi have a lot of respect for nature.
└ 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


It is important for companies to manage this.
└ 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


It is a playground for sedimentologists because you can see how land and deltas form.
└ 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


Except for the mining, but that then is also why I find mining in the Arctic especially interesting.
└ from 27 — BJ Nilsen


It's good for the human psyche to be reminded of that.
└ from 27 — BJ Nilsen


The people in the Arctic have a lot of respect for nature, it forms them .
└ from 27 — BJ Nilsen


Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days.
└ 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


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


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


This not only counts for publishing but also for exploring new possibilities for artist practice in general.
└ 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


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


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


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


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


Where people would normally be doing their office work, Marco now played for eight hours in the empty office building.
└ 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


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 !