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Sentences that have form in common :


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


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


This can be a performance, an object, a book or whatever other form he settles on.
└ from 05 — Wiels Artbook Fair


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


Together, all twelve records form the complete set, which one 'game' requires.
└ 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


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


DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form.
└ 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


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


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


A publication was taken as a joint focal point, the form of which could be determined in more detail.
└ from 09 — MAT>NET>PU TGC3 Presentation


In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects.
└ from 10 — Valentina Vuksic


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


Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form.
└ from 13 — Remco van Bladel


For this he developed specific software that generates poetry in spoken-word form.
└ from 19 — Jörg Piringer


Subcultures form through music.
└ 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


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


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


When the webs are harvested, my hand affects their original form.
└ 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


It is a playground for sedimentologists because you can see how land and deltas form.
└ from 27 — BJ Nilsen


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


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


For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole.
└ 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


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


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


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